Southern Literature

Beth

Reader
Wonderful! I know Rugby and all of those little burgs very well. Many of my ancestors are in the little Petros cemetery. And, if you happen to be wandering through Morgan County late at night and tune your car radio to the AM band, you can still hear Elvis singing with the Jordanaires on some little station believing that's as far as he went. ;~

I've followed this thread all along as you've developed it and am enjoying your observations and recommendations.
 

lionel

Reader
Many thanks again for these kind words, Beth.

There really are many Southern writers I hadn't mentioned. From Rugby, I went back across the Appalachians, through Cherokee, NC, where there's a huge statue of Sequoyah:



Sequoyah developed the Cherokee alphabet, and ten miles from there, in Bryson City, are the graves of the writers Horace Kephart (who campaigned for the Great Smoky Mountain National Park, wrote a book on the history of the Cherokees, and had a mountain named after him) and his friend Fiswoode Tarleton: they died just outside Bryson in a taxi, returning after bringing back moonshine.

Moving into Greensboro, toward central NC, there's a very large stone book that remembers the short story teller O. Henry, who lived in the city for a while. The monument illustrates two of the ironic stories he was noted for, 'The Gift of the Magi' and 'The Ransom of Red Chief', with the mischievous boy of the second story appearing out of the leaves of the book.



In the University of North Carolina Botanical Garden, the cabin of playwright Paul Green has been preserved:



The South Carolinian Lowcountry seems to have a popular sub-genre of Southern literature which frequently mentions Charleston in particular, and many of the barrier islands such as Isle of Palms and Folly. Hurricanes (particularly the destruction wrought by Hugo in 1989) are a frequent concern of these novels, and also turtles and island living in general. Writers of this sub-genre include Pat Conroy, Karen White, Mary Alice Monroe, and Dorothea Benton Frank. The lighthouse on Morris Island, which is under threat due to erosion, is a frequent interest in this literature. This shot is taken from Folly Island:



I'll be back with more Southern writers soon.

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lionel

Reader
There have been fifteen years between Pat Conroy's Beach Music (1995) and his latest novel, South of Broad (2009). This is the first of his books that I've read, and the title in itself is intriguing. Googling won't do much good, and in fact will probably even confuse, as there's a rather odd online description of the expression by a writer who has obviously gotten the wrong end of the stick. 'South of Broad' is an expression used to describe where the Charlestonian aristocracy live - and also their mindset, as the same writer would have known if she'd given enough attention to the novel. And as the protagonist's father says: 'South of Broad is a conspiracy of platelets, son: blood and breeding are all that matter there. No, that's not true: there's got to be a truck full of money somewhere near the blood bank.' Yes indeed: 'South of Broad' is an expression Conroy uses to describe a very small but very wealthy area on the Charleston peninsula, namely that from Broad Street down to the Battery, where the peninsula joins the Atlantic.

And the protagonist is one Leopold Bloom King, named after the protagonist in Ulysses, on which his mother, Dr Lindsay King, wrote her thesis. The book also begins on Bloomsday: 16 June 1969, a tremendously important day when Leo sets free two orphans handcuffed to a chair (surely some Beckett in there?), learns his mother was a nun some time before, and after having no friends at all, makes a number of them who will be remarkably significant and faithful to the end of the book. And the book's final word is 'Yes', which is the final word in Ulysses, the final word spoken by Molly, who has the same forename as the woman whom Leo has loved throughout South of Broad.

And it's a long book, containing more than 500 pages. Is it worth reading? Conroy has stated that his earlier novel, The Great Santini (1976), had its beginning in asking why he (Conroy) wanted to kill his father, and The Prince of Tides (1986) its beginning in asking why Conroy's eldest sister was sent mad by their parents, but South of Broad doesn't appear to begin with any question, and seems to be based on parts of characters the author had known.

South of Broad involves incest and other parental abuses, murder and other violence, suicides and various forms of madness, and on the surface doesn't look too good as literary fiction: parts of this are overwritten, there are too many coincidences, characters are sometimes unbelievable, there is purple prose, so maybe this is just popular fiction masquerading as literary fiction?

No, not at all, and in many ways this is a brilliant novel that attempts to emphasize the similarities - as opposed to the differences - between black and white, rich and poor, and various social classes in general. But Pat Conroy is not a major author, and I don't think he'd ever pretend to be, although he is still very underrated as a serious novelist.

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lionel

Reader
A common misconception about Southern literature is that it is backward looking, constantly dwelling on the past. As a corrective, the current issue of Oxford American is called 'The Future Issue', with, for example, a number of short stories (by Southern authors) set in the South in 2050. Interesting stuff - this tiny magazine now based in Arkansas deserves heaps of support:

Future Issue - Issue 70 :: Oxford American - The Southern Magazine of Good Writing

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lionel

Reader
Kathryn Stockett's The Help (2009) is a very popular novel, and I'm wary of such animals. However, this book - written by a woman born and raised in Jackson, Mississippi by a black 'help' and with an obviously partly autobiographical subject matter - is a powerfully written reconstruction of Southern life (largely from the point of view of black domestics) in the early 1960s.

The novel is structured in a series of narratives by the 'helps' Aibileen and the younger Minny (both written in a kind of black vernacular), and the young white Miss Skeeter (written in standard English). Having the tail end of the Jim Crow law era as its central backcloth, The Help is firmly centered on black and white issues in the domestic field, concentrating on the abuse of black women in that area. With some justificaton, the front cover of the English Penguin paperback calls it 'The other side of Gone wih the Wind'.

At the heart of the novel is the relationship between Miss Skeeter and Aibileen and the former's strong interest in publishing a series of interviews about the treatment of black domestics by their white employers. Gradually, Aibileen persuades over ten other black workers to be interviewed, and eventually the anonymously authored book is published, and meets with some success, as well as considerable criticism in the Jackson community.

What shines through all this is not just the courage of the black women, not just the courage of one white woman to record it all, but the strength of human resistance against racial bigotry and general ignorance. A heartwarming book with no facile conclusions.

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lionel

Reader
Kaye Gibbons was born in Nash County, North Carolina, and lives in Raleigh in the same state. She published eight books between 1987 and 2005, although she has not published one since.​

She suffers from bipolar disorder, and 2008 was convicted of prescription fraud.​

Ellen Foster is set in the mid- to late seventies. It is Gibbons's first novel, and she calls it 'emotionally autobiographical'. Many of the events in this first person narrative also coincide with events in Gibbons's own life: for instance, the suicide of her mother when the daughter was ten, the father who drank himself to death not long afterward, and Ellen's various changes of address within a very short period.

As well as tracing the story of Ellen's life after she decides to leave her abusive, incompetent and alcoholic father - which, among other things, involves staying with essentially uncaring aunts and an insane maternal grandmother - the concern is with Ellen's rapid psychological maturity.

Ellen Foster was originally conceived as a poem about an African American, and the young black girl Starletta becomes Ellen's best friend in the novel. In spite of this, at the beginning of the book, Ellen believes old white superstitions about blacks, that, for instance, she might change color if she shares her cup with a black person, so - even though very hungry - she refuses to accept a meal with Starletta's family. It takes the stability of Ellen's new (foster) family - after which she mistakenly changes her name - for her to realize that her love for Starletta has no bounds: 'I figure that if they could fight a war over how I'm supposed to think about her then I'm obligated to do it. It seems like the decent thing to do.' In spite of her ordeals, she realizes that Starletta has 'the hardest row to hoe'.

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lionel

Reader
The Fall 2010 edition of The Georgia Review is almost exclusively devoted to the African American novelist Raymond Andrews (1934-91) from near Madison, Georgia, who is a neglected writer for no reason that I can understand: he's very readable, and very interesting.

This link gives an introduction to Andrews's work, and is written by Philip Lee Williams, whose more detailed article on his friend is in The Georgia Review: http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-997&sug=y

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Cleanthess

Dinanukht wannabe
At The Millions, a good list of 10 essential Southern Gothic books.
Understandably, because of how much trouble spelling his last name is, they left out William Hjortsberg's Falling Angel (made into a movie by Alan Parker as Angel Heart). His Mañana could also had been part of this list.
 

Ben Jackson

Well-known member
Southern Literature Classics read:

Faulkner (major novels)
All the King's Men
To Kill a Mockingbird
Inivisible Man
Huck Finn

Still have Percy, McCarthy (Child of God), Carson McCullers to read. Would you call Toni Morrison a Southern Writer? If not, I have read Beloved.
 

meepmurp

Active member
Would you call Toni Morrison a Southern Writer? If not, I have read Beloved.

Very few of Morrison's novels are actually set in the South. She seems to return again and again to placed like Ohio, Michigan, and Oklahoma which makes her actually more of a midwestern writer. (Midwestern Gothic? Is that a thing?)
 
Southern Literature Classics read:

Faulkner (major novels)
All the King's Men
To Kill a Mockingbird
Inivisible Man
Huck Finn

Still have Percy, McCarthy (Child of God), Carson McCullers to read. Would you call Toni Morrison a Southern Writer? If not, I have read Beloved.
Morrison was born and raised in Lorain, Ohio, a blue collar city that relies heavily on the shipping industry (Lake Erie). As a result, its had its share of economic ups and downs over the years.

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Verkhovensky

Well-known member
Southern Literature Classics read:

Faulkner (major novels)
All the King's Men
To Kill a Mockingbird
Inivisible Man
Huck Finn

Still have Percy, McCarthy (Child of God), Carson McCullers to read. Would you call Toni Morrison a Southern Writer? If not, I have read Beloved.
Add Flannery O'Connor on your to-read list. Her whole ouvre is rather small* (two story collections and two 200-ish page novels) so it's not hard to read everything.

* of course, some diaries, letters etc. were published, I'm talking about "main" stuff
 
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