The thirteen essays in Southwords, written by and about some of the country's top writers, celebrate the diversity of South Australia's literary past and present, confront uneasy questions, and entertain and delight in their explorations of South Australia's contributions to Australian and global literature.

"They say I'm a Yankee -- but if wanting peace is Yankee -- then I am one. I am tired of Disunion of husband & wife." In 1858, nineteen-year-old Priscilla "Mittie" Munnikhuysen began a new diary that saw her marry, leave her family in the genteel Protestant seaboard culture of Chesapeake Bay, and take up residence with her wealthy husband, Howard Bond, in the frontier plantation society of Catholicsouth Louisiana. By 1865, Priscilla Bond had witnessed trials and disillusionments enough to fill a two-volume journal: her father-in-law's brutality toward his slaves; her husband's alleged ambush of Union soldiers and subsequent flight from home; the retaliatory burning of the family's sugar plantation in Houma; and the losses, horrors, and daily depredations of war.Published here for the first time, with extensive notes and a critical introduction by Kimberly Harrison, Bond's intimate writings illuminate the Civil War's impact on women, families, and individual identities. Occasionally Bond records her experiences for the benefit of later readers, but more often she uses her diary to carve a space and time for self-reflection, self-instruction, and self-persuasion. Nineteenth-century women's lives were defined by their relation to others -- as wife, mother, daughter, and sister -- and keeping a diary allowed Bond to claim time for herself. It served as a rhetorical tool that helped motivate her to conform to contemporary standards of "true womanhood," adapt to a harsh new environment, and survive the collapse of a civilization. Harrison's interpretive commentary enables readers to appreciate the context within which Bond writes even as entries about everything from marital anguish to in-law difficulties to religious struggles to failing health bring Priscilla Bond uniquely and movingly to life. Her diary, deftly cross-referenced with numerous letters, adds a valuable and enriching layer of complexity to the larger story of the Civil War home front.

This anthology of eight short stories and eight narrative essays depicts diverse facets of the South Asian experience in the American South. Some of them relate to the proverbial longing for what the immigrants have left behind, while the others spotlight the immigrants’ struggles to reconcile with realities they did not sign up for. In Chaitali Sen’s “The Immigrant,” Dhruv is unable to talk about a lost boy because he feels “as if he were trapping the boy with his story,” as if the lost boy’s story were his own story of getting lost in a foreign country. In Hasanthika Sirisena’s “Pine,” a Christmas tree becomes more than “only a pine tree with decorations thrown on it” when Lakshmi’s ex-husband lets her know he is converting to Christianity “to get ahead in this country.” Aruni Kashyap’s “Nafisa Ali’s Life, Love, and Friendships, Before and after the Travel Ban” tell a post-2016 immigrant story in which love is baffling. In “Gettysburg,” Kirtan Nautiyal asks, how does an immigrant become part of the new country’s history? Soniah Kamal’s essay “Writing the Immigrant Southern in the New New South” reflects on what it means to be an immigrant writer and if one can write from two places at once. Together, the stories and essays in the anthology compose a mosaic of South Asian lived experiences in the American South.