When twenty-seven-year-old Margaret Walker's first collection of poems, For My People, won the Yale Poets Award in 1942, she was just beginning her long and distinguished career as a poet, novelist, biographer, and teacher. When her novel Jubilee was published to great acclaim in 1966, the New York Review of Books said, "[It] chronicles the triumph of a free spirit over many kinds of bondages." Jubilee is noteworthy for being one of the first novels to present African American history from both a black and female perspective. It is a historical and fictional account of Walker's great-grandmother's life, from slavery through Reconstruction, as told to Walker by her maternal grandmother. In Trumpeting a Fiery Sound, Jacqueline Miller Carmichael examines the novel's genesis and composition, the process of revision and publication, the work's structure and narrative strategies, its use of history and folklore, and its critical reception in the three decades since its first publication.

Nothing can truly substitute experience, for as the saying claims, it remains to be man’s best teacher. The author, driven by her personal desire and motivation to share her teaching legacy with her family of five generations and the whole humanity, gave birth to Just Jackie: A Teacher’s Memoir. A release of great incentive from Jacqueline Miller Carmichael’s personal archives of thirty years in the making and keeping—from being a dreamer, a learner, an educator and an author—Just Jackie invites everyone to enter this classroom and exit it with renewed skills to serve valiantly in each one’s own personal and occupational calling.

In Depictions of Home in African American Literature, Trudier Harris analyzes fictional homespaces in African American literature from those set in the time of slavery to modern urban configurations of the homespace. She argues that African American writers often inadvertently create and follow a tradition of portraying dysfunctional and physically or emotionally violent homespaces. Harris explores the roles race and religion play in the creation of homespaces and how geography, space, and character all influence these spaces. Although many characters in African American literature crave safe, happy homespaces and frequently carry such images with them through their mental or physical migrations, few characters experience the formation of healthy homespaces by the end of their journeys. Harris studies the historical, cultural, and literary portrayals of the home in works from well-known authors such as Richard Wright, James Baldwin, Toni Morrison, and August Wilson as well as lesser-studied authors such as Daniel Black, A.J. Verdelle, Margaret Walker, and Dorothy West.

Representing an international gathering of scholars, Fields Watered with Blood constitutes the first critical assessment of the full scope of Margaret Walker’s literary career. As they discuss Walker’s work, including the landmark poetry collection For My People and the novel Jubilee, the contributors reveal the complex interplay of concerns and themes in Walker’s writing: folklore and prophecy, place and space, history and politics, gender and race. In addition, the contributors remark on how Walker’s emphases on spirituality and on dignity in her daily life make themselves felt in her writings and show how Walker’s accomplishments as a scholar, teacher, activist, mother, and family elder influenced what and how she wrote. A brief biography, an interview with literary critic Claudia Tate, a chronology of major events in Walker’s life, and a selected bibliography round out this collection, which will do much to further our understanding of the writer whom poet Nikki Giovanni once called “the most famous person nobody knows.”

During and after the Civil War, southern women played a critical role in shaping the South’s evolving collective memory by penning journals and diaries, historical accounts, memoirs, and literary interpretations of the war. While a few of these writings—most notably Mary Chesnut’s diaries and Margaret Mitchell’s novel, Gone with the Wind—have been studied in depth by numerous scholars, until now there has been no comprehensive examination of Civil War novels by southern women. In this welcome study, Sharon Talley explores works by fifteen such writers, illuminating the role that southern women played in fashioning cultural identity in the region. Beginning with Augusta Jane Evans’s Macaria and Sallie Rochester Ford’s Raids and Romance of Morgan and His Men, which were published as the war still raged, Talley offers a chronological consideration of the novels with informative introductions for each time period. She examines Reconstruction works by Marion Harland, Mary Ann Cruse, and Rebecca Harding Davis, novels of the “Redeemed” South and the turn of the century by Mary Noailles Murfree, Ellen Glasgow, and Mary Johnston, and narratives by Evelyn Scott, Margaret Mitchell, and Caroline Gordon from the Modern period that spanned the two World Wars. Analysis of Margaret Walker’s Jubilee (1966), the first critically acclaimed Civil War novel by an African American woman of the South, as well as other post–World War II works by Kaye Gibbons, Josephine Humphreys, and Alice Randall, offers a fitting conclusion to Talley’s study by addressing the inaccuracies in the romantic myth of the Old South that Gone with the Wind most famously engraved on the nation’s consciousness. Informed by feminist, poststructural, and cultural studies theory, Talley’s close readings of these various novels ultimately refute the notion of a monolithic interpretation of the Civil War, presenting instead unique and diverse approaches to balancing “fact” and “fiction” in the long period of artistic production concerning this singular traumatic event in American history. Sharon Talley, professor of English at Texas A&M University–Corpus Christi, is the author of Ambrose Bierce and the Dance of Death and Student Companion to Herman Melville. Her articles have appeared in American Imago, Journal of Men’s Studies, and Nineteenth-Century Prose.

A comprehensive overview of Georgia's rich literary heritage features biographical and critical discussions of Georgia writers from the nineteenth century to the present, as well as other information pertinent to Georgia literature, with entries that discuss each author's life and work, contributions to Georgia history and culture, and place in regional and national literature. Original.

With contributions by Ted Atkinson, Robert Bray, Patsy J. Daniels, David A. Davis, Taylor Hagood, Lisa Hinrichsen, Suzanne Marrs, Greg O'Brien, Ted Ownby, Ed Piacentino, Claude Pruitt, Thomas J. Richardson, Donald M. Shaffer, Theresa M. Towner, Terrence T. Tucker, Daniel Cross Turner, Lorie Watkins, and Ellen Weinauer Mississippi is a study in contradictions. One of the richest states when the Civil War began, it emerged as possibly the poorest and remains so today. Geographically diverse, the state encompasses ten distinct landform regions. As people traverse these, they discover varying accents and divergent outlooks. They find pockets of inexhaustible wealth within widespread, grinding poverty. Yet the most illiterate, disadvantaged state has produced arguably the nation's richest literary legacy. Why Mississippi? What does it mean to write in a state of such extremes? To write of racial and economic relations so contradictory and fraught as to defy any logic? Willie Morris often quoted William Faulkner as saying, "To understand the world, you must first understand a place like Mississippi." What Faulkner (or more likely Morris) posits is that Mississippi is not separate from the world. The country's fascination with Mississippi persists because the place embodies the very conflicts that plague the nation. This volume examines indigenous literature, Southwest humor, slave narratives, and the literature of the Civil War. Essays on modern and contemporary writers and the state's changing role in southern studies look at more recent literary trends, while essays on key individual authors offer more information on luminaries including Faulkner, Eudora Welty, Richard Wright, Tennessee Williams, and Margaret Walker. Finally, essays on autobiography, poetry, drama, and history span the creative breadth of Mississippi's literature. Written by literary scholars closely connected to the state, the volume offers a history suitable for all readers interested in learning more about Mississippi's great literary tradition.

Writers of the Black Chicago Renaissance comprehensively explores the contours and content of the Black Chicago Renaissance, a creative movement that emerged from the crucible of rigid segregation in Chicago's "Black Belt" from the 1930s through the 1960s. Heavily influenced by the Harlem Renaissance and the Chicago Renaissance of white writers, its participants were invested in political activism and social change as much as literature, art, and aesthetics. The revolutionary writing of this era produced some of the first great accolades for African American literature and set up much of the important writing that came to fruition in the Black Arts Movement. The volume covers a vast collection of subjects, including many important writers such as Richard Wright, Gwendolyn Brooks, and Lorraine Hansberry as well as cultural products such as black newspapers, music, and theater. The book includes individual entries by experts on each subject; a discography and filmography that highlight important writers, musicians, films, and cultural presentations; and an introduction that relates the Harlem Renaissance, the White Chicago Renaissance, the Black Chicago Renaissance, and the Black Arts Movement. Contributors are Robert Butler, Robert H. Cataliotti, Maryemma Graham, James C. Hall, James L. Hill, Michael Hill, Lovalerie King, Lawrence Jackson, Angelene Jamison-Hall, Keith Leonard, Lisbeth Lipari, Bill V. Mullen, Patrick Naick, William R. Nash, Charlene Regester, Kimberly Ruffin, Elizabeth Schultz, Joyce Hope Scott, James Smethurst, Kimberly M. Stanley, Kathryn Waddell Takara, Steven C. Tracy, Zoe Trodd, Alan Wald, Jamal Eric Watson, Donyel Hobbs Williams, Stephen Caldwell Wright, and Richard Yarborough.

"This first biography of poet and writer Margaret Walker (1915-98) offers a comprehensive close reading of a pillar in American culture for a majority of the 20th century. Without defining herself as a radical or even a feminist, Walker followed the precepts of both. She promoted the idea of the artist of tradition and social change, a public intellectual and an institution builder. Among the first to recognize the impact of black women in literature, Walker became a chief architect of what many have called the new Black South Renaissance. Her art was influenced early by Langston Hughes, her political understanding of the world by Richard Wright. Walker expanded both into a comprehensive view on art and humanism, which became a national platform for the center she founded in Mississippi that now bears her name. The House Where My Soul Lives provides a full account of Walker's life and new interpretations of her writings before and after the publication of her most well-known poem in the 1930s in Chicago. The book rejects the widely held view of Walker as the "angry black woman" and emphasizes what contemporary American culture owes to her decades of foundational work in what we know today as Black Studies, Women's Studies, and the Public Humanities. She was fierce in her claim to be "black, female and free" which gave her the authority to challenge all hierarchies, no matter at what cost. Featuring 80 archival photos and documents and based on never before examined personal papers and interviews with those who knew Walker personally, this book is required reading for all readers of biographies of American writers."--Amazon.com.

Contributions by W. Fitzhugh Brundage, Jordan Burke, Rebecca Bennett Clark, James C. Cobb, Anna Creadick, Colin Dayan, Wai Chee Dimock, Sarah E. Gardner, Hannah Godwin, Brooks E. Hefner, Andrew B. Leiter, Sean McCann, Conor Picken, Natalie J. Ring, Calvin Schermerhorn, and Jay Watson William Faulkner remains a historian’s writer. A distinguished roster of historians are drawn to him as a fellow historian, a shaper of narrative reflections on the meaning of the past; as a historiographer, a theorist and dramatist of the fraught enterprise of doing history; and as a historical figure himself, especially following his mid-century emergence as a public intellectual after winning the Nobel Prize for Literature. This volume brings together historians and literary scholars to explore the many facets of Faulkner’s relationship to history: the historical contexts of his novels and stories; his explorations of the historiographic imagination; his engagement with historical figures from both the regional and national past; his influence on professional historians; his pursuit of alternate modes of temporal awareness; and the histories of print culture that shaped the production, reception, and criticism of Faulkner’s work. Contributors draw on the history of development in the Mississippi Valley, the construction of Confederate memory, the history and curriculum of Harvard University, twentieth-century debates over police brutality and temperance reform, the history of modern childhood, and the literary histories of antislavery writing and pulp fiction to illuminate Faulkner’s work. Others in the collection explore the meaning of Faulkner’s fiction for such professional historians as C. Vann Woodward and Albert Bushnell Hart. In these ways and more, Faulkner and History offers fresh insights into one of the most persistent and long-recognized elements of the Mississippian’s artistic vision.