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In Tracing Southern Storytelling in Black and White , Sarah Gilbreath Ford explores how both black and white southern writers such as Joel Chandler Harris, Charles Chesnutt, Zora Neale Hurston, William Faulkner, Eudora Welty, Ralph Ellison, Ellen Douglas, and Ernest Gaines have employed oral storytelling in literature. Tracing Southern Storytelling in Black and White is a study of the historical use of oral storytelling by southern writers in written works. In each chapter, Sarah Gilbreath Ford pairs a white and an African American writer to highlight points of confluence in black and white southern oral traditions. She argues that the connections between white and African American southern writers run deeper than critics have yet explored, and she uses textual comparisons to examine the racial mixing of oral culture. On porches, in kitchens, and on the pages of their work, black and white southerners exchanged not just stories but strategies for telling stories. As a boy, Joel Chandler Harris listened to the stories of African American slaves, and he devised a framework to turn the oral stories into written ones. Harris’s use of the frame structure influenced how Charles Chesnutt recorded oral stories, but it led Alice Walker to complain that her heritage had been stolen. Mark Twain listened to African American storytellers as a child. His use of oral dialects then impacts how Ralph Ellison and William Faulkner employ oral storytelling and how Toni Morrison later writes in response to Faulkner. The interactions are not linear, not a chain of influence, but a network of interactions, borrowings, and revisions. Ford’s pairings lead to new readings that reveal how the writers employ similar strategies in their narratives, due in part to shared historical context. While Zora Neale Hurston and William Faulkner, for example, use oral storytelling in the 1930s to examine the fear of racial mixing, Ellen Douglas and Ernest Gaines use it in the 1970s to build bridges between the races. Exploring the cultural crossing that occurs in the use of oral storytelling, Ford offers a different view of this common strategy in southern narrative and a new perspective on how culture is shared.

This biography examines the long life of the traveller and author Stephen Graham. Graham walked across large parts of the Tsarist Empire in the years before 1917, describing his adventures in a series of books and articles that helped to shape attitudes towards Russia in Britain and the United States. In later years he travelled widely across Europe and North America, meeting some of the best known writers of the twentieth century, including H.G.Wells and Ernest Hemingway. Graham also wrote numerous novels and biographies that won him a wide readership on both sides of the Atlantic. This book traces Graham’s career as a world traveller, and provides a rich portrait of English, Russian and American literary life in the first half of the twentieth century. It also examines how many aspects of his life and writing coincide with contemporary concerns, including the development of New Age spirituality and the rise of environmental awareness. Beyond Holy Russia is based on extensive research in archives of private papers in Britain and the USA and on the many works of Graham himself. The author describes with admirable tact and clarity Graham’s heterodox and convoluted spiritual quest. The result is a fascinating portrait of a man who was for many years a significant literary figure on both sides of the Atlantic.

Abandoning the Black Herois the first book to examine the postwar African American white-life novel-novels with white protagonists written by African Americans. These fascinating works have been understudied despite having been written by such defining figures in the tradition as Richard Wright, Zora Neale Hurston, James Baldwin, Ann Petry, and Chester Himes, as well as lesser known but formerly best-selling authors Willard Motley and Frank Yerby. John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency.In an era when \"Negro writers\" were expected to protest, their sympathetic treatment of white suffering grants these authors a degree of racial privacy previously unavailable to them. White writers, after all, have the privilege of racial privacy because they are never pressured to write only about white life. Charles reveals that the freedom to abandon the \"Negro problem\" encouraged these authors to explore a range of new genres and themes, generating a strikingly diverse body of novels that significantly revise our understanding of mid-twentieth-century black writing.

This book examines the post-9/11 African American novels, developing a new critical discourse on everyday discursive practices of whiteness. The critique of everyday life in the racial context of post-9/11 American society is important in considering diverse forms of the lived experiences and subjectivities of black people in the novels. They help us see that African American representations of the city have political significance in that the \"neo-urban novel\" explores the possibility of a black dialogic communication to build a transformative social change. Since the real power of Whiteness lies in its discursive power, the book reveals the urgency to understand not only how whiteness works in everyday life in American society. But it also explores how to cultivate new possibilities of configuring and performing Blackness differently, as a response to the post-9/11 configurations of the culture of fear, to produce new ways of interactional social relations that can eventually open up the space of critical awareness for white people to work against rather than reinforce discursive practices of White supremacy in everyday life. This book explores how the multiple subjectivities and transformative acts of blackness can offer ways of subverting the discursive power of the white embodied practices. What defines post-9/11 America as a nation that is consumed by the fear of racialized terrorists is its roots in the fear of ('uncontrollable') Blackness as excess and ominous threat in the domestic terrain through which the ideology of White supremacy has constructed for governing through Whiteness. African-American urban novels published in the twenty-first century respond to the discursive power of normative Whiteness that regulates black bodies, selves and lives. This book demonstrates how black people contest white dominant social spaces as sites of black criminality and exclusion in an attempt to re-signify them as the sites of black transformative change through personal and grassroots activism through their performativity of Blackness as an agential identity formation in their interpersonal urban social encounters with white people. Hence, the vulnerable spaces of Whiteness in interracial urban encounters, as it pervasively addresses those moments of transformative change, enacted by Black characters, in the face of the discursive practices of whiteness in the everyday life. These novels celebrate multifarious representations of black individuals, who are capable of using their agency to subvert White discursive power, in finding ways in their personal and grassroots activism to transform the culture of fear that locates Blackness as such in an attempt to make a difference in the American society at large.

In this compelling interdisciplinary study, Linda Grasso demonstrates that using anger as a mode of analysis and the basis of an aesthetic transforms our understanding of American women's literary history. Exploring how black and white nineteenth-century women writers defined, expressed, and dramatized anger, Grasso reconceptualizes antebellum women's writing and illuminates an unrecognized tradition of discontent in American literature. She maintains that two equally powerful forces shaped this tradition: women's anger at their exclusion from the democratic promise of America, and the cultural prohibition against its public articulation.Grasso challenges the common notion that nineteenth-century women's writing is confined to domestic themes and shows instead how women channeled their anger into art that addresses complex political issues such as slavery, nation-building, gender arrangements, and race relations. Cutting across racial and genre boundaries, she considers works by Lydia Maria Child, Maria W. Stewart, Fanny Fern, and Harriet Wilson as superb examples of the artistry of angry expression. Transforming their anger through literary imagination, these writers bequeathed their vision of an alternative America both to their contemporaries and to subsequent generations.

Even before mass marketing, American consumers bought products that gentrified their households and broadcast their sense of \"the good things in life.\" Bridging literary scholarship, archaeology, history, and art history,Whitewashing America: Material Culture and Race in the Antebellum Imaginationexplores how material goods shaped antebellum notions of race, class, gender, and purity. From the Revolutionary War until the Civil War, American consumers increasingly sought white-colored goods. Whites preferred mass-produced and specialized products, avoiding the former dark, coarse, low-quality products issued to slaves. White consumers knit around themselves refined domestic items, visual reminders of who they were, equating wealth, discipline, and purity with the racially \"white.\" Clothing, paint, dinnerware, gravestones, and buildings staked a visual contrast, a portable, visible title and deed segregating upper-class whites from their lower-class neighbors and household servants. This book explores what it meant to be \"white\" by delving into the whiteness of dishes, gravestone art, and architecture, as well as women's clothing and corsets, cleanliness and dental care, and complexion. Early nineteenth-century authors participated in this material economy as well, building their literary landscapes in the same way their readers furnished their households and manipulating the understood meanings of things into political statements. Such writers as James Fenimore Cooper and John Pendleton Kennedy use setting descriptions to insist on segregation and hierarchy. Such authors as Harriet Beecher Stowe, Nathaniel Hawthorne, Edgar Allan Poe, and Herman Melville, struggled to negotiate messages of domesticity, body politics, and privilege according to complex agendas of their own. Challenging the popular notions, slave narrators such as Frederick Douglass and Harriet Jacobs wielded white objects to reverse the perspective of their white readers and, at times, to mock their white middle-class pretensions. Bridget T. Heneghan, a lecturer in English at Vanderbilt University, has been published inNineteenth-Century Studies.

The story of southern writing—the Dixie Limited, if you will—runs along an iron path: an official narrative of a literature about community, about place and the past, about miscegenation, white patriarchy, and the epic of race. Patricia Yaeger dynamites the rails, providing an entirely new set of categories through which to understand southern literature and culture. For Yaeger, works by black and white southern women writers reveal a shared obsession with monstrosity and the grotesque and with the strange zones of contact between black and white, such as the daily trauma of underpaid labor and the workings of racial and gender politics in the unnoticed yet all too familiar everyday. Yaeger also excavates a southern fascination with dirt—who owns it, who cleans it, and whose bodies are buried in it. Yaeger's brilliant, theoretically informed readings of Zora Neale Hurston, Harper Lee, Carson McCullers, Toni Morrison, Flannery O'Connor, Alice Walker, and Eudora Welty (among many others) explode the mystifications of southern literary tradition and forge a new path for southern studies. The book won the Barbara Perkins and George Perkins Award given by the Society for the Study of Narrative Literature.