The fiction of Doris Betts, Barry Hannah, Cormac McCarthy, Madison Smartt Bell, Richard Ford, Rick Bass, Barbara Kingsolver, Chris Offutt, Frederick Barthelme, Dorothy Allison, and Clyde Edgerton, among others, challenges long-standing definitions of Southern fiction and regional identity and reconfigures the myths of the West that have shaped American life." "In Remapping Southern Literature, Brinkmeyer proposes that today's Southern writers are not by this shift abandoning Southern culture but are instead expanding its reach by seeking to balance the ideals of the South and West."--BOOK JACKET.

Contributions by Destiny O. Birdsong, Jean W. Cash, Kevin Catalano, Amanda Dean Freeman, David Gates, Richard Gaughran, Rebecca Godwin, Joan Wylie Hall, Dixon Hearne, Phillip Howerton, Emily D. Langhorne, Shawn E. Miller, Melody Pritchard, Nick Ripatrazone, Bes Stark Spangler, Scott Hamilton Suter, Melanie Benson Taylor, Jay Varner, and Scott D. Yarbrough Twenty-First-Century Southern Writers: New Voices, New Perspectives, an anthology of critical essays, introduces a new group of fiction writers from the American South. These fresh voices, like their twentieth-century predecessors, examine what it means to be a southerner in the modern world. These writers’ works cover wide-ranging subjects and themes: the history of the region, the continued problems of the working-class South, the racial divisions that have continued, the violence of the modern world, and the difficulties of establishing a spiritual identity in a modern context. The approaches and styles vary from writer to writer, with realistic, place-centered description as the foundation of many of their works. They have also created new perspectives regarding point of view, and some have moved toward the inclusion of “magic realism” and even science fiction in their work. The nineteen essays in Twenty-First-Century Southern Writers feature a handful of fiction writers who are already well known, such as National Book Award–winner Jesmyn Ward, Tayari Jones, Michael Farris Smith, and Inman Majors. Others deserve greater recognition, and, in many cases, works in this anthology will be the first pieces of analysis dedicated to writers and their work. Twenty-First-Century Southern Writers aims to alert scholars of southern literature, as well as the reading public, to an exciting and varied group of writers, while laying a foundation for future examination of these works.

For generations, southern novelists and critics have grappled with a concept that is widely seen as a trademark of their literature: a strong attachment to geography, or a "sense of place." In the 1930s, the Agrarians accorded special meaning to rural life, particularly the farm, in their definitions of southern identity. For them, the South seemed an organic and rooted region in contrast to the North, where real estate development and urban sprawl evoked a faceless, raw capitalism. By the end of the twentieth century, however, economic and social forces had converged to create a modernized South. How have writers responded to this phenomenon? Is there still a sense of place in the South, or perhaps a distinctly postsouthern sense of place? Martyn Bone innovatively draws upon postmodern thinking to consider the various perspectives that southern writers have brought to the concept of "place" and to look at its fate in a national and global context. He begins with a revisionist assessment of the Agrarians, who failed in their attempts to turn their proprietary ideal of the small farm into actual policy but whose broader rural aesthetic lived on in the work of neo-Agrarian writers, including William Faulkner and Eudora Welty. By the 1950s, adherence to this aesthetic was causing southern writers and critics to lose sight of the social reality of a changing South. Bone turns to more recent works that do respond to the impact of capitalist spatial development on the South -- and on the nation generally -- including that self-declared "international city" Atlanta. Close readings of novels by Robert Penn Warren, Walker Percy, Richard Ford, Anne Rivers Siddons, Tom Wolfe, and Toni Cade Bambara illuminate evolving ideas about capital, land, labor, and class while introducing southern literary studies into wider debates around social, cultural, and literary geography. Bone concludes his remarkably rich book by considering works of Harry Crews and Barbara Kingsolver that suggest the southern sense of place may be not only post-Agrarian or postsouthern but also transnational.

The literature of the contemporary South might best be understood for its discontinuity with the literary past. At odds with traditions of the Southern Renascence, southern literature of today sharply refutes the Nashville Agrarians and shares few of Faulkner's and Welty's concerns about place, community, and history. This sweeping study of the literary South's new direction focuses on nine well established writers who, by breaking away from the firmly ensconced myths, have emerged as an iconoclastic generation- -- Harry Crews, Dorothy Allison, Bobbie Ann Mason, Larry Brown, Kaye Gibbons, Randall Kenan, Richard Ford, Cormac McCarthy, and Barry Hannah. Resisting the modernist methods of the past, they have established their own postmodern ground beyond the shadow of their predecessors. This shift in authorial perspective is a significant indicator of the future of southern writing. Crews's seminal role as a ground-breaking "poor white" author, Mason's and Crews's portrayals of rural life, and Allison's and Brown's frank portrayals of the lower class pose a challenge to traditional depictions of the South. The dissenting voices of Gibbons and Kenan, who focus on gender, race, and sexuality, create fiction that is at once identifiably "southern" and also distinctly subversive. Gibbons's iconoclastic stance toward patriarchy, like the outsider's critique of community found in Kenan's work, proffers a portrait of the South unprecedented in the region's literature. Ford, McCarthy, and Hannah each approach the South's traditional notions of history and community with new irreverence and treat familiar southern topics in a distinctly postmodern manner. Whether through Ford's generic consumer landscape, the haunted netherworld of McCarthy's southern novels, or Hannah's riotous burlesque of the Civil War, these authors assail the philosophical and cultural foundations from which the Southern Renascence arose. Challenging the conventional conceptions of the southern canon, this is a provocative and innovative contribution to the region's literary study.

Contributions by Julie Cantrell, Katherine Clark, Susan Cushman, Jim Dees, Clyde Edgerton, W. Ralph Eubanks, John M. Floyd, Joe Formichella, Patti Callahan Henry, Jennifer Horne, Ravi Howard, Suzanne Hudson, River Jordan, Harrison Scott Key, Cassandra King, Alan Lightman, Sonja Livingston, Corey Mesler, Niles Reddick, Wendy Reed, Nicole Seitz, Lee Smith, Michael Farris Smith, Sally Palmer Thomason, Jacqueline Allen Trimble, M. O. Walsh, and Claude Wilkinson The South is often misunderstood on the national stage, characterized by its struggles with poverty, education, and racism, yet the region has yielded an abundance of undeniably great literature. In Southern Writers on Writing, Susan Cushman collects twenty-six writers from across the South whose work celebrates southern culture and shapes the landscape of contemporary southern literature. Contributors hail from Mississippi, Alabama, Louisiana, Tennessee, Georgia, South Carolina, North Carolina, Virginia, and Florida. Contributors such as Lee Smith, Michael Farris Smith, W. Ralph Eubanks, and Harrison Scott Key, among others, explore issues like race, politics, and family and the apex of those issues colliding. It discusses landscapes, voices in the South, and how writers write. The anthology is divided into six sections, including “Becoming a Writer;” “Becoming a Southern Writer;” “Place, Politics, People;” “Writing about Race;” “The Craft of Writing;” and “A Little Help from My Friends.”

"The concept of masculinity has had a profound influence on modern gay-written and gay-themed American Southern literature. Much of the fiction and drama of three important contemporary writers - Tennessee Williams, Charles Nelson, and Reynolds Price - has been shaped by the cultural dynamics of the Southern tradition of codified definitions and parameters of masculinity. This regional approach to literature also serves as critically protective, maintaining its focus in an effort to avoid essentializing experience and identity. Gay Men in Modern Southern Literature will be a valuable asset in the study of gender construction, literary theory, and modern American Southern writing."--Publisher's website.

Since the early 1970s southern fiction has been increasingly attentive to social issues, including the continuing struggles for racial justice and gender equality, the loss of a sense of social community, and the decline of a coherent regional identity. The essays in The World Is Our Home focus on writers who have explicitly addressed social and cultural issues in their fiction and drama, including Dorothy Allison, Horton Foote, Ernest J. Gaines, Jill McCorkle, Walker Percy, Lee Smith, William Styron, Alice Walker, and many others. The contributors provide valuable insights into the transformation of southern culture over the past thirty years and probe the social and cultural divisions that persist. The collection makes an important case for the centrality of social critique in contemporary southern fiction.