From Storyville brothels and narratives of turn-of-the-century New Orleans to plantation tours, Bette Davis films, Elvis memorials, Willa Cather's fiction, and the annual prison rodeo held at the Louisiana State Penitentiary at Angola, Jessica Adams considers spatial and ideological evolutions of southern plantations after slavery. In ""Wounds of Returning"", Adams shows that the slave past returns to inhabit plantation landscapes that have been radically transformed by tourism, consumer culture, and modern modes of punishment - even those landscapes from which slavery has supposedly been banished completely. Adams explores how the commodification of black bodies during slavery did not disappear with abolition - rather, the same principle was transformed into modern consumer capitalism. As Adams demonstrates, however, counter-narratives and unexpected cultural hybrids erupt out of attempts to re-create the plantation as an uncomplicated scene of racial relationships or a signifier of national unity. Peeling back the layers of plantation landscapes, Adams reveals connections between seemingly disparate features of modern culture, suggesting that they remain haunted by the force of the unnatural equation of people as property.

Proposing a new way to map intersections of photography and American literature, Katherine Henninger demonstrates the importance of pinpointing specific cultural and subcultural history. ""Ordering the Facade"" traces the visual and literary cultures of southern womanhood that have ordered the image of ""the South"" from its plantation past to its ""postsouthern"" present. Assessed in light of these visual legacies, contemporary writing by southern women emerges vividly in Henninger's analysis as both shaped by and shaping these continuously powerful representations. Typically celebrated for their oral traditions, Henninger argues, the South and its literature have in fact primarily relied on visual characteristics such as skin color, gender, or dress to mark social ""place"" and identity. From postmodern art gallery to family album, photography in southern culture has both reinforced these cultural prejudices and provided potent counterimages. Henninger analyzes photography's literary functions in memoir, fiction, screenwriting, and poetry by a wide range of contemporary authors including Dorothy Allison, Ann Beattie, Rosemary Daniell, Julie Dash, Ronlyn Domingue, Josephine Humphreys, Jill McCorkle, Lee Smith, Natasha Trethewey, Anne Tyler, and Alice Walker. As each of these writers distinctively re-envisions traditional constructions of southern womanhood, Henninger shows, she joins the others in challenging the constrictions of ""southern woman"" and so changing the meaning of southernness itself.

This is a biography of the city of Elvis Presley, Isaac Hayes, Stax Records, and FedEx. Celebrated as the home of the blues and the birthplace of rock and roll, Memphis, Tennessee, is where Elvis Presley, B.B. King, Johnny Cash, and other musical legends got their starts. It is also a place of conflict and tragedy - the site of Martin Luther King Jr.'s 1968 assassination - and a city typically marginalized by scholars and underestimated by its own residents. Using this iconic southern city as a case study, Wanda Rushing explores the significance of place in a globalizing age. Challenging the view that globalization renders place generic or insignificant, Rushing argues that cultural and economic distinctiveness persists in part because of global processes, not in spite of them. Rushing weaves her analysis into stories about the history and global impact of blues music, the social and racial complexities of Cotton Carnival, and the global rise of FedEx, headquartered in Memphis. She portrays Memphis as a site of cultural creativity and global industry - a city whose traditions, complex past, and specific character have had an influence on culture worldwide.

This title presents public reinforcement of white supremacy. Lynch mobs in late nineteenth- and early twentieth-century America often exacted horrifying public torture and mutilation on their victims. In ""Lynching and Spectacle"", Amy Wood explains what it meant for white Americans to perform and witness these sadistic spectacles and what they derived from them. Lynching, Wood argues, overlapped with a wide range of cultural practices and performances, both traditional and modern, including public executions, religious rituals, photography, and cinema. The connections between lynching and these practices encouraged the horrific violence committed and gave it social acceptability.Wood expounds on the critical role lynching spectacles played in establishing and affirming white supremacy at the turn of the century, particularly in towns and cities experiencing great social instability and change. She also shows how the national dissemination of lynching images fueled the momentum of the anti lynching movement and ultimately led to the decline of lynching. By examining lynching spectacles alongside both traditional and modern practices and within both local and national contexts, Wood reconfigures our understanding of lynching's relationship to modern life.

By the 1920s, the sectional reconciliation that had seemed achievable after Reconstruction was foundering, and the South was increasingly perceived and portrayed as impoverished, uneducated, and backward. In this interdisciplinary study, Angie Maxwell examines and connects three key twentieth-century moments in which the South was exposed to intense public criticism, identifying in white southerners' responses a pattern of defensiveness that shaped the region's political and cultural conservatism. Maxwell exposes the way the perception of regional inferiority confronted all types of southerners, focusing on the 1925 Scopes trial in Dayton, Tennessee, and the birth of the anti-evolution movement; the publication of I'll Take My Stand and the turn to New Criticism by the Southern Agrarians; and Virginia's campaign of Massive Resistance and Interposition in response to the Brown v. Board of Education decision. Tracing the effects of media scrutiny and the ridicule that characterised national discourse in each of these cases, Maxwell reveals the reactionary responses that linked modern southern whiteness with anti-elitism, states' rights, fundamentalism, and majoritarianism.

When Zandria Robinson returned home to interview African Americans in Memphis, she was often greeted with some version of the caution ""I hope you know this ain't Chicago."" In this important new work, Robinson critiques ideas of black identity constructed through a northern lens and situates African Americans as central shapers of contemporary southern culture. Analytically separating black southerners from their migrating cousins, fictive kin, and white counterparts, Robinson demonstrates how place intersects with race, class, gender, and regional identities and differences. Robinson grounds her work in Memphis--the first big city heading north out of the Mississippi Delta. Although Memphis sheds light on much about the South, Robinson does not suggest that the region is monolithic. Instead, she attends to multiple Souths, noting the distinctions between southern places. Memphis, neither Old South nor New South, sits at the intersections of rural and urban, soul and post-soul, and civil rights and post-civil rights, representing an ongoing conversation with the varied incarnations of the South, past and present.

In this innovative approach to southern literary cultures, Thadious Davis analyzes how black southern writers use their spatial location to articulate the vexed connections between society and environment, particularly under segregation and its legacies. Basing her analysis on texts by Ernest Gaines, Richard Wright, Alice Walker, Natasha Trethewey, Olympia Vernon, Brenda Marie Osbey, Sybil Kein, and others, Davis reveals how these writers reconstitute racial exclusion as creative black space, rather than a site of trauma and resistance. Utilizing the social and political separation epitomized by segregation to forge a spatial and racial vantage point, Davis argues, allows these writers to imagine and represent their own subject matter and aesthetic concerns. Focusing particularly on Louisiana and Mississippi, Davis deploys new geographical discourses of space to expand analyses of black writers' relationship to the South and to consider the informing aspects of spatial narratives on their literary production. She argues that African American writers not only are central to the production of southern literature and new southern studies, but also are crucial to understanding the shift from modernism to postmodernism in southern letters. A paradigm-shifting work, Southscapes restores African American writers to their rightful place in the regional imagination, while calling for a more inclusive conception of region.

In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the ""circumCaribbean,"" a dynamic framework within which to reconsider literary history, genre, and aesthetics.Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.

In the mid-1990s, residents of Anniston, Alabama, began a legal fight against the agrochemical company Monsanto over the dumping of PCBs in the city's historically African American and white working-class west side. Simultaneously, Anniston environmentalists sought to safely eliminate chemical weaponry that had been secretly stockpiled near the city during the Cold War. In this probing work, Ellen Griffith Spears offers a compelling narrative of Anniston's battles for environmental justice, exposing how systemic racial and class inequalities reinforced during the Jim Crow era played out in these intense contemporary social movements. Spears focuses attention on key figures who shaped Anniston-from Monsanto's founders, to white and African American activists, to the ordinary Anniston residents whose lives and health were deeply affected by the town's military-industrial history and the legacy of racism. Situating the personal struggles and triumphs of Anniston residents within a larger national story of regulatory regimes and legal strategies that have affected toxic towns across America, Spears unflinchingly explores the causes and implications of environmental inequalities, showing how civil rights movement activism undergirded Anniston's campaigns for redemption and justice.

In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the ""circumCaribbean,"" a dynamic framework within which to reconsider literary history, genre, and aesthetics.Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake (""the devil's music""), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings.In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as ""the crossroads"" in 1999, claiming Johnson and the devil as their own.

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake (""the devil's music""), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings.In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as ""the crossroads"" in 1999, claiming Johnson and the devil as their own.

In his captivating study of faith and class, John Hayes examines the ways folk religion in the early twentieth century allowed the South's poor - both white and black - to listen, borrow, and learn from each other about what it meant to live as Christians in a world of severe struggle. Beneath the well-documented religious forms of the New South, people caught in the region's poverty crafted a distinct folk Christianity that spoke from the margins of capitalist development, giving voice to modern phenomena like alienation and disenchantment. Through haunting songs of Death, mystical tales of conversion, grassroots sacramental displays, and an ethic of neighborliness, impoverished folk Christians looked for the sacred in their midst and affirmed the value of this life in this world. From Tom Watson and W. E. B. Du Bois over a century ago to political commentators today, many have ruminated on how despite material commonalities, the poor of the South have been perennially divided by racism. Through his excavation of a folk Christianity of the poor, which fused strands of African and European tradition into a new synthesis, John Hayes recovers a historically contingent moment of interracial exchange generated in hardship.

In his captivating study of faith and class, John Hayes examines the ways folk religion in the early twentieth century allowed the South's poor - both white and black - to listen, borrow, and learn from each other about what it meant to live as Christians in a world of severe struggle. Beneath the well-documented religious forms of the New South, people caught in the region's poverty crafted a distinct folk Christianity that spoke from the margins of capitalist development, giving voice to modern phenomena like alienation and disenchantment. Through haunting songs of Death, mystical tales of conversion, grassroots sacramental displays, and an ethic of neighborliness, impoverished folk Christians looked for the sacred in their midst and affirmed the value of this life in this world. From Tom Watson and W. E. B. Du Bois over a century ago to political commentators today, many have ruminated on how despite material commonalities, the poor of the South have been perennially divided by racism. Through his excavation of a folk Christianity of the poor, which fused strands of African and European tradition into a new synthesis, John Hayes recovers a historically contingent moment of interracial exchange generated in hardship.

When Tammy Wynette sang ""D-I-V-O-R-C-E,"" she famously said she ""spelled out the hurtin' words"" to spare her child the pain of family breakup. In this innovative work, Ted Ownby considers how a wide range of writers, thinkers, activists, and others defined family problems in the twentieth-century American South. Ownby shows that it was common for both African Americans and whites to discuss family life in terms of crisis, but they reached very different conclusions about causes and solutions. In the civil rights period, many embraced an ideal of Christian brotherhood as a way of transcending divisions. Opponents of civil rights denounced ""brotherhoodism"" as a movement that undercut parental and religious authority. Others, especially in the African American community, rejected the idea of family crisis altogether, working to redefine family adaptability as a source of strength. Rather than attempting to define the experience of an archetypal ""southern family,"" Ownby looks broadly at contexts such as political and religious debates about divorce and family values, southern rock music, autobiographies, and more to reveal how people in the South used the concept of the family as a proxy for imagining a better future or happier past.

When Tammy Wynette sang ""D-I-V-O-R-C-E,"" she famously said she ""spelled out the hurtin' words"" to spare her child the pain of family breakup. In this innovative work, Ted Ownby considers how a wide range of writers, thinkers, activists, and others defined family problems in the twentieth-century American South. Ownby shows that it was common for both African Americans and whites to discuss family life in terms of crisis, but they reached very different conclusions about causes and solutions. In the civil rights period, many embraced an ideal of Christian brotherhood as a way of transcending divisions. Opponents of civil rights denounced ""brotherhoodism"" as a movement that undercut parental and religious authority. Others, especially in the African American community, rejected the idea of family crisis altogether, working to redefine family adaptability as a source of strength. Rather than attempting to define the experience of an archetypal ""southern family,"" Ownby looks broadly at contexts such as political and religious debates about divorce and family values, southern rock music, autobiographies, and more to reveal how people in the South used the concept of the family as a proxy for imagining a better future or happier past.

In the early years of the Cold War, the United States mounted expansive public diplomacy programs in the Global South, including initiatives with the recently partitioned states of India and Pakistan. U.S. operations in these two countries became the second- and fourth-largest in the world, creating migration links that resulted in the emergence of American universities, such as the University of Houston, as immigration hubs for the highly selective, student-led South Asian migration stream starting in the 1950s. By the late twentieth century, Houston's South Asian community had become one of the most prosperous in the metropolitan area and one of the largest in the country. Mining archives and using new oral histories, Uzma Quraishi traces this pioneering community from its midcentury roots to the early twenty-first century, arguing that South Asian immigrants appealed to class conformity and endorsed the model minority myth to navigate the complexities of a shifting Sunbelt South. By examining Indian and Pakistani immigration to a major city transitioning out of Jim Crow, Quraishi reframes our understanding of twentieth-century migration, the changing character of the South, and the tangled politics of race, class, and ethnicity in the United States.

From Storyville brothels and narratives of turn-of-the-century New Orleans to plantation tours, Bette Davis films, Elvis memorials, Willa Cather's fiction, and the annual prison rodeo held at the Louisiana State Penitentiary at Angola, Jessica Adams considers spatial and ideological evolutions of southern plantations after slavery. In ""Wounds of Returning"", Adams shows that the slave past returns to inhabit plantation landscapes that have been radically transformed by tourism, consumer culture, and modern modes of punishment - even those landscapes from which slavery has supposedly been banished completely. Adams explores how the commodification of black bodies during slavery did not disappear with abolition - rather, the same principle was transformed into modern consumer capitalism. As Adams demonstrates, however, counter-narratives and unexpected cultural hybrids erupt out of attempts to re-create the plantation as an uncomplicated scene of racial relationships or a signifier of national unity. Peeling back the layers of plantation landscapes, Adams reveals connections between seemingly disparate features of modern culture, suggesting that they remain haunted by the force of the unnatural equation of people as property.

Proposing a new way to map intersections of photography and American literature, Katherine Henninger demonstrates the importance of pinpointing specific cultural and subcultural history. ""Ordering the Facade"" traces the visual and literary cultures of southern womanhood that have ordered the image of ""the South"" from its plantation past to its ""postsouthern"" present. Assessed in light of these visual legacies, contemporary writing by southern women emerges vividly in Henninger's analysis as both shaped by and shaping these continuously powerful representations. Typically celebrated for their oral traditions, Henninger argues, the South and its literature have in fact primarily relied on visual characteristics such as skin color, gender, or dress to mark social ""place"" and identity. From postmodern art gallery to family album, photography in southern culture has both reinforced these cultural prejudices and provided potent counterimages. Henninger analyzes photography's literary functions in memoir, fiction, screenwriting, and poetry by a wide range of contemporary authors including Dorothy Allison, Ann Beattie, Rosemary Daniell, Julie Dash, Ronlyn Domingue, Josephine Humphreys, Jill McCorkle, Lee Smith, Natasha Trethewey, Anne Tyler, and Alice Walker. As each of these writers distinctively re-envisions traditional constructions of southern womanhood, Henninger shows, she joins the others in challenging the constrictions of ""southern woman"" and so changing the meaning of southernness itself.

This is a biography of the city of Elvis Presley, Isaac Hayes, Stax Records, and FedEx. Celebrated as the home of the blues and the birthplace of rock and roll, Memphis, Tennessee, is where Elvis Presley, B.B. King, Johnny Cash, and other musical legends got their starts. It is also a place of conflict and tragedy - the site of Martin Luther King Jr.'s 1968 assassination - and a city typically marginalized by scholars and underestimated by its own residents. Using this iconic southern city as a case study, Wanda Rushing explores the significance of place in a globalizing age. Challenging the view that globalization renders place generic or insignificant, Rushing argues that cultural and economic distinctiveness persists in part because of global processes, not in spite of them. Rushing weaves her analysis into stories about the history and global impact of blues music, the social and racial complexities of Cotton Carnival, and the global rise of FedEx, headquartered in Memphis. She portrays Memphis as a site of cultural creativity and global industry - a city whose traditions, complex past, and specific character have had an influence on culture worldwide.

This title presents public reinforcement of white supremacy. Lynch mobs in late nineteenth- and early twentieth-century America often exacted horrifying public torture and mutilation on their victims. In ""Lynching and Spectacle"", Amy Wood explains what it meant for white Americans to perform and witness these sadistic spectacles and what they derived from them. Lynching, Wood argues, overlapped with a wide range of cultural practices and performances, both traditional and modern, including public executions, religious rituals, photography, and cinema. The connections between lynching and these practices encouraged the horrific violence committed and gave it social acceptability.Wood expounds on the critical role lynching spectacles played in establishing and affirming white supremacy at the turn of the century, particularly in towns and cities experiencing great social instability and change. She also shows how the national dissemination of lynching images fueled the momentum of the anti lynching movement and ultimately led to the decline of lynching. By examining lynching spectacles alongside both traditional and modern practices and within both local and national contexts, Wood reconfigures our understanding of lynching's relationship to modern life.

By the 1920s, the sectional reconciliation that had seemed achievable after Reconstruction was foundering, and the South was increasingly perceived and portrayed as impoverished, uneducated, and backward. In this interdisciplinary study, Angie Maxwell examines and connects three key twentieth-century moments in which the South was exposed to intense public criticism, identifying in white southerners' responses a pattern of defensiveness that shaped the region's political and cultural conservatism. Maxwell exposes the way the perception of regional inferiority confronted all types of southerners, focusing on the 1925 Scopes trial in Dayton, Tennessee, and the birth of the anti-evolution movement; the publication of I'll Take My Stand and the turn to New Criticism by the Southern Agrarians; and Virginia's campaign of Massive Resistance and Interposition in response to the Brown v. Board of Education decision. Tracing the effects of media scrutiny and the ridicule that characterised national discourse in each of these cases, Maxwell reveals the reactionary responses that linked modern southern whiteness with anti-elitism, states' rights, fundamentalism, and majoritarianism.

When Zandria Robinson returned home to interview African Americans in Memphis, she was often greeted with some version of the caution ""I hope you know this ain't Chicago."" In this important new work, Robinson critiques ideas of black identity constructed through a northern lens and situates African Americans as central shapers of contemporary southern culture. Analytically separating black southerners from their migrating cousins, fictive kin, and white counterparts, Robinson demonstrates how place intersects with race, class, gender, and regional identities and differences. Robinson grounds her work in Memphis--the first big city heading north out of the Mississippi Delta. Although Memphis sheds light on much about the South, Robinson does not suggest that the region is monolithic. Instead, she attends to multiple Souths, noting the distinctions between southern places. Memphis, neither Old South nor New South, sits at the intersections of rural and urban, soul and post-soul, and civil rights and post-civil rights, representing an ongoing conversation with the varied incarnations of the South, past and present.

In this innovative approach to southern literary cultures, Thadious Davis analyzes how black southern writers use their spatial location to articulate the vexed connections between society and environment, particularly under segregation and its legacies. Basing her analysis on texts by Ernest Gaines, Richard Wright, Alice Walker, Natasha Trethewey, Olympia Vernon, Brenda Marie Osbey, Sybil Kein, and others, Davis reveals how these writers reconstitute racial exclusion as creative black space, rather than a site of trauma and resistance. Utilizing the social and political separation epitomized by segregation to forge a spatial and racial vantage point, Davis argues, allows these writers to imagine and represent their own subject matter and aesthetic concerns. Focusing particularly on Louisiana and Mississippi, Davis deploys new geographical discourses of space to expand analyses of black writers' relationship to the South and to consider the informing aspects of spatial narratives on their literary production. She argues that African American writers not only are central to the production of southern literature and new southern studies, but also are crucial to understanding the shift from modernism to postmodernism in southern letters. A paradigm-shifting work, Southscapes restores African American writers to their rightful place in the regional imagination, while calling for a more inclusive conception of region.

In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the ""circumCaribbean,"" a dynamic framework within which to reconsider literary history, genre, and aesthetics.Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.

In the mid-1990s, residents of Anniston, Alabama, began a legal fight against the agrochemical company Monsanto over the dumping of PCBs in the city's historically African American and white working-class west side. Simultaneously, Anniston environmentalists sought to safely eliminate chemical weaponry that had been secretly stockpiled near the city during the Cold War. In this probing work, Ellen Griffith Spears offers a compelling narrative of Anniston's battles for environmental justice, exposing how systemic racial and class inequalities reinforced during the Jim Crow era played out in these intense contemporary social movements. Spears focuses attention on key figures who shaped Anniston-from Monsanto's founders, to white and African American activists, to the ordinary Anniston residents whose lives and health were deeply affected by the town's military-industrial history and the legacy of racism. Situating the personal struggles and triumphs of Anniston residents within a larger national story of regulatory regimes and legal strategies that have affected toxic towns across America, Spears unflinchingly explores the causes and implications of environmental inequalities, showing how civil rights movement activism undergirded Anniston's campaigns for redemption and justice.

In this far-reaching literary history, John Wharton Lowe remakes the map of American culture by revealing the deep, persistent connections between the ideas and works produced by writers of the American South and the Caribbean. Lowe demonstrates that a tendency to separate literary canons by national and regional boundaries has led critics to ignore deep ties across highly permeable borders. Focusing on writers and literatures from the Deep South and Gulf states in relation to places including Mexico, Haiti, and Cuba, Lowe reconfigures the geography of southern literature as encompassing the ""circumCaribbean,"" a dynamic framework within which to reconsider literary history, genre, and aesthetics.Considering thematic concerns such as race, migration, forced exile, and colonial and postcolonial identity, Lowe contends that southern literature and culture have always transcended the physical and political boundaries of the American South. Lowe uses cross-cultural readings of nineteenth- and twentieth-century writers, including William Faulkner, Martin Delany, Zora Neale Hurston, George Lamming, Cristina Garcia, Edouard Glissant, and Madison Smartt Bell, among many others, to make his argument. These literary figures, Lowe argues, help us uncover new ways of thinking about the shared culture of the South and Caribbean while demonstrating that southern literature has roots even farther south than we realize.

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake (""the devil's music""), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings.In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as ""the crossroads"" in 1999, claiming Johnson and the devil as their own.

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake (""the devil's music""), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings.In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as ""the crossroads"" in 1999, claiming Johnson and the devil as their own.

In his captivating study of faith and class, John Hayes examines the ways folk religion in the early twentieth century allowed the South's poor - both white and black - to listen, borrow, and learn from each other about what it meant to live as Christians in a world of severe struggle. Beneath the well-documented religious forms of the New South, people caught in the region's poverty crafted a distinct folk Christianity that spoke from the margins of capitalist development, giving voice to modern phenomena like alienation and disenchantment. Through haunting songs of Death, mystical tales of conversion, grassroots sacramental displays, and an ethic of neighborliness, impoverished folk Christians looked for the sacred in their midst and affirmed the value of this life in this world. From Tom Watson and W. E. B. Du Bois over a century ago to political commentators today, many have ruminated on how despite material commonalities, the poor of the South have been perennially divided by racism. Through his excavation of a folk Christianity of the poor, which fused strands of African and European tradition into a new synthesis, John Hayes recovers a historically contingent moment of interracial exchange generated in hardship.

In his captivating study of faith and class, John Hayes examines the ways folk religion in the early twentieth century allowed the South's poor - both white and black - to listen, borrow, and learn from each other about what it meant to live as Christians in a world of severe struggle. Beneath the well-documented religious forms of the New South, people caught in the region's poverty crafted a distinct folk Christianity that spoke from the margins of capitalist development, giving voice to modern phenomena like alienation and disenchantment. Through haunting songs of Death, mystical tales of conversion, grassroots sacramental displays, and an ethic of neighborliness, impoverished folk Christians looked for the sacred in their midst and affirmed the value of this life in this world. From Tom Watson and W. E. B. Du Bois over a century ago to political commentators today, many have ruminated on how despite material commonalities, the poor of the South have been perennially divided by racism. Through his excavation of a folk Christianity of the poor, which fused strands of African and European tradition into a new synthesis, John Hayes recovers a historically contingent moment of interracial exchange generated in hardship.

When Tammy Wynette sang ""D-I-V-O-R-C-E,"" she famously said she ""spelled out the hurtin' words"" to spare her child the pain of family breakup. In this innovative work, Ted Ownby considers how a wide range of writers, thinkers, activists, and others defined family problems in the twentieth-century American South. Ownby shows that it was common for both African Americans and whites to discuss family life in terms of crisis, but they reached very different conclusions about causes and solutions. In the civil rights period, many embraced an ideal of Christian brotherhood as a way of transcending divisions. Opponents of civil rights denounced ""brotherhoodism"" as a movement that undercut parental and religious authority. Others, especially in the African American community, rejected the idea of family crisis altogether, working to redefine family adaptability as a source of strength. Rather than attempting to define the experience of an archetypal ""southern family,"" Ownby looks broadly at contexts such as political and religious debates about divorce and family values, southern rock music, autobiographies, and more to reveal how people in the South used the concept of the family as a proxy for imagining a better future or happier past.

When Tammy Wynette sang ""D-I-V-O-R-C-E,"" she famously said she ""spelled out the hurtin' words"" to spare her child the pain of family breakup. In this innovative work, Ted Ownby considers how a wide range of writers, thinkers, activists, and others defined family problems in the twentieth-century American South. Ownby shows that it was common for both African Americans and whites to discuss family life in terms of crisis, but they reached very different conclusions about causes and solutions. In the civil rights period, many embraced an ideal of Christian brotherhood as a way of transcending divisions. Opponents of civil rights denounced ""brotherhoodism"" as a movement that undercut parental and religious authority. Others, especially in the African American community, rejected the idea of family crisis altogether, working to redefine family adaptability as a source of strength. Rather than attempting to define the experience of an archetypal ""southern family,"" Ownby looks broadly at contexts such as political and religious debates about divorce and family values, southern rock music, autobiographies, and more to reveal how people in the South used the concept of the family as a proxy for imagining a better future or happier past.

In the early years of the Cold War, the United States mounted expansive public diplomacy programs in the Global South, including initiatives with the recently partitioned states of India and Pakistan. U.S. operations in these two countries became the second- and fourth-largest in the world, creating migration links that resulted in the emergence of American universities, such as the University of Houston, as immigration hubs for the highly selective, student-led South Asian migration stream starting in the 1950s. By the late twentieth century, Houston's South Asian community had become one of the most prosperous in the metropolitan area and one of the largest in the country. Mining archives and using new oral histories, Uzma Quraishi traces this pioneering community from its midcentury roots to the early twenty-first century, arguing that South Asian immigrants appealed to class conformity and endorsed the model minority myth to navigate the complexities of a shifting Sunbelt South. By examining Indian and Pakistani immigration to a major city transitioning out of Jim Crow, Quraishi reframes our understanding of twentieth-century migration, the changing character of the South, and the tangled politics of race, class, and ethnicity in the United States.