A series of sketches written in part to parody some the campaign literature of the era Originally published in 1845, Adventures of Captain Simon Suggs is a series of sketches written in part to parody some the campaign literature of the era. The character, Simon Suggs, with his motto, “it is good to be shifty in a new country,” fully incarnates a backwoods version of the national archetypes now know as the confidence man, the grafter, the professional flim-flam artist supremely skilled in the arts by which a man gets along in the world. This classic volume of good humor is set in the rough-and-tumble world of frontier life and politics.

A Classic of the Southwestern Humor school that influenced Mark Twain, this portrait of a rascally backcountry trickster remains an engaging parody of enduring aspects of the American character. Southern Classics Series.

This book begins where the reach of archaeology and history ends," writes Charles Hudson. Grounded in careful research, his extraordinary work imaginatively brings to life the sixteenth-century world of the Coosa, a native people whose territory stretched across the Southeast, encompassing much of present-day Tennessee, Georgia, and Alabama. Cast as a series of conversations between Domingo de la Anunciacion, a real-life Spanish priest who traveled to the Coosa chiefdom around 1559, and the Raven, a fictional tribal elder, Conversations with the High Priest of Coosa attempts to reconstruct the worldview of the Indians of the late prehistoric Southeast. Mediating the exchange between the two men is Teresa, a character modeled on a Coosa woman captured some twenty years earlier by the Hernando de Soto expedition and taken to Mexico, where she learned Spanish and became a Christian convert. Through story and legend, the Raven teaches Anunciacion about the rituals, traditions, and culture of the Coosa. He tells of how the Coosa world came to be and recounts tales of the birds and animals--real and mythical--that share that world. From these engaging conversations emerges a fascinating glimpse inside the Coosa belief system and an enhanced understanding of the native people who inhabited the ancient South.

This is Barth's most distinguished masterpiece. This modern classic is a hilarious tribute to all the most insidious human vices, with a hero who is "one of the most diverting...to roam the world since Candide." "A feast. Dense, funny, endlessly inventive (and, OK, yes, long-winded) this satire of the 18th-century picaresque novel-think Fielding's Tom Jones or Sterne's Tristram Shandy -is also an earnest picture of the pitfalls awaiting innocence as it makes its unsteady way in the world. It's the late 17th century and Ebenezer Cooke is a poet, dutiful son and determined virgin who travels from England to Maryland to take possession of his father's tobacco (or "sot weed") plantation. He is also eventually given to believe that he has been commissioned by the third Lord Baltimore to write an epic poem, The Marylandiad. But things are not always what they seem. Actually, things are almost never what they seem. Not since Candide has a steadfast soul witnessed so many strange scenes or faced so many perils. Pirates, Indians, shrewd prostitutes, armed insurrectionists - Cooke endures them all, plus assaults on his virginity from both women and men. Barth's language is impossibly rich, a wickedly funny take on old English rhetoric and American self-appraisals. For good measure he throws in stories within stories, including the funniest retelling of the Pocahontas tale -revealed to us in the "secret" journals of Capt. John Smith - that anyone has ever dared to tell." —Time Magazine

Originally published in 1845, Adventures of Captain Simon Suggs is a series of sketches written in part to parody some the campaign literature of the era. The character, Simon Suggs, with his motto, “it is good to be shifty in a new country,” fully incarnates a backwoods version of the national archetypes now know as the confidence man, the grafter, the professional flim-flam artist supremely skilled in the arts by which a man gets along in the world. This classic volume of good humor is set in the rough-and-tumble world of frontier life and politics. A Classic of the Southwestern Humor school that influenced Mark Twain, this portrait of a rascally backcountry trickster remains an engaging parody of enduring aspects of the American character.

Annotation "When these words were written everybodyhadread or heard of Simon Suggs, the shifty man whose antics had been recorded in many a gusty tale of Alabama frontier life which had drawn laughter and applause from newspaper readers throughout the United States. And everybody, at least in Alabama in the 1850s, knew something about his creator, Johnson Jones Hooper. . . . The immortal Suggs, his alter ego, has kept his name alive and renewed its luster, in a biography that deserves almost unqualified praise. Dr. Hoole'sAlias Simon Suggsis a noteworthy achievement. . . . A milestone in contemporary Alabama scholarship, it will become a standard reference work on the literary and political scene [and] as a distinguished piece of biographical writing, skillfully organized and deftly presented."--AlabamaReview

By 1888, when he was just twenty-eight, Chekhov had published a staggering 528 stories, about half of them comic. Unpretentious, lively, and inventive, these comic stories have long been affectionately regarded in Russia, but publishers in the West, overawed by the prevailing image of Chekhov as a melancholy genius, have resisted the down-to-earth humorist. This collection is the first substantial volume in English devoted solely to the comic stories. The forty stories here reveal the full range of Chekhov’s comic mastery: simple sketches, almost like verbal cartoons; outrageous parodies and stories with a comic twist; satirical and subversive pieces that foreshadow the anti-authoritarian attitudes of his later work; and excursions into the absurd that hint of his later stage dialogue. In these early comic stories Chekhov found himself as an artist. Readers unfamiliar with them may miss the countless touches of humor in the later and more famous plays and stories. Tolstoy, who disliked Chekhov’s plays, was reduced to helpless fits of laughter by his comic stories. They have a sense of fun and infectious good humor.