IT is "OUT OF REGRET FOR A SOUTH that no longer exists that I write of the forces that have destroyed it," Tennessee Williams explained. This also seems to be the case for Kenneth Holditch and Richard Freeman Leavitt, the authors of the beautiful biographical album Tennessee Williams and the South'2 Holditch and Leavitt's book is alive with nostalgia for a South that no longer exists: a culture of grace and ease, of cavalier behavior and stoic endurance, a place where the romantic imagination is alive and in perpetual struggle with the crude realism of modernity. According to the authors, this paradise lost was crucial to the dramatic imagination of Williams, but above all it seems to have inspired their own.
Besides establishing Williams's intimate ties with the South and revealing the biographical material beyond the writer's fiction, the book relishes the perpetuation of Southern mythologies. The childhood of Thomas Lanier Williams III, who was born in Columbus, Mississippi, and raised in various other Southern locations, is described as nothing less than "a southern idyll," regardless of the father's evident alcoholism, frequent family quarrels, and the older sister's fragile health. However, these fundamental problems erupted suddenly and violently, so the authors insist, only with the family's move north to St. Louis. Notably, it is not the innate family situation that clouds Tom's otherwise sunny childhood, but his displacement to the North. And since "southerners . . . have deep roots in their own native soil and do not tend to forget the land that gave them birth," the young Tom could never feel at home in "the cold North."
Rehearsing such cliches of a long-standing North-South dichotomy, the authors establish the South as a warm and comfortable haven, in which Williams apparently felt sheltered from personal and social conflicts. The alienation and conflicts of the North, in turn, trigger the transformation of the Southern past into a comforting myth: "His experiences, good and bad, served as a sort of magical catalyst to convert the past into a precious stone of memory, enriching it with a luster and magnificence it may never have possessed in reality." That this myth had little to do with the concrete reality of the South stands beyond question. But one wonders for whom the magical conversion of the past took place. After all, even in his dramatic imagination the South was never simply just a place of enduring gentility and romanticism to Williams, but it was also the site of very concrete and often cruel social, ethnic, and sexual conflicts.
When reading about the institution of slavery in the United States, it is easy to focus on life for the slaves on the plantations—the places where the millions of people purchased to serve as slaves in the United States lived, made families, and eventually died. Most of the information we seek is about what daily life was like for these people, and what went “wrong” in our country’s collective psyche that allowed us to normalize the practice of keeping human beings as property, no more or less valuable than the machines in the factories which bolstered industrialized economies at the time. Many of us want to find information that assuages our own personal feelings of discomfort or even guilt over the practice which kept Southern life moving
As I gazed across the book isles and leaned over carefully to pick one up out of the old dusty vaults of the library, a familiar object caught my eye in the poetry section. A picture in time stood still on this book, of two African American men both holding guitars. I immediately was attracted to this book of poems. For the Confederate Dead, by Kevin Young, is what it read on the front in cursive lettering. I turned to the back of the book and “Jazz“, and “blues” popped out of the paper back book and into my brain. Sometimes you can judge a book by it’s cover, I thought. Kevin Young’s For the Confederate Dead is a book of poems influenced by blues and jazz in the deep rural parts of the south.
The novel showed a pivotal point prior to the Civil War and how these issues ultimately led to the fueling of quarrel between Americans. While such institutions of slavery no longer exist in the United States, the message resonates with the struggles many groups ostracized today who continue to face prejudice from those in higher
The stories that the author told were very insightful to what life was like for an African American living in the south during this time period. First the author pointed out how differently blacks and whites lived. She stated “They owned the whole damn town. The majority of whites had it made in the shade. Living on easy street, they inhabited grand houses ranging from turn-of-the-century clapboards to historics”(pg 35). The blacks in the town didn’t live in these grand homes, they worked in them. Even in today’s time I can drive around, and look at the differences between the living conditions in the areas that are dominated by whites, and the areas that are dominated by blacks. Racial inequalities are still very prevalent In today’s society.
In all, Tademy does a great job in transporting her readers back to the 1800s in rural Louisiana. This book is a profound alternative to just another slave narrative. Instead of history it offers ‘herstory’. This story offers insight to the issues of slavery through a women’s perspective, something that not so many books offer. Not only does it give readers just one account or perspective of slavery but it gives readers a take on slavery through generation after generation. From the early days of slavery through the Civil War, a narrative of familial strength, pride, and culture are captured in these lines.
"A man has to have goals-for a day, for a lifetime-and that was mine, to have people say, 'There goes Ted Williams, the greatest hitter who ever lived'" ("My Turn At Bat" 128).
The South has a way of constructing their own history based on deep-seated feelings that are challenging to explain. This unexplainable feeling is one of the very reasons Horwitz is driven to research further.
Part of the mythology every schoolchild in the United States learns…is that the colony of Virginia achieved quick prosperity upon the basis of slaves and tobacco. Thus, “the South” is assumed to have existed as an initial settlement, with little change until the cataclysm of the Civil War in 1861.
Over the course of his decades-long career as a respected and influential man of letters, he also wrote an extensive collection of critical essays. In such piece, “A Southern Mode of Imagination,” he argues that the renascence of Southern letters occurred because of a shift in the way Southerners thought; a change from what he termed the extroverted “rhetorical mode” of tall-tales and politicking, to the introspective and hitherto primarily Northern “dialectical mode.” From his unique position as both a critic of the Renaissance and one of its vanguards, Tate posits that the antebellum Southern mind lacked the self-consciousness necessary to produce great writing because it was wholly occupied with defending slavery against the attacks of the North upon the ‘peculiar institution.’ The mind of the South focused outwards in response to those attacks, seeking to justify itself with one foot “upon the neck of a Negro Slave” ; that is to say, Southerners were rhetorical in defense of the indefensible. Their all-consuming and unwinnable defensive stance absorbed any potential for great literature even well after the cause was lost: Southern literature was practically non-existent prior to the publication of the first issue of The Fugitive in 1922. According to Tate’s theory, it was not until the South underwent a shift in its “mode of the imagination” that it was capable of producing writers like those of the Renaissance. Tate theorizes that this change occurred in part because the South ended its self-imposed isolation with the advent of World War I and “saw for the first time since 1830 that the Yankees were not to blame for everything.” The South’s mental energies were no longer entirely engrossed in resistance to Northerners ...
The argument of slavery portrayed as a “slow poison” can be seen throughout the three narratives that are the basis for this paper. The “slow poison” being that slavery is a slow poison that effects not only blacks and whites but everyone around and subjected to slavery. The most obvious people that are effected by slavery are the slaves but there are many examples of whites and their families being effected by slavery also. The Epps family from Twelve Years a Slave is a good example of how slavery can tear apart a family. Mr. and Mrs. Epps were happily married until their marriage became challenged by Mr. Epp’s liking to a slave girl named Patsey. Mrs. Epps became jealous over their relationship and over time their marriage became broken and Mr. Epps became an alcoholic to deal with his marriage and his near constant whipping of his slaves. Mrs. Epp’s jealousy and hatred for Patsey c...
The poem “Southern Road” by Sterling Brown is about a man in prison contemplating his life. On either side of the jail fences, his life is depressing, and the blues tone sets the mood. Two prominent characteristics of the poem is the low language dialect and onomatopoeia. Brown uses these literary devices to paint a picture. He does not mention that the protagonist is black or that he is from the south, but from his dialect, the readers are able to tell his ethnicity. The literary devices used in the poem reveals the story of the protagonist and captivates the hardships of African American.
In the short story “Cornet at night” by Sinclair Ross, Tom Dickson is a young farm boy who lives on a farm with his parents. He is very naive and has not had a chance to experience the outside world for his own. He knows only what he learns from the farm and school, but now that he gets to go on a small adventure on his on, he grows up in a variety of ways. One way in which Tom grows up is when he goes to town by himself. He has gone before, but with the security of his parents with him, and for a young boy to go to another town “eight miles north of here” is a large task for such a young boy, thus showing one way that he matures.
Mark Twain’s picaresque novel The Adventures of Huckleberry Finn (hereafter Huck Finn) gives a realistic portrayal of Southern life before the American Civil War and depicts the way companionship enables the journeyers to learn from diverse perspectives enriching the journeys power to prompt inner growth and development. This is clearly depicted through the use of first person persona, where Twain employs the uneducated vernacular voice of Huck Finn. This technique contributes to the authenticity of Huck Finn’s Southern characterisation emphasising his transformation from racial prejudice and small mindedness to a more moral and tolerant perspective. Together Huck and Jim embark on their personal quests for freedom; Huck for freedom from “sivilisation” and Jim for freedom from slavery. Together they travel down the river a motif that symbolises their desire for liberation and security. “ I never felt easy till the raft was…out in the middle of the Mississippi…we was free and safe once more”. As they travel they are not merely moving down the river but discovering who they are as they learn and grow along the way.
...ition, she presents the reader with the differing generations of the old and new south, and she illustrates the contrasting views between the two. O’Connor is not afraid to question Christian theology or the Southern culture. Her irony and satire add depth to ther stories, and her deep cultural analysis of the South brings a higher level to her writings. O’Connor also explores the concept of fallen human nature and how it is brought about. Overall, O’Connor’s works prove to be very in depth in both her social and cultural analysis of the South. She is not afraid to critique the society in which she grew up and lived.
Thomas Lanier Williams was born in Columbus, Mississippi in 1911, he was the second of the Williams’ three children. By his own candid accounts, he described his family situation as being troubled, to put it lightly. His parent’s marriage was ordinarily tense, most likely as a result of his father’s alcoholism, physical intimidation and neglect. Thomas’s kindred troubles did not end with his parent’s unpleasantness, his beloved older sister, Rose, was institutionalized as a young woman and remained in care for the reminder of her life. He, himself suffered a mental breakdown, following his recuperation he moved to New Orleans and changed his name to Tennessee, this move invigorated his lifestyle and provided him with a new source of inspiration.