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 story of three young provincials of no great heritage who together helped to destroy a way of life and, in the process, destroyed themselves: Camille Desmoulins, bisexual and beautiful, charming, erratic, untrustworthy; Georges Jacques Danton, hugely but erotically ugly, a brilliant pragmatist who knew how to seize power and use it; and Maximilien Robespierre, "the rabid lamb," who would send his dearest friend to the guillotine. Each, none older than thirty-four, would die by the hand of the very revolution he had helped to bring into being.

AN INSTANT NEW YORK TIMES BESTSELLER • NATIONAL BOOK AWARD “5 UNDER 35” NOMINEE • NEW YORK’S “ONE BOOK, ONE NEW YORK” PICK Named One of the Best Books of the Year: Washington Post • NPR • People • Refinery29 • Parade • BuzzFeed “Mirza writes with a mercy that encompasses all things.”—Ron Charles, Washington Post Hailed as “a book for our times” (Christiane Amanpour), A Place for Us is a deeply moving and resonant story of love, identity, and belonging. As an Indian wedding gathers a family back together, parents Rafiq and Layla must reckon with the choices their children have made. There is Hadia: their headstrong, eldest daughter, whose marriage is a match of love and not tradition. Huda, the middle child, determined to follow in her sister’s footsteps. And lastly, their estranged son, Amar, who returns to the family fold for the first time in three years to take his place as brother of the bride. What secrets and betrayals have caused this close-knit family to fracture? Can Amar find his way back to the people who know and love him best? A Place for Us takes us back to the beginning of this family’s life: from the bonds that bring them together, to the differences that pull them apart. All the joy and struggle of family life is here, from Rafiq and Layla’s own arrival in America from India, to the years in which their children—each in their own way—tread between two cultures, seeking to find their place in the world, as well as a path home. A Place for Us is a book for our times: an astonishingly tender-hearted novel of identity and belonging, and a resonant portrait of what it means to be an American family today. It announces Fatima Farheen Mirza as a major new literary talent.

New essays engaging with the developing field of literary geography to devote attention to the "regional" settings of Munro's stories and how they affect her characters' development or stasis.

Much like her highly acclaimed One Writer's Beginnings, The Eye of the Story offers Eudora Welty's invaluable meditations on the art of writing. In addition to seven essays on craft, this collection brings together her penetrating and instructive commentaries on a wide variety of individual writers, including Jane Austen, E. M. Forster, Willa Cather, Anton Chekhov, William Faulkner, and Virginia Woolf.

Since the 1840s, when Victorian England emerged into the modern era and industrial cities became the new cultural centers, regionalist literature has posited itself as an aesthetic alternative to nationalist culture. Yet what differentiates regionalism's claims of authenticity, derived from blood and soil, from those of nationalism? Through close readings and theoretical elaborations, Roberto M. Dainotto reveals the degree to which regionalism mimics nationalism in valorizing ethnic purity. He interprets regionalism not as a genre in the pastoral tradition but as a rhetorical trope, a way of reading in which regionalism figures as the "other" against a historical process that disrupts the organic wholeness of place. Dainotto traces the genealogy of the idea of place in literature, examining European texts from Victorian England to Fascist Italy. He finds, for example, in Thomas Hardy's The Return of the Native a virtual thesaurus of regionalist commonplaces. Elizabeth Gaskell's North and South mediates between Madame de Stal's privileging of the sophisticated north and Jean-Jacques Rousseau's nostalgia for the naive south. The regionalism of the Sicilian philosopher Giovanni Gentile exhibits a deep longing for the humanities as they define Italy and Western culture. Dainotto concludes with a close look at the rhetoric of Nazism and Fascism, dramatizing the convergence of regionalist aesthetics and nationalist ideology in Italy and Germany between the two World Wars.