"I am not perfect." It came out in a rush of breath. "See I thought I was. Thank God I ain't. See a perfect thing ain't got a chance. The world kills it, everything perfect. (Listen to him!) Now see a thing that ain't perfect, it grows like a weed. Yeah, like a weed! A thing that ain't perfect gets hand clapping, smiles, takes the wire an easy winner. But the world ain't set up right if you perfect. You lible to run right into a brick wall. Looks like suicide. All the weeds say, looka there, it suicide!"

Provides incisive reviews of more than 300 recommended novels and short-story collections set in Florida. Numerous Florida fiction writers, past and present, are represented in the book, including such diverse talents as Edna Buchanan, Harry Crews, Connie May Fowler, and others.--Excerpted from book cover.

Harry Crews on getting naked: "If you're gonna write, for God in heaven's sake try to get naked. Try to write the truth. Try to get underneath all the sham, all the excuses, all the lies that you've been told. . . . If you're gonna write fiction, you have to get right on down to it." "Harry Crews cannot refrain from storytelling. These conversations are blessed with countless insights into the creative process, fresh takes on old questions, and always, Crews's stories: modern-day parables that tell us how it is to live, to work, and to hurt."--Jeff Baker, Oxford American "Harry Crews has indelible ways of approaching life and the craft of writing. This collection shows that he elevates both to a near-religious artform."--Matthew Teague, Oxford American In 26 interviews conducted between 1972 and 1997, novelist Harry Crews tells the truth--about why and how he writes, about the literary influences on his own work, about the writers he admires (or does not), about which of his own books he likes (or does not), about his fascination with so-called freaks, and about his love of blood sports. Crews reveals the tender side under his tough-guy image, discussing his beloved mother and his spiritual quest in a secular world. Crews also speaks frankly about his failed relationships, the role that writing played in them, and his personal struggles with alcohol and drugs and their impact on his life and work. Those seeking insights into his work will find them in these interviews. Those seeking to be entertained in Crewsian fashion will not be disappointed. Harry Crews on his tattoo and mohawk . . . "If you can't get past my 'too'--my tattoo--and my 'do'--the way I got my hair cut--it's only because you have decided there are certain things that can be done with hair and certain things that cannot be done with hair. And certain of them are right and proper and decent, and the rest indicate a warped, degenerate nature; therefore I am warped and degenerate. 'Cause I got my hair cut a different way, man? You gonna really live your life like that? What's wrong with you?" On advice to young writers . . . "You have to go to considerable trouble to live differently from the way the world wants you to live. That's what I've discovered about writing. The world doesn't want you to do a damn thing. If you wait till you got time to write a novel or time to write a story or time to read the hundred thousands of books you should have already read--if you wait for the time, you'll never do it. 'Cause there ain't no time; world don't want you to do that. World wants you to go to the zoo and eat cotton candy, preferably seven days a week." On being "well-rounded" . . . "I never wanted to be well-rounded, and I do not admire well-rounded people nor their work. So far as I can see, nothing good in the world has ever been done by well-rounded people. The good work is done by people with jagged, broken edges, because those edges cut things and leave an imprint, a design." Harry Crews is the author of 23 books, including The Gospel Singer, Naked in Garden Hills, This Thing Don't Lead to Heaven, Karate Is a Thing of the Spirit, Car, The Hawk Is Dying, The Gypsy's Curse, A Feast of Snakes, A Childhood: The Biography of a Place, Blood and Grits, The Enthusiast, All We Need of Hell, The Knockout Artist, Body, Scar Lover, The Mulching of America, Celebration, and Florida Frenzy (UPF, 1982). Erik Bledsoe is an instructor of English and American studies at the University of Tennessee. He has published articles on southern writers and edited a special issue of the Southern Quarterly devoted to Crews. His 1997 interview with Harry Crews from that magazine is included in this collection.

From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.

An introduction to and advice on book collecting with a glossary of terms and tips on how to identify first editions and estimated values for over 20,000 collectible books published in English (including translations) over the last three centuries-about half are literary titles in the broadest sense (novels, poetry, plays, mysteries, science fiction, and children's books); and the other half are non-fiction (Americana, travel and exploration, finance, cookbooks, color plate, medicine, science, photography, Mormonism, sports, et al).

The first full-length biography of one of the most unlikely figures in twentieth-century American literature, a writer who emerged from a dirt-poor South Georgia tenant farm and went on to create a singularly unique voice of fiction.

By Southern Playwrights is a rare assemblage of works from the 1980s and 1990s by writers continuing the tradition of Tennessee Williams, Lillian Hellman, and Beth Henley, among others. This book makes available for the first time in print Marsha Norman's romantic comedy Loving Daniel Boone, novelist Harry Crews's only play, Blood Issue, and humorist Ray Blount Jr.'s ventures into one-act comedy, Five Ives Gets Named and That Dog Isn't Fifteen. Also included are novelist Elizabeth Dewberry's first play, Head On, Kentucky novelist and essayist Wendell Berry's The Cool of the Day, and Digging In, a remarkable array of Kentucky farm voices adapted for the stage by Julie Crutcher and Vaughn McBride. Southern playwriting is a distinctive voice in the American theater, a point eloquently made in the foreword by Jon Jory. The literary works of the South, he writes, are dominated by "great language, family, strong women, religion, the land, and the past," all of which makes them wonderful for acting -- and for reading. This entertaining book honors southern playwrights in a collection of works that have premiered at Actors Theatre of Louisville.

Personal Souths, a collection of twenty interviews with famous southern writers, will mark the fiftieth anniversary of The Southern Quarterly, one of the oldest scholarly journals (founded in 1962) dedicated to southern studies. The figures interviewed range from Erskine Caldwell, Eudora Welty and Tennessee Williams (all from the 1970s), to a virtual Who's Who of southern literature in the second half of the twentieth century. All of these interviews were originally published in the journal in the 1980s, 1990s and 2000s and are collected here for the first time. The South is represented broadly, with writers from eight states; at least four represent the “mountain South” (Donald Harrington, Bobbie Ann Mason, Robert Morgan, Lee Smith), while another four typify a “cosmopolitan South” (Reynolds Price, Mary Lee Settle, Elizabeth Spencer, Tennessee Williams). The greatest number of voices, at least eight of the authors, speak for or from the “poor white South” (Larry Brown, Erskine Caldwell, Harry Crews, Donald Harrington, Bobbie Ann Mason, Robert Morgan, Del Shores, Lee Smith). Though there is only one African American writer, Ernest J. Gaines, another interview (William Styron, Pulitzer Prize-winning author of The Confessions of Nat Turner) also focuses on a conversation about African American literature. The interviews are all fascinating. Not only do they reveal the personalities of these southern literary stars, but they also represent a self-conscious community of writers. It is a testament to the quality of The Southern Quarterly that many of these writers, when discussing their most important contemporaries, often refer to other writers whose interviews are also in this collection. These firsthand discussions will continue to illuminate and inform our understanding of their creative work.