James G. Thomas - Böcker

Between 1972 and 2001, Barry Hannah (1942-2010) published eight novels and four collections of short stories. A master of short fiction, Hannah is considered by many to be one of the most important writers of modern American literature. His writing is often praised more for its unflinching use of language, rich metaphors, and tragically damaged characters than for plot. ""I am doomed to be a more lengthy fragmentist,"" he once claimed. ""In my thoughts, I don't ever come on to plot in a straightforward way.""Conversations with Barry Hannah collects interviews published between 1980 and 2010. Within them Hannah engages interviewers in discussions on war and violence, masculinity, religious faith, abandoned and unfinished writing projects, the modern South and his time spent away from it, the South's obsession with defeat, the value of teaching writing, and post-Faulknerian literature. Despite his rejection of the label ""southern writer,"" Hannah's work has often been compared to that of fellow Mississippian William Faulkner, particularly for each author's use of dark humor and the Southern Gothic tradition in their work. Notwithstanding these comparisons, Hannah's voice is distinctly and undeniably his own, a linguistic tour de force.

At the turn of the millennium, the Martinican novelist Édouard Glissant offered the bold prediction that ""Faulkner's oeuvre will be made complete when it is revisited and made vital by African Americans,"" a goal that ""will be achieved by a radically 'other' reading."" In the spirit of Glissant's prediction, this collection places William Faulkner's literary oeuvre in dialogue with a hemispheric canon of black writing from the United States and the Caribbean. The volume's seventeen essays and poetry selections chart lines of engagement, dialogue, and reciprocal resonance between Faulkner and his black precursors, contemporaries, and successors in the Americas.Contributors place Faulkner's work in illuminating conversation with writings by Paul Laurence Dunbar, W. E. B. Du Bois, James Weldon Johnson, Jean Toomer, Nella Larsen, Claude McKay, Ralph Ellison, James Baldwin, Ernest J. Gaines, Marie Vieux-Chauvet, Toni Morrison, Edwidge Danticat, Randall Kenan, Edward P. Jones, and Natasha Trethewey, along with the musical artistry of Mississippi bluesman Charley Patton.In addition, five contemporary African American poets offer their own creative responses to Faulkner's writings, characters, verbal art, and historical example. In these ways, the volume develops a comparative approach to the Faulkner oeuvre that goes beyond the compelling but limiting question of influence - who read whom, whose works draw from whose - to explore the confluences between Faulkner and black writing in the hemisphere.

William Faulkner remains a historian's writer. A distinguished roster of historians have referenced Faulkner in their published work. They are drawn to him as a fellow historian, a shaper of narrative reflections on the meaning of the past; as a historiographer, a theorist, and dramatist of the fraught enterprise of doing history; and as a historical figure himself, especially following his mid-century emergence as a public intellectual after winning the Nobel Prize for Literature.This volume brings together historians and literary scholars to explore the many facets of Faulkner's relationship to history: the historical contexts of his novels and stories; his explorations of the historiographic imagination; his engagement with historical figures from both the regional and national past; his influence on professional historians; his pursuit of alternate modes of temporal awareness; and the histories of print culture that shaped the production, reception, and criticism of Faulkner's work.Contributors draw on the history of development in the Mississippi Valley, the construction of Confederate memory, the history and curriculum of Harvard University, twentieth-century debates over police brutality and temperance reform, the history of modern childhood, and the literary histories of anti-slavery writing and pulp fiction to illuminate Faulkner's work. Others in the collection explore the meaning of Faulkner's fiction for such professional historians as C. Vann Woodward and Albert Bushnell Hart. In these ways and more, Faulkner and History offers fresh insights into one of the most persistent and long-recognized elements of the Mississippian's artistic vision.

William Faulkner’s first ventures into print culture began far from the world of highbrow New York publishing houses such as Boni & Liveright or Random House and little magazines such as the Double-Dealer. With that diverse publishing history in mind, this collection explores Faulkner’s multifaceted engagements, as writer and reader, with the United States and international print cultures of his era, along with how these cultures have mediated his relationship with various twentieth- and twenty-first-century audiences.These essays address the place of Faulkner and his writings in the creation, design, publishing, marketing, reception, and collecting of books, in the culture of twentieth-century magazines, journals, newspapers, and other periodicals (from pulp to avantgarde), in the history of modern readers and readerships, and in the construction and cultural politics of literary authorship.Several contributors focus on Faulkner’s sensational 1931 novel Sanctuary to illustrate the author’s multifaceted relationship to the print ecology of his time, tracing the novel’s path from the wellsprings of Faulkner’s artistic vision to the novel’s reception among reviewers, tastemakers, intellectuals, and other readers of the early 1930s. Other essayists discuss Faulkner’s early notices, the Saturday Review of Literature, Saturday Evening Post, men’s magazines of the 1950s, and Cold War modernism.With contributions by: Greg Barnhisel, John N. Duvall, Kristin Fujie, Sarah E. Gardner, Jaime Harker, Kristi Rowan Humphreys, Robert Jackson, Mary A. Knighton, Jennifer Nolan, Carl Rollyson, Tim A. Ryan, Jay Satterfield, Erin A. Smith, and Yung-Hsing Wu.

At the turn of the millennium, the Martinican novelist Édouard Glissant offered the bold prediction that ""Faulkner's oeuvre will be made complete when it is revisited and made vital by African Americans,"" a goal that ""will be achieved by a radically 'other' reading."" In the spirit of Glissant's prediction, this collection places William Faulkner's literary oeuvre in dialogue with a hemispheric canon of black writing from the United States and the Caribbean. The volume's seventeen essays and poetry selections chart lines of engagement, dialogue, and reciprocal resonance between Faulkner and his black precursors, contemporaries, and successors in the Americas.Contributors place Faulkner's work in illuminating conversation with writings by Paul Laurence Dunbar, W. E. B. Du Bois, James Weldon Johnson, Jean Toomer, Nella Larsen, Claude McKay, Ralph Ellison, James Baldwin, Ernest J. Gaines, Marie Vieux-Chauvet, Toni Morrison, Edwidge Danticat, Randall Kenan, Edward P. Jones, and Natasha Trethewey, along with the musical artistry of Mississippi bluesman Charley Patton.In addition, five contemporary African American poets offer their own creative responses to Faulkner's writings, characters, verbal art, and historical example. In these ways, the volume develops a comparative approach to the Faulkner oeuvre that goes beyond the compelling but limiting question of influence--who read whom, whose works draw from whose--to explore the confluences between Faulkner and black writing in the hemisphere.

Contributions by Benjamin S. Child, Leigh Anne Duck, John N. Duvall, Amy A. Foley, Susan Stanford Friedman, Michael Gleason, Jolene Hubbs, Anne MacMaster, Sean McCann, Maggie E. Morris Davis, Julian Murphet, Ben Robbins, Benoît Tadié, Jay Watson, and Michael Zeitlin Few would dispute today that William Faulkner belongs among the front ranks of literary modernists, though he was not typically viewed in those terms when publishing his major works. But what sort of modernist—or modernists—was he? This collection examines the who, what, where, when, and how of Faulkner’s modernism: its characters and cohort, its key subjects and themes, its locations and periodization, and its defining aesthetic strategies. The essays place Faulkner in dialogue with global modernists such as Virginia Woolf, James Joyce, Marcel Proust, and Richard Wright. Contributors explore his fascination with modern objects and architecture; his experiments in aviation and adaptation to avant-garde theater; the impact of modernity on childhood, family, and nation; his critique of eugenics, Fordism, and Taylorism; his phenomenology of race; and his movement from "high" to "late" modernism. They also question the very utility of the term "modernism" when applied to Faulkner’s singular art. Faulkner’s Modernisms offers a bracing reappraisal of one of the twentieth century’s most challenging and idiosyncratic writers.

Contributions by Benjamin S. Child, Leigh Anne Duck, John N. Duvall, Amy A. Foley, Susan Stanford Friedman, Michael Gleason, Jolene Hubbs, Anne MacMaster, Sean McCann, Maggie E. Morris Davis, Julian Murphet, Ben Robbins, Benoît Tadié, Jay Watson, and Michael Zeitlin Few would dispute today that William Faulkner belongs among the front ranks of literary modernists, though he was not typically viewed in those terms when publishing his major works. But what sort of modernist—or modernists—was he? This collection examines the who, what, where, when, and how of Faulkner’s modernism: its characters and cohort, its key subjects and themes, its locations and periodization, and its defining aesthetic strategies. The essays place Faulkner in dialogue with global modernists such as Virginia Woolf, James Joyce, Marcel Proust, and Richard Wright. Contributors explore his fascination with modern objects and architecture; his experiments in aviation and adaptation to avant-garde theater; the impact of modernity on childhood, family, and nation; his critique of eugenics, Fordism, and Taylorism; his phenomenology of race; and his movement from "high" to "late" modernism. They also question the very utility of the term "modernism" when applied to Faulkner’s singular art. Faulkner’s Modernisms offers a bracing reappraisal of one of the twentieth century’s most challenging and idiosyncratic writers.

The perfect book for every Mississippian who cares about the state, this is a mammoth collaboration in which thirty subject editors suggested topics, over seven hundred scholars wrote entries, and countless individuals made suggestions. The volume will appeal to anyone who wants to know more about Mississippi and the people who call it home. The book will be especially helpful to students, teachers, and scholars researching, writing about, or otherwise discovering the state, past and present.The volume contains entries on every county, every governor, and numerous musicians, writers, artists, and activists. Each entry provides an authoritative but accessible introduction to the topic discussed. The Mississippi Encyclopedia also features long essays on agriculture, archaeology, the civil rights movement, the Civil War, drama, education, the environment, ethnicity, fiction, folklife, foodways, geography, industry and industrial workers, law, medicine, music, myths and representations, Native Americans, nonfiction, poetry, politics and government, the press, religion, social and economic history, sports, and visual art. It includes solid, clear information in a single volume, offering with clarity and scholarship a breadth of topics unavailable anywhere else. This book also includes many surprises readers can only find by browsing.