University of Georgia Press, 1996. Basil Armstrong Thomasson, known as Strong to his family, was a remarkable man whose diary is immensely valuable for what it tells us about the lifestyle of southern yeomen and equally interesting for what it reveals about Thomasson himself. He spent all his life in western North Carolina and his »
University of North Carolina Press, 1996 Around four in the afternoon on 12 July 1996, the wind of Bertha reached a maximum of 105 miles per hour at our home on the mainland side of Bogue Sound across from Salter Path. The plywood was up; the boat and car had been moved to high ground; »
Duke University Press, 1995 In God’s Trombones (1927) James Weldon Johnson pays eloquent tribute to the sustaining presence of black ministers for their parishioners, both during slavery and following it. William Faulkner concludes The Sound and the Fury (1929) by reaffirming the spiritual presence of the black preacher, showing the black church as the last bastion of Christianity in »
Smithsonian Institution Press, 1996 Who is Louis Rémy Mignot? In 1983, when the Virginia Museum in Richmond launched the comprehensive exhibition “Painting in the South, 1564-1980,” this Charleston-born artist was not represented. The exhibition included Florida sunsets by Vermonter William Morris Hunt and by the Pennsylvania luminist Martin Johnson Heade, who took up residence at »
University of Alabama Press, 1995 The title says much about this book. It suggests that the Texans and the Alabamans at the center of the story are not so much romantic exiles or incorrigible slavocrats as migrants much like other migrants. They are Confederados, defines in part by their Confederate past, in part by their »
University of North Carolina Press, 1995 Marvin Kay and Lorin Cary’s new book is an important study of the system of slavery in colonial North Carolina. As the authors correctly point out, most monographs on slavery concentrate on the antebellum period, often focusing exclusively on the last twenty years of southern slavery. This bias in »
New Orleans Museum of Art, 1993 The exhibition catalog Passionate Visions of the American South embraces a diverse and engaging assemblage of contemporary plain artists. From 1993 to 1995 the exhibition traveled to New Orleans, Berkeley, San Diego, Washington, D.C., and finally to Raleigh; the accompanying catalog is a substantial volume. Although it relies too heavily on »
University Press of Virginia, 1996 Cleanth Brooks (1906-1994)- in his later years when his hair had turned shiningly white and when, as his biographer Mark Royden Winchell amply notes, his blue eyes actually did seem to “twinkle”- bore a resemblance to Clarence Oddsbody, the angel sent to rescue George Bailey from despair and suicide in »
University Press of Kentucky, 1995 “Women knew that a land where men were contented, uncontradicted and safe in possession of unpunctured vanity was likely to be a very pleasant place for women to live. So, from the cradle to the grave, women strove to make men pleased with themselves, and the satisfied men repaid lavishly »
University of Georgia Press, 1994 In this rich and dense volume, Charles Hudson and Carmen Chaves Tesser have brought together anthropologists, archaeologists, and historians to reconstruct the world of southeastern interior American Indians in die two centuries between initial Spanish contact and the English founding of Charles Town. These are forgotten centuries, according to the »
University of Georgia Press, 1995 Kent Anderson Leslie’s recent monograph, Woman of Color, Daughter of Privilege, contributes to a small but growing body of literature that addresses the experiences of racially mixed people in both the Old and New South. A group that seldom fit neatly into the South’s carefully delineated, bifurcated racial order, mixed-race »
Texas A&M University Press, 1996 The five essays in Southern Writers and Their Worlds confirm literary critic Jefferson Humphries’s assertion that “it is no longer possible to separate the literary from the historical.” Specifically, each piece in this volume assumes the same goal: to untangle the precarious relation between a text and its author’s expressly »