The essays in this book explore the role of Grace King’s fiction in the movement of American literature from local color and realism to modernism and show that her work exposes a postbellum New Orleans that is fragmented socially, politically, and linguistically. In her introduction, Melissa Walker Heidari examines selections from King’s journals and letters as views into her journey toward a modernist aesthetic—what King describes in one passage as "the continual voyage I made." Sirpa Salenius sees King’s fiction as a challenge to dominant conceptualizations of womanhood and a reaction against female oppression and heteronormativity. In his analysis of "An Affair of the Heart," Ralph J. Poole highlights the rhetoric of excess that reveals a social satire debunking sexual and racial double standards. Ineke Bockting shows the modernist aspects of King’s fiction through a stylistic analysis which explores spatial, temporal, biological, psychological, social, and racial liminalities. Françoise Buisson demonstrates that King’s writing "is inspired by the Southern oral tradition but goes beyond it by taking on a theatrical dimension that can be quite modern and even experimental at times." Kathie Birat claims that it is important to underline King’s relationship to realism, "for the metonymic functioning of space as a signifier for social relations is an important characteristic of the realist novel." Stéphanie Durrans analyzes "The Story of a Day" as an incest narrative and focuses on King’s development of a modernist aesthetics to serve her terrifying investigation into social ills as she probes the inner world of her silent character. Amy Doherty Mohr explores intersections between regionalism and modernism in public and silenced histories, as well as King’s treatment of myth and mobility. Brigitte Zaugg examines in "The Little Convent Girl" King’s presentation of the figure of the double and the issue of language as well as the narrative voice, which, she argues, "definitely inscribes the text, with its understatement, economy and quiet symbolism, in the modernist tradition." Miki Pfeffer closes the collection with an afterword in which she offers excerpts from King’s letters as encouragement for "scholars to seek Grace King as a primary source," arguing that "Grace King’s own words seem best able to dialogue with the critical readings herein." Each of these essays enables us to see King’s place in the construction of modernity; each illuminates the "continual voyage" that King made.

The first study to focus on white and black women journalists and writers both before and after the Civil War, this book offers fresh insight into Southern intellectual life, the fight for women's rights and gender ideology. Based on new research into Southern magazines and newspapers, this book seeks to shift scholarly attention away from novelists and toward the rich and diverse periodical culture of the South between 1820 and 1900. Magazines were of central importance to the literary culture of the South because the region lacked the publishing centers that could produce large numbers of books. As editors, contributors, correspondents and reporters in the nineteenth century, Southern women entered traditionally male bastions when they embarked on careers in journalism. In so doing, they opened the door to calls for greater political and social equality at the turn of the twentieth century.

Jonathan Daniel Wells and Jennifer R. Green provide a series of provocative essays reflecting innovative, original research on professional and commercial interests in the nineteenth-century South, a place often seen as being composed of just two classes -- planters and slaves. Rather, an active middle class, made up of men and women devoted to the cultural and economic modernization of Dixie, worked with each other -- and occasionally their northern counterparts -- to bring reforms to the region. With a balance of established and younger authors, of antebellum and postbellum analyses, and of narrative and quantitative methodologies, these essays offer new ways to think about politics, society, gender, and culture during this exciting era of southern history. The contributors show that many like-minded southerners sought to create a "New South" with a society similar to that of the North. They supported the creation of public schools and an end to dueling, but less progressive reform was also endorsed, such as building factories using slave labor rather than white wage earners. The Southern Middle Class in the Long Nineteenth Century significantly influences thought on the social structure of the South, the centrality of class in history, and the events prior to and after the Civil War.

Nineteenth-Century American Women Writers: An Anthology is a multicultural, multigenre collection celebrating the quality and diversity of nineteenth century American women's expression.

A landmark collection documenting the social, political, and artistic lives of African American women throughout the tumultuous nineteenth century. Named one of NPR's Best Books of 2017. The Portable Nineteenth-Century African American Women Writers is the most comprehensive anthology of its kind: an extraordinary range of voices offering the expressions of African American women in print before, during, and after the Civil War. Edited by Hollis Robbins and Henry Louis Gates, Jr., this collection comprises work from forty-nine writers arranged into sections of memoir, poetry, and essays on feminism, education, and the legacy of African American women writers. Many of these pieces engage with social movements like abolition, women’s suffrage, temperance, and civil rights, but the thematic center is the intellect and personal ambition of African American women. The diverse selection includes well-known writers like Sojourner Truth, Hannah Crafts, and Harriet Jacobs, as well as lesser-known writers like Ella Sheppard, who offers a firsthand account of life in the world-famous Fisk Jubilee Singers. Taken together, these incredible works insist that the writing of African American women writers be read, remembered, and addressed. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This collection of critical essays examines the contributions to and influences on literature that have been made by Southern women writers.--From publisher description.

Introducing the neglected tradition of Scottish women's writing to readers who may already be familiar with English Victorian realism or the historical romances of Walter Scott and Robert Louis Stevenson, this book corrects male-dominated histories of the Scottish novel by demonstrating how women appropriated the masculine genre of romance.

When Scarlett O’Hara fluttered her dark lashes, did she threaten only the gentleman in her parlor or the very culture that produced her? Examining the “bad belle” as a recurring character, The Belle Gone Bad finds that white southern women writers from the antebellum period to the present have used treacherous belles to subtly indict their culture from within. Combining the southern ideal of ladyhood with the sexual power of the dark seductress, the bad belle is the perfect figure with which to critique a culture that effectively enslaved both its white and black women. Betina Entzminger traces the development of the bad belle from nineteenth-century domestic novelist E.D.E.N. Southworth to contemporary novelist Kaye Gibbons. Coy and alluring like the traditional southern belle, the bad belle is also manipulative and knowing; the men subject to her cultivated charms often meet disastrous ends. By making the patriarch vulnerable to women who outwardly conform to the limiting conventions of womanhood but inwardly break all the rules, these writers challenged a society that stereotyped black women as promiscuous and forced white women onto pedestals while committing heinous acts in their name. Representations of the bad belle evolved along with southern society, and by the late twentieth century, many women writers expressed emancipation through the literal or figurative destruction of corrupt or would-be belles. The Belle Gone Bad shows that even writers who have been critically dismissed as too domestic or conservative to be innovative did—through the strategy of the bad belle character—challenge southern institutions and conceptions about race, class, and gender. What unites the dangerous belles created by several generations of women writing in the South, old and new, is their liberating potential.

Examining how nineteenth-century Black women writers engaged radical reform, sentiment and their various readerships

From the mid-nineteenth century through at least the first half of the twentieth, the southern code of appropriate feminine behavior required that women depend on sources outside themselves for sustenance, direction, and expression. The chivalric ideal that placed the southern lady on a pedestal often created within her gracious and gentle exterior a turmoil of frustration, confusion, and resentment. This concept of upper middle-class, white southern womanhood forms an important part of the imaginative expression of the southern women writers whose works and lives form the subject matter of this book. All seven—Augusta Jane Evans, Grace King, Kate Chopin, Mary Johnston, Ellen Glasgow, Frances Newman, and Margaret Mitchell—were themselves products of this genteel tradition. Anne Goodwyn Jones explains that her aim is not to link biography and art but to seek, in the lives and works of these seven southern women writers, common patterns that can lead to ways to discern the mind of the southern lady. Tomorrow Is Another Day shows that, by writing themselves and their characters into being, by expressing their voices—however variant in tone—“these seven writers wrote themselves into another day.”