Gathers recipes for breads, casseroles, salads, vegetables, eggs, fish, meat, desserts, and special holiday dishes

More than 200 recipes and 45 full-color photographs celebrate 25 years of good eatin’ in this original regional Southern cooking classic. A quarter-century ago, while many were busy embracing the sophisticated techniques and wholesome ingredients of the nouvelle cuisine, one Southern loyalist lovingly gathered more than 200 recipes—collected from West Virginia to Key West—showcasing the time-honored cooking and hospitality traditions of the white trash way. Ernie Mickler’s much-imitated sugarsnap-pea prose style accompanies delicacies like Tutti’s Fancy Fruited Porkettes, Mock-Cooter Stew, and Oven-Baked Possum; stalwart sides like Bette’s Sister-in-Law’s Deep-Fried Eggplant and Cracklin’ Corn Pone; waste-not leftover fare like Four-Can Deep Tuna Pie and Day-Old Fried Catfish; and desserts with a heavy dash of Dixie, like Irma Lee Stratton’s Don’t-Miss Chocolate Dump Cake and Charlotte’s Mother’s Apple Charlotte.

From Oleen's Stuffed Pepper Slippers and Franceen's Good Ol' Meat to Mrs. Tooler Doolus's Oven Spaghetti and Bobbie's Lemon/Lime Jell-O Cake Supreme, Ernie Mickler has collected another whopping batch of the"most magnannygoshus" recipes of the Very Deepest South. Previously known as SINKIN SPELLS, HOT FLASHES, FITS AND CRAVINS, this collection has a new name and a new cover that calls to mind its best-selling brother, WHITE TRASH COOKING. Same good eatin', though. With color photographs by the author.

John T. Edge, "the Faulkner of Southern food" (the Miami Herald), reveals a South hidden in plain sight, where restaurants boast family pedigrees and serve supremely local specialties found nowhere else. From backdoor home kitchens to cinder-block cafés, he introduces you to cooks who have been standing tall by the stove since Eisenhower was in office. While revealing the stories behind their food, he shines a bright light on places that have become Southern institutions. In this fully updated and expanded edition, with recipes throughout, Edge travels from chicken shack to fish camp, from barbecue stand to pie shed. Pop this handy paperback in the glove box to take along on your next road trip. And even if you never get in the car, you'll enjoy the most savory history that the South has to offer.

The South is often perceived as a haunted place in its region's literature, one that is strange, deviant, or "queer." The peculiar, often sexually charged literary worlds of contemporary writers like Fannie Flagg, Monique Truong, and Randall Kenan speak to this connection between queerness and the South. Heidi Siegrist explores the boundaries of negotiating place and sexuality by using the concept of Southernness—a purposefully fluid idea of the South that extends beyond simple geography, eschewing familiar ideas of the Southern canon. When the connection between queerness and Southerness becomes apparent, Siegrist shows a Southern-branded queer deviance can not only change the way we think about literature but can also change Southern queer people's lived experiences. Siegrist gathers a bevy of undertheorized writers, from Kenan and Truong to Dorothy Allison and even George R. R. Martin, showing that there are many "queer Souths." Siegrist offers these multiverses as a way to appreciate a place that is often unfriendly, even deadly, to queer people. But as Siegrist argues, none of these Souths, from the terrestrial to the imaginary, would be what they are without the influence and power of queer literature.

A colorful celebration of Southern foods, Southern cooking, and the people and traditions behind them gathers the best of food writing from magazines, newspapers, books, and journals, with contributions by Rick Bragg, Molly O'Neill, Edna Lewis, Jim Ferguson, Amy Evans, Pat Conroy, Candice Dyer, and many others. Original.

The South is often perceived as a haunted place in its region's literature, one that is strange, deviant, or "queer." The peculiar, often sexually charged literary worlds of contemporary writers like Fannie Flagg, Monique Truong, and Randall Kenan speak to this connection between queerness and the South. Heidi Siegrist explores the boundaries of negotiating place and sexuality by using the concept of Southernness—a purposefully fluid idea of the South that extends beyond simple geography, eschewing familiar ideas of the Southern canon. When the connection between queerness and Southerness becomes apparent, Siegrist shows a Southern-branded queer deviance can not only change the way we think about literature but can also change Southern queer people's lived experiences. Siegrist gathers a bevy of undertheorized writers, from Kenan and Truong to Dorothy Allison and even George R. R. Martin, showing that there are many "queer Souths." Siegrist offers these multiverses as a way to appreciate a place that is often unfriendly, even deadly, to queer people. But as Siegrist argues, none of these Souths, from the terrestrial to the imaginary, would be what they are without the influence and power of queer literature.

While growing up in rural Indiana during World War II, William Fagaly began his first venture—collecting and selling earthworms to locals—from which he was christened with a childhood moniker. The Nightcrawler King: Memoirs of an Art Museum Curator is a narrative of Fagaly’s life told in two parts: first, his childhood experiences and, second, his transformation into an adult art museum curator and administrator in Louisiana. With a career that coincided with the dramatic growth of museums in the United States, Fagaly adds a unique perspective to New Orleans history, which highlights Louisiana history and establishes how it resonates around the nation and world. Offering a rare and revealing inside look at how the art world works, Fagaly documents his fifty years of experience of work—unusually spent at a single institution, the New Orleans Museum of Art. During this past half century, he played an active role in the discovery and appreciation of new areas of art, particularly African, self-taught, and avant-garde contemporary. He organized numerous significant art exhibitions that traveled to museums across the country and authored the accompanying catalogs. Fagaly’s cherished memories and the wonderful people who have touched his life are showcased in this memoir—friends, family, university professors, museum colleagues, art historians, visual artists, musicians, art dealers, art collectors, patrons, and partners—even his cats.