Bøger udgivet af University of Georgia Press

A dissection of social upheaval, Bright Skin is Julia Peterkin's most sophisticated book, dealing with urban migration, miscegenation, illegitimacy, and racism from the low country of South Carolina to the streets of Harlem. The story of Cricket and Blue - a woman who leaves and a man left behind - is at the heart of the African American experience. As technology replaced manual labor on the plantation, thousands of descendants of slaves made their way north to jobs in the cities, where black separatism flourished. Peterkin writes of these changing times with keen perception and descriptive brilliance in Bright Skin - a story of getting ahead by getting away, rejecting the past and embracing a new future.

Lyddy: A Tale of the Old South is a fictional reconstruction of antebellum life in the historic Midway community of Liberty County, Georgia, home of some of the Old South's wealthiest planters. Originally published in 1898, this blend of fiction and memoir looks through the eyes of a white plantation mistress at her family plantation, her marriage, slave life, and the destruction of the plantation economy that took place when Sherman's army arrived in December 1864. Writing in response to Harriet Beecher Stowe's Uncle Tom's Cabin, Eugenia Jones Bacon sought to represent plantation life as she had experienced it. Bacon's story provides a window on slave marriages, the retention of African folklore among coastal Georgia slaves, and the change in relations between masters and slaves after the Civil War.

Daniel W. Cobb, a farmer and small slaveholder from Virginia's rural tidewater, was unhappily married, resentful of his prosperous in-laws, and terribly lonely. His closest friend was the diary he kept for more than thirty momentous years in American history, from 1842 until his death at age sixty-one in 1872. The devout, plainspoken Cobb wrote in a conversational style, candidly recording his innermost thoughts. His diary's intimate account of a troubled marriage provides a painfully frank chronicle of incompatibility. The diary also illuminates the tremendous impact of the Civil War and emancipation. Offering Insight into a culture, a time, and a place, Cobb's Ordeal reveals the differences that separate that world from our own.

The pieces collected here present Anderson's perceptive vision of the South, combining his love for the region with the fresh observations of an outsider. In more than forty selections of journalism and fiction, Anderson explores its people, problems, and natural splendor.

Reconciliation and remembering are the forces at work in Inheritance of Horses. In these essays, James Kilgo seeks the common ground between his roles as a man, as husband and father, and as heir to his family legacy. Pausing at mid-life to make an eloquent, understated stand against our eras rootlessness, he honors friendship, kinship, nature, and tradition.In the opening section, Kilgo focuses on the tension between his need for ritualistic male camaraderie and his familial obligations. Searching the woods for arrowheads, sitting around the dinner table at a hunting lodge, or careening down an abandoned logging road in a pickup, he seems ever-prone to the intrusions of domesticity and civilization: a sudden memory of miring the family station wagon in the sand on a beach trip, an encounter with a couple on their sixtieth wedding anniversary, a stream littered with trash and stocked with overbred hatchery trout.Restlessness and responsibility converge and again clash in the second series of essays, in which domestic themes are explored in settings that range from Kilgos own living room to Yellowstone Park and the deep waters off the Virgin Islands. Through such images as a hornets nest, a gale-force storm, a grizzly bear, and a marlin, Kilgo gauges the strengths and vulnerabilities of his family and moves toward an existence that is part of, not apart from, the women in his life.The long title essay composes the books final section. Reading through a cache of letters exchanged between his two grandfathers, Kilgo recovers and revises his memories of them. What he learns of their open, passionate friendship reveals an essentially feminine aspect of their patriarchal natures, enriching, but also confusing, Kilgos earlier understanding of who they were. As some of the more unhappy or unpleasant details of his grandfathers lives come to light, they first heighten, then assuage, Kilgos ambivalence about a family heritage built as much on myth as on truth.The manner in which Kilgo makes such intensely personal concerns so broadly relevant accentuates what might be called the told, rather than the written, quality of Inheritance of Horses. He is foremost a storyteller, working in a style that is classically southern in its pacing and its feel for the land, but all his own in its restrained humor and lack of self-absorption. Guided by a storytellers respect for common people and common feelings, Kilgo never prescribes or moralizes but rather brings us to places where principled choices can be made about what we need and value most in our lives.

The seven stories in Pam Durban's widely praised debut collection are tales of family, of love and loss, of survival and affirmation. Durban's resonant prose subtly obliges her readers to experience the rush of icy water in a stream, the taste of greens freshly snatched from an overgrown garden, the dread weight of confusion and uncertainty. A country singer more than a few big breaks short of stardom, a mill worker coping with the death of her teenage son, a preadolescent boy lovestruck over his private swimming instructor, a father cut off from his children by haunting war memories: these and other characters are made real and consequential by Durban's touch.

In Faulkner and Southern Womanhood, Diane Roberts examines the vexed and contradictory responses of the South's most celebrated novelist to the traditional representations of women that were bequeathed to him by his culture. The very mention of "the South", Roberts observes, conjures up a crazy quilt of images - from the romantic to the violent, from the gracious and glamorous to the backward and racist. The phrase "southern woman" likewise evokes a whole range of stock characters and stereotypes. Tracing the ways in which William Faulkner characterized women in his fiction, Roberts posits six familiar representations - the Confederate woman, the mammy, the tragic mulatta, the new belle, the spinster, and the mother - and, through close feminist readings, shown how the writer reactivated and reimagined them. In so doing, Roberts sees Faulkner as both a product and a producer of that multi-faceted place - and metaphor - called the South. "As a southerner", she writes, "Faulkner inherited the images, icons, and demons of his culture. They are part of the matter of the region with which he engages, sometimes accepting, sometimes rejecting". Drawing on extensive research into southern popular culture and the findings and interpretations of historians, Roberts demonstrates how Faulkner's greatest fiction, published during the 1920s and 1930s, grew out of his reactions to the South's attempts to redefine and solidify its hierarchical conceptions of race, gender, and class. During the era in which Faulkner's psyche was formed, the South's efforts to maintain its cultural stability included everything from lynching to erecting Confederate monuments and apotheosizing Gone with the Wind.Struggling to understand his region, Roberts says, Faulkner exposed the South's self-conceptions as quite precarious, with women slipping toward masculinity, men slipping toward femininity, and white identity slipping toward black. At their best, according to Roberts, Faulkner's novels reveal the South's failure to reassert the boundaries of race, gender, and class by which it traditionally sustained itself. Earlier studies of female characters in Faulkner's novels have charged the writer with unrelenting misogyny or have read these characters as mythic embodiments of "the life force". Offering a richer view befitting the writer's complexities and contradictions, Faulkner and Southern Womanhood revises, reimagines, and reinvigorates our understanding of Faulkner the artist and Faulkner the southerner. It reveals, fully and contentiously, the challenge Faulkner poses to the South's most sacred icons.

""This is an amazing collection of stories--proof that the Flannery O'Connor Award has been discovering and fostering excellence in writing for more than a decade. Lovers of the short story will find this anthology immensely satisfying"." Josephine Humphreys

Georgia Voices Volume 3, Poetry, is the final anthology in a distinctive multivolume set of works by Georgia's most gifted writers. Offering selections from thirty-nine poets, Georgia Voices Volume 3 presents a variety of literary and cultural traditions. While the poems reflect the places and times of their origins, they also reveal the impact of today's global society in their diverse and contrasting themes. With myriad styles and voices, this work is characteristic of the South's blend of tradition and innovation, elegance and angst. As eclectic as it is representative of Georgia's character and heritage, the volume contains works mainly from the twentieth century. In this collection we encounter some of America's finest poets -- Sidney Lanier, Conrad Aiken, James Dickey, Alice Walker, Judson Mitcham, Judith Ortiz Cofer, Rosemary Daniell, Wyatt Prunty, Charlie Smith, Bettie Sellers, Coleman Barks, Stephen Corey, Kathryn Stripling Byer, and many others. Their works of humor, nature, history, discovery, drama, and strength make Georgia Voices Volume 3, Poetry, a worthwhile addition to any bookshelf or library.