The memoirist seek to capture not just a self but an entire world, and in this marvelous anthology thirty-one of the South's finest writers—writers like Kaye Gibbons and Reynolds Price, Eudora Welty and Harry Crews, Richard Wright and Dorothy Allison—make their intensely personal contributions to a vibrant collective picture of southern life. In the hands of these superb artists, the South's rich tradition of storytelling is brilliantly revealed. Whether slave or master, intellectual or "redneck," each voice in this moving and unforgettable collection is proof that southern literature richly deserves its reputation for irreverent humor, exquisite language, a feeling for place, and an undying, often heartbreaking sense of the past.

In this previously untold story of African American self-education, Heather Andrea Williams moves across time to examine African Americans' relationship to literacy during slavery, during the Civil War, and in the first decades of freedom. Self-Taught traces the historical antecedents to freedpeople's intense desire to become literate and demonstrates how the visions of enslaved African Americans emerged into plans and action once slavery ended. Enslaved people, Williams contends, placed great value in the practical power of literacy, whether it was to enable them to read the Bible for themselves or to keep informed of the abolition movement and later the progress of the Civil War. Some slaves devised creative and subversive means to acquire literacy, and when slavery ended, they became the first teachers of other freedpeople. Soon overwhelmed by the demands for education, they called on northern missionaries to come to their aid. Williams argues that by teaching, building schools, supporting teachers, resisting violence, and claiming education as a civil right, African Americans transformed the face of education in the South to the great benefit of both black and white southerners.

In Composing Selves, award-winning author Peggy Whitman Prenshaw provides the most comprehensive treatment of autobiographies by women in the American South. This long-anticipated addition to Prenshaw's study of southern literature spans the twentieth century as she provides an in-depth look at the life-writing of eighteen women authors. Composing Selves travels the wide terrain of female life in the South, analyzing various issues that range from racial consciousness to the deflection of personal achievement. All of the authors presented came of age during the era Prenshaw refers to as the "late southern Victorian period," which began in 1861 and ended in the 1930s. Belle Kearney's A Slaveholder's Daughter (1900) with Elizabeth Spencer's Landscapes of the Heart and Ellen Douglas's Truth: Four Stories I Am Finally Old Enough to Tell (both published in 1998) chronologically bookend Prenshaw's survey. She includes Ellen Glasgow's The Woman Within, Marjorie Kinnan Rawlings's Cross Creek, Bernice Kelly Harris's Southern Savory, and Zora Neale Hurston's Dust Tracks on a Road. The book also examines Katharine DuPre Lumpkin's The Making of a Southerner and Lillian Smith's Killers of the Dream. In addition to exploring multiple themes, Prenshaw considers a number of types of autobiographies, such as Helen Keller's classic The Story of My Life and Anne Walter Fearn's My Days of Strength. She treats narratives of marital identity, as in Mary Hamilton's Trials of the Earth, and calls attention to works by women who devoted their lives to social and political movements, like Virginia Durr's Outside the Magic Circle. Drawing on many notable authors and on Prenshaw's own life of scholarship, Composing Selves provides an invaluable contribution to the study of southern literature, autobiography, and the work of southern women writers.

This volume aims to show how southerners have faced their post and constructed a self. The essays in this volume explore the different personal narratives and strategies southern authors have employed to channel the autobiographical impulse and give artistic expression to their anxieties, traumas and revelations, as well as their relationship with the region. With the discussion of different types of memoirs, this volume reflects not only the transformation that this sub-genre has undergone since the 1990s boom but also its flexibility as a popular form of life-writing.

"Published in association with the Georgia Humanities Council."

The different traditions that have inspired the contributors to this volume can be divided along three different orientations, one that is rooted predominantly in sociolinguistics, a second that is ethnomethodologically informed, and a third that came in the wake of narrative interview research. All three share a commitment to view self and identity not as essential properties of the person but as constituted in discursive practices and particularly in narrative. Moreover, since self and identity are held to be phenomena that are contextually and continually generated, they are defined and viewed in the plural, as selves and identities. In the attempt of moving closer toward a process-oriented approach to the formation of selves and identities, this volume sets the stage for future discussions of the role of narrative and discourse in this generation process and for how a close analysis of these processes can advance an understanding of the world around us and within this world, of identities and selves.

A sustained critical assessment of southern folk art and self-taught art and artists