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How Faulkner, Welty, Lytle, and Gordon reimagined and reconstructed the Native American past in their work. In this book, Annette Trefzer argues that not only have Native Americans played an active role in the construction of the South’s cultural landscape—despite a history of colonization, dispossession, and removal aimed at rendering them invisible—but that their under-examined presence in southern literature also provides a crucial avenue for a post-regional understanding of the American South. William Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon created works about the Spanish conquest of the New World, the Cherokee frontier during the Revolution, the expansion into the Mississippi Territory, and the slaveholding societies of the American southeast. They wrote 100 years after the forceful removal of Native Americans from the southeast but consistently returned to the idea of an \"Indian frontier,\" each articulating a different vision and discourse about Native Americans—wholesome and pure in the vision of some, symptomatic of hybridity and universality for others. Trefzer contends that these writers engage in a double discourse about the region and nation: fabricating regional identity by invoking the South’s \"native\" heritage and pointing to issues of national guilt, colonization, westward expansion, and imperialism in a period that saw the US sphere of influence widen dramatically. In both cases, the \"Indian\" signifies regional and national self-definitions and contributes to the shaping of cultural, racial, and national \"others.\" Trefzer employs the idea of archeology in two senses: quite literally the excavation of artifacts in the South during the New Deal administration of the 1930s (a surfacing of material culture to which each writer responded) and archeology as a method for exploring texts she addresses (literary digs into the textual strata of America’s literature and its cultural history).

The Welty Society had scheduled a business lunch meeting for April 3 in addition to two Eudora Welty panels and a reprisal of the 2018 dramatic reading of \"Moon Lake.\" The recent pandemic left us all trying to adapt quickly, and during the summer months, the Welty House organized a virtual Welty-at-Home Book Club, and Suzanne Marrs lead an online discussion of Losing Battles. In addition to high-caliber academic papers and keynote addresses, the cultural programming included a screening of a new Faulkner documentary, \"The Past Is Never Dead: The Life of William Faulkner,\" and talkback led by director Michael Modak-Truran; a screening of \"Almos' A Man,\" the 1976 film adaptation of Wright's story \"The Man Who Was Almost A Man,\" with talkback led by Malcolm Wright, the author's grandson; and the long postponed theatrical reading of Welty's short story \"Moon Lake,\" adapted and directed by renowned stage and screen actress Brenda Currin, with members of the Eudora Welty Society reading all of the character parts.

William Faulkner grew up and began his writing career during a time of great cultural upheaval, especially in the realm of sexuality, where every normative notion of identity and relationship was being re-examined. Not only does Faulkner explore multiple versions of sexuality throughout his work, but he also studies the sexual dimension of various social, economic, and aesthetic concerns.In Faulkner's Sexualities, contributors query Faulkner's life and fiction in terms of sexual identity, sexual politics, and the ways in which such concerns affect his aesthetics. Given the frequent play with sexual norms and practices, how does Faulkner's fiction constitute the sexual subject in relation to the dynamics of the body, language, and culture? In what ways does Faulkner participate in discourses of masculinity and femininity, desire and reproduction, heterosexuality and homosexuality? In what ways are these discourses bound up with representations of race and ethnicity, modernity and ideology, region and nation? In what ways do his texts touch on questions concerning the racialization of categories of gender within colonial and dominant metropolitan discourses and power relations? Is there a Southern sexuality? This volume wrestles with these questions and relates them to theories of race, gender, and sexuality.

Faulkner and Mysterypresents a wide spectrum of compelling arguments about the role and function of mystery in William Faulkner's fiction. Twelve new essays approach the question of what can be known and what remains a secret in the narratives of the Nobel laureate. Scholars debate whether or not Faulkner's work attempts to solve mysteries or celebrate the enigmas of life and the elusiveness of truth. Scholars scrutinize Faulkner's use of the contemporary crime and detection genre as well as novels that deepen a plot rather than solve it. Several essays are dedicated to exploring the narrative strategies and ideological functions of Faulkner's take on the detective story, the classic \"whodunit.\" Among Faulkner's novels most interested in the format of detection isIntruder in the Dust, which assumes a central role in this essay collection. Other contributors explore the thickening mysteries of racial and sexual identity, particularly the enigmatic nature of his female and African American characters. Questions of insight, cognition, and judgment in Faulkner's work are also at the center of essays that explore his storytelling techniques, plot development, and the inscrutability of language itself.

[...]she identifies \"seeing one family, living by the side of the road\" as a catalyst for her writing; \"That was when I really started writing stories,\" she says (qtd. in Prenshaw 17). The Social Security program relied for its core principles on a concept then known as \"social insurance\" for citizens as it already existed in a number of other countries especially in Europe.3 In America, the stock market crash of 1929 and the unprecedented scale of economic collapse that followed affected every segment of society and every sector of the economy from farming to banking, from housing to the labor market. According to the Social Security website, \"the best estimates are that in 1934 over half of the elderly in America lacked sufficient income to be selfsupporting. 4 Some of the more radical proposals for economic betterment and social security were Huey P. Long's \"Every Man a King\" proposal that called on the federal government to guarantee every family in the nation an annual income of $5,000 so that they might have the necessities of life: a home, a job, a radio, and a car.

Today, debates about globalization raise both hopes and fears. But what about during William Faulkner's time? Was he aware of worldwide cultural, historical, and economic developments? Just how interested was Faulkner in the global scheme of things? The contributors toGlobal Faulknersuggest that a global context is helpful for recognizing the broader international meanings of Faulkner's celebrated regional landscape. Several scholars address how the flow of capital from the time of slavery through the Cold War period in his fiction links Faulkner's South with the larger world. Other authors explore the literary similarities that connect Faulkner's South to Latin America, Africa, Spain, Japan, and the Caribbean. In essays by scholars from around the world, Faulkner emerges in trans-Atlantic and trans-Pacific contexts, in a pan-Caribbean world, and in the space of the Middle Passage and the African Atlantic. The Nobel laureate's fiction is linked to that of such writers as Gabriel García Márquez, Wole Soyinka, Miguel de Cervantes, and Kenji Nakagami.

William Faulkner grew up and began his writing career during a time of great cultural upheaval, especially in the realm of sexuality, where every normative notion of identity and relationship was being re-examined. Not only does Faulkner explore multiple versions of sexuality throughout his work, but he also studies the sexual dimension of various social, economic, and aesthetic concerns.In Faulkner's Sexualities contributors query Faulkner's life and fiction in terms of sexual identity, sexual politics, and the ways in which such concerns affect his aesthetics. Given the frequent play with sexual norms and practices, how does Faulkner's fiction constitute the sexual subject in relation to the dynamics of the body, language, and culture? In what ways does Faulkner participate in discourses of masculinity and femininity, desire and reproduction, heterosexuality and homosexuality? In what ways are these discourses bound up with representations of race and ethnicity, modernity and ideology, region and nation? In what ways do his texts touch on questions concerning the racialization of categories of gender within colonial and dominant metropolitan discourses and power relations? Is there a Southern sexuality? This volume wrestles with these questions and relates them to theories of race, gender, and sexuality.