The story of southern writing—the Dixie Limited, if you will—runs along an iron path: an official narrative of a literature about community, about place and the past, about miscegenation, white patriarchy, and the epic of race. Patricia Yaeger dynamites the rails, providing an entirely new set of categories through which to understand southern literature and culture. For Yaeger, works by black and white southern women writers reveal a shared obsession with monstrosity and the grotesque and with the strange zones of contact between black and white, such as the daily trauma of underpaid labor and the workings of racial and gender politics in the unnoticed yet all too familiar everyday. Yaeger also excavates a southern fascination with dirt—who owns it, who cleans it, and whose bodies are buried in it. Yaeger's brilliant, theoretically informed readings of Zora Neale Hurston, Harper Lee, Carson McCullers, Toni Morrison, Flannery O'Connor, Alice Walker, and Eudora Welty (among many others) explode the mystifications of southern literary tradition and forge a new path for southern studies. The book won the Barbara Perkins and George Perkins Award given by the Society for the Study of Narrative Literature.

"También de este lado hay sueños. On this side, too, there are dreams. Lydia Quixano Perez lives in the Mexican city of Acapulco. She runs a bookstore. She has a son, Luca, the love of her life, and a wonderful husband who is a journalist. And while there are cracks beginning to show in Acapulco because of the drug cartels, her life is, by and large, fairly comfortable. Even though she knows they'll never sell, Lydia stocks some of her all-time favorite books in her store. And then one day a man enters the shop to browse and comes up to the register with four books he would like to buy--two of them her favorites. Javier is erudite. He is charming. And, unbeknownst to Lydia, he is the jefe of the newest drug cartel that has gruesomely taken over the city. When Lydia's husband's tell-all profile of Javier is published, none of their lives will ever be the same. Forced to flee, Lydia and eight-year-old Luca soon find themselves miles and worlds away from their comfortable middle-class existence. Instantly transformed into migrants, Lydia and Luca ride la bestia--trains that make their way north toward the United States, which is the only place Javier's reach doesn't extend. As they join the countless people trying to reach el norte, Lydia soon sees that everyone is running from something. But what exactly are they running to? American Dirt will leave readers utterly changed when they finish reading it. A page-turner filled with poignancy, drama, and humanity on every page, it is a literary achievement."--

"I'm going to make a pinkie-swear with you right here and now, Tom Walton; when, not if, you return from Afghanistan, you must come up here and I will have a mad passionate affair with you..." With this proposal, Thomas Walton, an infantry soldier in Alpha Company, Second Platoon, arrives at the threshold of events that will change his life forever. Breakfast with the Dirt Cult chronicles the days of love and war in the life of Tom Walton. Torn between a beautiful, bibliophilic, Canadian ex-stripper and the hunt for Al-Qaeda in the mountains of Afghanistan, Walton finds himself forced to grapple with being a young man in the days of modernity. While Breakfast with the Dirt Cult has been written as a novel, it is based on a true story. The names have been changed and the chronology has been condensed for the sake of editing.

“You can almost taste the food in Bill Buford’s Dirt, an engrossing, beautifully written memoir about his life as a cook in France.” —The Wall Street Journal What does it take to master French cooking? This is the question that drives Bill Buford to abandon his perfectly happy life in New York City and pack up and (with a wife and three-year-old twin sons in tow) move to Lyon, the so-called gastronomic capital of France. But what was meant to be six months in a new and very foreign city turns into a wild five-year digression from normal life, as Buford apprentices at Lyon’s best boulangerie, studies at a legendary culinary school, and cooks at a storied Michelin-starred restaurant, where he discovers the exacting (and incomprehensibly punishing) rigueur of the professional kitchen. With his signature humor, sense of adventure, and masterful ability to bring an exotic and unknown world to life, Buford has written the definitive insider story of a city and its great culinary culture.

Prepare to be burned (Gena Showalter) by this sexy and suspenseful enemies-to-lovers paranormal romance in the New York Times bestselling Demonica series. Runa Wagner never meant to fall in love with the sexy stranger who seemed to know her every deepest desire. But she couldn't resist the unbelievable passion that burned between them, a passion that died when she discovered his betrayal and found herself forever changed. Now, determined to make Shade pay for the transformation that haunts her, Runa searches for him, only to be taken prisoner by his darkest enemy. A Seminus Demon with a love-curse that threatens him with eternal torment, Shade hoped he'd seen the last of Runa and her irresistible charm. But when he wakes up in a dank dungeon chained next to an enraged and mysteriously powerful Runa, he realizes that her effect on him is more dangerous than ever. As their captor casts a spell that bonds them as lifemates, Shade and Runa must fight for their lives and their hearts-or succumb to a madman's evil plans.

A Horse in the House? Things are hard for eleven-year-old Yonder. Her mother died and her father has sunk into sadness. She doesn't have a friend to her name . . . except for Dirt, the Shetland pony next door.Dirt has problems of his own. He's overweight, he's always in trouble, and his owner is the mean Miss Enid, who doesn't have the patience for a pony's natural curiosity. His only friend is Yonder, the scrawny girl next door.So when Miss Enid decides to sell Dirt for horsemeat, Yonder knows she has to find a way to rescue him. Even if that means stealing Dirt away and sneaking him into her own house. What follows will make you worry, will make you cry, and will ultimately fill you with hope, love, and an unshakable belief in the power of friendship. Especially the four-legged kind.

A “soul-stirring debut,” Boys of Alabama tells the “bewitching” (Michelle Hart, O, The Oprah Magazine) tale of sixteen-year-old Max’s first year in America. “Daring, unusual . . . and startlingly fresh” (Don Noble, Alabama Public Radio), Boys of Alabama announced Genevieve Hudson’s place in the canon of the southern gothic alongside Donna Tartt and Harper Lee. Newly arrived in Alabama, Max falls in love, questions his faith, and navigates a strange power. Although his German parents don’t know what to make of a South pining for the past, shy Max thrives after being taken in by the football team. But when he meets fishnet-wearing Pan in physics class, they embark on a quixotic, consuming relationship. Writing in “prose that is always imaginative and sensual” (Sarah Neilson, Believer), Hudson offers a complex portrait of masculinity, religion, immigration, and the adolescent pressures that require total conformity.

The Dirty South examines the shifting significances of the South as a constructed, fantasized region in the American psyche, particularly its frequent association with tropes of dirt that emphasize soil, garbage, trash, grit, litter, mud, swamp water, slime, and pollution. Beginning with iconic works from the 1970s such as Deliverance and The Texas Chainsaw Massacre, James A. Crank traces the image of a “dirty” South into the twenty-first century to explore the social, political, and psychological effects of the region’s hold on the imaginations of southerners and nonsoutherners alike. With a focus on media forms through which southern identity gets articulated and questioned—including horror movies, Swamp Thing comics, and popular music by artists such as Waylon Jennings and OutKast—The Dirty South probes the sustained fascination with southern dirtiness while reflecting on its causes and consequences since the end of the civil rights era. Highlighting the period from 1970 to 2020, during which the South began to represent several new possible identities for the nation as a whole and for the area itself, Crank considers the ways that southerners have used depictions of dirt to create and police boundaries and to contest those boundaries. Each chapter pairs prominent literary or cultural texts from the 1970s with more contemporary works, such as Jordan Peele’s film Get Out, which recycle similar investments or, critically, challenge the inherent whiteness of the earlier images. By historicizing fantasies of the region and connecting them to the first decades of the twenty-first century, The Dirty South reveals that notions about southern dirtiness proliferate not because they lend authenticity or relevancy to the U.S. South, but because they aid so conspicuously in the zombified work of tethering investors (real and imagined) to a graveyard of ideas.

Some recipes are dreamed up in the kitchen. Others are dished up from the dirt. For Andrea Bemis, who owns and operates an organic vegetable farm with her husband in Parkdale, Oregon, meals are inspired by the day’s harvest. In this stunning cookbook, Andrea shares simple, inventive, and delicious recipes for cooking through the seasons. Welcome to life on Tumbleweed Farm—where the work may be hard, but the stove is always warm.

Where the New World Is assesses how fiction published since 1980 has resituated the U.S. South globally and how earlier twentieth-century writing already had done so in ways traditional southern literary studies tended to ignore. Martyn Bone argues that this body of fiction has, over the course of some eighty years, challenged received readings and understandings of the U.S. South as a fixed place largely untouched by immigration (or even internal migration) and economic globalization. The writers discussed by Bone emphasize how migration and labor have reconfigured the region’s relation to the nation and a range of transnational scales: hemispheric (Jamaica, the Bahamas, Haiti), transatlantic/Black Atlantic (Denmark, England, Mauritania), and transpacific/global southern (Australia, China, Vietnam). Writers under consideration include Zora Neale Hurston, Nella Larsen, John Oliver Killens, Russell Banks, Erna Brodber, Cynthia Shearer, Ha Jin, Monique Truong, Lan Cao, Toni Morrison, Peter Matthiessen, Dave Eggers, and Laila Lalami. The book also seeks to resituate southern studies by drawing on theories of “scale” that originated in human geography. In this way, Bone also offers a new paradigm in which the U.S. South is thoroughly engaged with a range of other scales from the local to the global, making both literature about the region and southern studies itself truly transnational in scope.