Robert L. McDonald – författare

Author of such classics of 20th-century popular American literature as Tobacco Road (1932) and God's Little Acre (1933), Erskine Caldwell was something of a celebrity nearly all his life. But he was also a serious writer, one whose merits are as considerable as they remain underexplored. In the 1930s, he startled the literary world with his frank portrayals of the poor whites of the South. Beginning in the early 1940s, critics grew suspicious that he had exhausted his originality and his talent. In the late 1960s, some scholars began an effort, which continues intermittently today, to reconsider Caldwell's achievement. This collection of reviews, critical essays, and book excerpts provides a chronological portrait of the often contradictory and unfailingly colorful critical response to Caldwell from 1931 to the present.The 57 pieces collected in this volume were chosen to represent all sides and perspectives in the evolving critical opinion of Caldwell's work. The items are grouped in sections representing three chronological periods that encompass the prevailing critical moods concerning his writings: the 1930s, when readers of many persuasions found him promising and held out great hopes for his development; 1940 to 1968, when increasing critical scrutiny led to his dismissal as a writer of significance; and 1969 to the present, when there have been several substantial efforts to reconsider Caldwell's achievement. An introductory essay argues that Caldwell remains largely absent from our critical consciousness today because of a prevailing willingness among academics to rely on largely negative received opinions about his books in place of primary experience with them. The introduction is followed by a chronology, and the volume concludes with an extensive selected bibliography.

Erskine Caldwell has been compared to literary giants like Faulkner and Hemingway, yet he has also been reviled as peddler of pop trash. Was he a genius, or just a shooting star whose brilliance faded long before he stopped writing? Caldwell began his career in the late 1920s and gained fame for revealing the gritty backwoods South in novels such as his seminal Tobacco Road. He wrote prolifically, sometimes as much as a book a year. As the editor of this book maintains, perhaps anyone who wrote so much would inevitably stumble.These 12 essays explore a variety of issues. They discuss Caldwell as humorist, social commentator, modernist, and revolutionary novelist. They examine his themes and tropes (political images, social injustice, the environment, ideological struggles) and his use of artistic devices (short stories, cubist strategies, repetition). A generous bibliography includes not only books on Caldwell but also chapters and forewords, journal articles, essays, news items and obituaries. The reader is encouraged to look at Caldwell with fresh eyes, to press beyond his controversial image, and to compare his works, especially his early ones, to those of any of the top names in literature.

Coeditors Robert McDonald and Linda Rohrer Paige attribute the neglect of southern women playwrights in scholarly criticism to ""deep historical prejudices"" against drama itself and against women artists in general, especially in the South. Their call for critical awareness is answered by the 15 essays they include in Southern Women Playwrights, considerations of the creative work of universally acclaimed playwrights such as Beth Henley, Marsha Norman, and Lillian Hellman (the so-called ""Trinity"") in addition to that of less-studied playwrights, including Zora Neale Hurston, Carson McCullers, Alice Childress, Naomi Wallace, Amparo Garcia, Paula Vogel, and Regina Porter. This collection springs from a series of associated questions regarding the literary and theatrical heritage of the southern woman playwright, the unique ways in which southern women have approached the conventional modes of comedy and tragedy, and the ways in which the South, its types and stereotypes, its peculiarities, its traditions - both literary and cultural - figure in these women's plays. Especially relevant to these questions are essays on Lillian Hellman, who resisted the label ""southern writer,"" and Carson McCullers, who never attempted to ignore her southernness. This book begins by recovering little-known or unknown episodes in the history of southern drama and by examining the ways plays assumed importance in the lives of southern women in the early 20th century. It concludes with a look at one of the most vibrant, diverse theatre scenes outside New York today - Atlanta.