In this innovative approach to southern literary cultures, Thadious Davis analyzes how black southern writers use their spatial location to articulate the vexed connections between society and environment, particularly under segregation and its legacies.<
Part literary history, part cultural study, Grounds of Engagement examines the relationships and exchanges between black South African and African American writers who sought to create common ground throughout the antiapartheid era. Stéphane Robolin argues that the authors' geographic imaginations crucially defined their individual interactions and, ultimately, the literary traditions on both sides of the Atlantic. Subject to the tyranny of segregation, authors such as Richard Wright, Bessie Head, Langston Hughes, Gwendolyn Brooks, Keorapetse Kgositsile, Michelle Cliff, and Richard Rive charted their racialized landscapes and invented freer alternative geographies. They crafted rich representations of place to challenge the stark social and spatial arrangements that framed their lives. Those representations, Robolin contends, also articulated their desires for black transnational belonging and political solidarity. The first book to examine U.S. and South African literary exchanges in spatial terms, Grounds of Engagement identifies key moments in the understudied history of black cross-cultural exchange and exposes how geography serves as an indispensable means of shaping and reshaping modern racial meaning.
A familiar story holds that modernization radiates outward from metropolitan origins. Expanding on Walter Benjamin’s notion of die Moderne, The Whole Machinery explores representations of people and places, objects and occasions, that reverse that trajectory, demonstrating how modernizing agents move in a contrary direction as well—from the country to the city. In a crucial reconsideration, these figures aren’t pulled by or into urban modernity so much as they bring alternate—and transformative—iterations of the modern to the urban world. Upending the U.S. South’s reputation as either retrograde or unresponsive to modernity, Benjamin S. Child shows how the effects of national and transnational exchange, emergent technologies, and industrialization animate environments and bodies associated with, or performing, versions of the rural. To this end, he also exposes the shadow side of the cosmopolitan modern by investigating the rural sources—the laboring bodies and raw materials—that made such urban spaces possible, thus taking a broader survey of landscapes created by the Atlantic world’s histories of uneven development. In this investigation of the rural modern that considers multiple media and forms of technology, Child’s sources range widely, encompassing a spectrum of texts and their networks of transmission, reception, and signification. These include novels, poems, and short stories but also radio broadcasts, sound recordings, political pamphlets, photographs, magazine articles, newspaper reports, and agricultural bulletins. Folding such expressive artifacts into his larger arguments, Child considers how they both reflect and form modern(ist) culture. The result is a geography of southern modernism that includes an unexpected combination of landmarks, both actual and imagined: Twisted Oak, Arkansas, and Tukabahchee County, Alabama; Manhattan, Manchester, and Moscow; Tuskegee and Gobbler’s Knob, North Carolina.
In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the "circumCaribbean," a dynamic framework within which to reconsider literary history, genre, and aesthetics. Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.
Where the New World Is assesses how fiction published since 1980 has resituated the U.S. South globally and how earlier twentieth-century writing already had done so in ways traditional southern literary studies tended to ignore. Martyn Bone argues that this body of fiction has, over the course of some eighty years, challenged received readings and understandings of the U.S. South as a fixed place largely untouched by immigration (or even internal migration) and economic globalization. The writers discussed by Bone emphasize how migration and labor have reconfigured the region’s relation to the nation and a range of transnational scales: hemispheric (Jamaica, the Bahamas, Haiti), transatlantic/Black Atlantic (Denmark, England, Mauritania), and transpacific/global southern (Australia, China, Vietnam). Writers under consideration include Zora Neale Hurston, Nella Larsen, John Oliver Killens, Russell Banks, Erna Brodber, Cynthia Shearer, Ha Jin, Monique Truong, Lan Cao, Toni Morrison, Peter Matthiessen, Dave Eggers, and Laila Lalami. The book also seeks to resituate southern studies by drawing on theories of “scale” that originated in human geography. In this way, Bone also offers a new paradigm in which the U.S. South is thoroughly engaged with a range of other scales from the local to the global, making both literature about the region and southern studies itself truly transnational in scope.
Summoning Our Saints: The Poetry and Prose of Brenda Marie Osbey celebrates and illuminates the poetry and prose of one of the South’s and the nation’s most notable writers. A native of New Orleans and a former poet laureate of Louisiana who served magnificently in that function during the dark days after Hurricane Katrina, Osbey has summoned up a magical, beguiling, sometimes chilling and appalling portrait of the myriad chapters of New Orleans, Southern, and hemispheric history. Her dazzling narratives offer apertures into desire, death and remembrance, often through the voices of neglected and abused citizens. The essays in this collection examine Osbey’s essays and poetry collections, situating them within greater traditions of African American women’s writing, blues music, and West African religious traditions and Catholicism. The chapters are punctuated throughout with Osbey’s own reflections on her work and bring a long-needed and appreciative critical focus to a great artist, elucidating her contributions to our common cultural heritage. The book examines Osbey’s meditations on topics such as colonization, the African diaspora, the circumCaribbean, and contemporary parallels between Europe and the United States to showcase the ways in which they add valuable new insights to transnational studies.
The Oxford Handbook of the Literature of the U.S. South brings together contemporary views of the literature of the region in a series of chapters employing critical tools not traditionally used in approaching Southern literature. It assumes ideas of the South--global, multicultural, plural: more Souths than South--that would not have been embraced two or three decades ago, and it similarly expands the idea of literature itself. Representative of the current range of activity in the field of Southern literary studies, it challenges earlier views of antebellum Southern literature, as well as, in its discussions of twentieth-century writing, questions the assumption that the Southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of Southern expression, that writing to which all that had come before had led and by which all that came afterward was judged. As well as canonical Southern writers, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field.
This carefully and generously curated mosaic of essays, letters, and poems reveals the profound impact that poet Yusef Komunyakaa has had on poets, educators, and readers worldwide. The anthology brings together creative and critical offerings from fellow poets, former students, literary entities, and other admirers. There are emerging and established voices—from previously unpublished writers to Pulitzer Prize winning poets. Together these pieces honor one of the most influential writers of the last half century, one, it turns out, who is as beloved for his teaching as he is celebrated for his creative work. Contributors include Terrance Hayes, Sharon Olds, Carolyn Forché, Toi Derricotte, and Martín Espada, among others. Dear Yusef affirms Komunyakaa's transformative influence, showcasing how his mentoring has ignited creativity, nurtured passion, and fostered a sense of belonging among countless individuals. Through the artistry of these testimonials, we witness the transformative power of poetry and the enduring legacy of a true literary icon. Please note that the hardcover edition is unjacketed.