Lee Smith: A Diamond from the Rough

Author(s):  
Linda Byrd Cook

This chapter discusses Lee Smith's fiction, which consistently probes the crises of identity that plague so many contemporary Americans, particularly women. Born on November 1, 1944, in the southwestern Virginia coal-mining town of Grundy, Lee Smith was an only child and a voracious reader. Smith recalls that growing up in Grundy, she consciously tried to conform to the image of an aspiring southern “lady.” Initially Smith wrote about romantic and foreign subjects, but after encountering Eudora Welty's work in a southern literature course, she realized the importance of writing from one's experience. Like other members of her generation of southern writers, Smith creates a full, complex world of characters who confirm some stereotypes and transcend others. Her novels include The Last Day the Dogbushes Bloomed (1968), The Last Day the Dogbushes Bloomed— Something in the Wind (1971), Fancy Strut (1973), Black Mountain Breakdown (1980), Family Linen (1985), Fair and Tender Ladies (1988), Saving Grace (1995), and On Agate Hill (2006).

2014 ◽  
Vol 73 (1) ◽  
pp. 347-359 ◽  
Author(s):  
T. K. Rout ◽  
R. Ebhin Masto ◽  
P. K. Padhy ◽  
L. C. Ram ◽  
Joshy George ◽  
...  

Author(s):  
Elizabeth Spencer

In this chapter, the author reflects on William Faulkner's influence on her and on other Southern writers. The author says it would be impossible to think of Oxford, Mississippi without thinking of Faulkner, its most famous citizen. She recalls growing up in Carrollton, but admits that it took her many long years in associating Oxford and the University of Mississippi (Ole Miss) with Faulkner. It wasn't until she was in her early twenties and in graduate school at Vanderbilt that the author realized she must find out more about Faulkner. She began reading some of Faulkner's novels, including The Hamlet, Go Down, Moses and The Collected Stories. Critics inevitably compared her to Faulkner because of resemblances between their works. The author also reflects on three unanswered questions about Faulkner's work: his nihilism, his treatment of women characters, and the fictional Snopes family in his novels.


Author(s):  
Erik Bledsoe

This chapter discusses the emergence of a new generation of southern writers who are giving voice to a different group of southerners, forcing their readers to reexamine long-held stereotypes and beliefs while challenging the literary roles traditionally assigned poor whites. According to Linda Tate, “traditionally, southern literature has been understood to be that written by white men and, on rare occasions, by white women—and, in almost all cases, by and about white southerners of the upper middle class.” This chapter looks at three new voices who write about the Rough South and the southern poor whites from within the class: Dorothy Allison, Larry Brown, and Timothy Reese McLaurin. The term “Rough South” refers to as the world of the redneck or white trash. The terms “redneck,” “white trash,” “cracker,” and “poor white” have all been used to describe certain white southerners.


2009 ◽  
Vol 62 (1) ◽  
pp. 59-61
Author(s):  
Catherine Gyllerstrom
Keyword(s):  

Revista Farol ◽  
2021 ◽  
Vol 16 (23) ◽  
pp. 10-25
Author(s):  
Dorothee Richter

Every art university wants to give its graduates the greatest opportunities after graduation, as artists, curators, actors, conductors, musicians, designers, filmmakers, or dancers. How to get from A to Z in this project is based on the respective creativity concept. Do you want to equip the students with management knowledge in order to pave their way into the creative industries? Do you want to provide them with expertise in their field, or is critical thinking required above all, as well as the ability to cooperate that enables students to survive in an extremely complex world?


Author(s):  
Stig A. Schack Pedersen ◽  
Lotte Melchior Larsen ◽  
Trine Dahl-Jensen ◽  
Hans F. Jepsen ◽  
Gunver Krarup Pedersen ◽  
...  

NOTE: This article was published in a former series of GEUS Bulletin. Please use the original series name when citing this article, for example: Schack Pedersen, S. A., Melchior Larsen, L., Dahl-Jensen, T., Jepsen, H. F., Krarup Pedersen, G., Nielsen, T., Pedersen, A. K., von Platen-Hallermund, F., & Weng, W. (1). Tsunami-generating rock fall and landslide on the south coast of Nuussuaq, central West Greenland. Geology of Greenland Survey Bulletin, 191, 73-93. https://doi.org/10.34194/ggub.v191.5131 _______________ During the afternoon of 21 November 2000 the village of Saqqaq in central West Greenland was hit by a series of giant waves. Ten small boats were destroyed, but luckily neither humans nor dogs were killed. The following day a police inspection by helicopter revealed that the giant waves were caused by a major landslide at Paatuut, c. 40 km north-west of Saqqaq on the south coast of Nuussuaq (Figs 1, 2). The landslide deposits were dark grey-brown in colour, in marked contrast to the snow-covered slopes, and protruded as a lobe into the Vaigat strait. Along the adjacent coastlines the snow had been washed off up to altitudes about 50 m a.s.l. and severe damage had been caused at the abandoned coal-mining town Qullissat on the opposite side of Vaigat.


This book describes and discusses the work of southern writers who began their careers in the late twentieth and early twenty-first centuries. They fall into two categories. Some, born into the working class, strove to become writers and learned without benefit of higher education, such writers as Larry Brown and William Gay. Others came from lower- or middle-class backgrounds and became writers through practice and education: Dorothy Allison, Tom Franklin, Tim Gautreaux, Clyde Edgerton, Kaye Gibbons, Silas House, Jill McCorkle, Chris Offutt, Ron Rash, Lee Smith, Brad Watson, Daniel Woodrell, and Steve Yarbrough. Their twenty-first-century colleagues are Wiley Cash, Peter Farris, Skip Horack, Michael Farris Smith, Barb Johnson, and Jesmyn Ward. The book starts by distinguishing Rough South writers from such writers as William Faulkner and Erskine Caldwell. Younger writers who followed Harry Crews were born into and write about the Rough South. These writers undercut stereotypes, forcing readers to see the working poor differently. Other chapters begin with those on Crews and Cormac McCarthy, major influences on an entire generation. Later chapters address members of both groups—the self-educated and the college-educated. Both groups share a clear understanding of the value of working-class southerners.


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