In classic Dixie storytelling fashion, with a rare blend of literary elegance and plainspoken humor, the inimitably charming, staunchly Southern Julia Reed wends her way below the Mason-Dixon line and observes many phenomena– from politics, religion, and women to weather, guns, and what she calls “drinking and other Southern pursuits.” To hear Reed tell it, the South is another country. She builds an entertaining and persuasive case, using as examples everything from its unfathomable codes of conduct to its disciplined fashion sense. And then there is Southern food, which is an entire world apart: Gumbo, grits, greens, and, of course, fried chicken make memorable appearances in Reed’s essays, which will amuse, delight, and even explain a thing or two to baffled Yankees everywhere.

In her new book, But Mama Always Put Vodka in Her Sangria!, Julia Reed, a master of the art of eating, drinking, and making merry, takes the reader on culinary adventures in places as far flung as Kabul, Afghanistan and as close to home as her native Mississippi Delta and Florida's Gulf Coast. Along the way, Reed discovers the perfect Pimm's Royale at the Paris Ritz, devours delicious chuletons in Madrid, and picks up tips from accomplished hostesses ranging from Pat Buckley to Pearl Bailey and, of course, her own mother. Reed writes about the bounty—and the burden—of a Southern garden in high summer, tosses salads in the English countryside, and shares C.Z. Guest's recipe for an especially zingy bullshot. She understands the necessity of a potent holiday punch and serves it up by the silver bowl full, but she is not immune to the slightly less refined charms of a blender full of frozen peach daiquiris or a garbage can full of Yucca Flats. And then there are the parties: shindigs ranging from sultry summer suppers and raucous dinners at home to a Plymouth-like Thanksgiving feast and an upscale St. Patrick's Day celebration. This delightful collection of essays by Julia Reed, a master storyteller with an inimitable voice and a limitless capacity for fun, will show you how to entertain guests with style, have a good time yourself and always have that perfect pitcher of sangria ready at a moment's notice.

A collection of essays written for the column "The high & the low" in the magazine Garden & gun.

After fifteen years of living like a vagabond on her reporter's schedule, Julia Reed got married and bought a house in the historic Garden District. Four weeks after she moved in, Hurricane Katrina struck. The House on First Street is the chronicle of Reed's remarkable and often hilarious homecoming, as well as a thoroughly original tribute to our country's most original city.

The first full-scale biography of the enduring first lady of country music The twentieth century had three great female singers who plumbed the darkest corners of their hearts and transformed private grief into public dramas. In opera, there was the unsurpassed Maria Callas. In jazz, the tormented Billie Holiday. And in country music, there was Tammy Wynette. "Stand by Your Man," "D-I-V-O-R-C-E," "Take Me to Your World" are but a few highlights of Tammy's staggering musical legacy, all sung with a voice that became the touchtone for women's vulnerability, disillusionment, strength, and endurance. In Tammy Wynette, bestselling biographer Jimmy McDonough tells the story of the small-town girl who grew up to be the woman behind the microphone, whose meteoric rise led to a decades-long career full of tragedy and triumph. Through a high-profile marriage and divorce, her dreadful battle with addiction and illness, and the struggle to compete in a rapidly evolving Nashville, Tammy turned a brave smile toward the world and churned out masterful hit songs though her life resembled the most heartbreaking among them. Tammy Wynette is an intimate portrait of a music icon, the Queen of Heartbreak, whose powerful voice simultaneously evoked universal pain and longing even as it belied her own.

This sweeping study of fantasy literature offers “new and often surprising readings of works both familiar and obscure. A fine critical work” (Journal of the Fantastic in the Arts). Transcending arguments over the definition of fantasy literature, Rhetorics of Fantasy introduces a provocative new system of classification for the genre. Drawing on nearly two hundred examples of modern fantasy, author Farah Mendlesohn identifies four categories—portal-quest, immersive, intrusion, and liminal—that arise out of the relationship of the protagonist to the fantasy world. Using these sets, Mendlesohn argues that the author's stylistic decisions are then shaped by the inescapably political demands of the category in which they choose to write. Each chapter covers at least twenty books in detail, ranging from nineteenth-century fantasy and horror to some of the best works in the contemporary field. Mendlesohn discusses works by more than one hundred authors, including Lloyd Alexander, Peter Beagle, Marion Zimmer Bradley, John Crowley, Stephen R. Donaldson, Stephen King, C. S. Lewis, Gregory Maguire, Robin McKinley, China Miéville, Suniti Namjoshi, Philip Pullman, J. K. Rowling, Sheri S. Tepper, J. R. R. Tolkien, Tad Williams, and many others.