Down Home and Out

Author(s):  
Jaime Cantrell

This chapter examines poetry and fiction of Southern lesbian writers using the lens of food. Drawing on the works of Dorothy Allison, Minnie Bruce Pratt and Doris Davenport, the author explores how Southern lesbian writers transform the obvious, making lesbian eroticism and desire manifest through the vehicle of Southern food. These and other Southern writers have not only been at the center of important debates about feminism and identity, but also have created a sense of unity and sociality through a love of food and region.

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.


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):  
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).


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.


2016 ◽  
Vol 53 (2) ◽  
pp. 130-145
Author(s):  
Mélanie Grué ◽  
Dorothy Allison
Keyword(s):  

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