Not only have a breathtaking array of musical giants come from the South—think Elvis Presley, Robert Johnson, Louis Armstrong, Jimmie Rodgers, to name just obvious examples—but so have a breathtaking array of American music genres. From blues to rock & roll to jazz to country to bluegrass—and areas in between—it all started in the American South. Since its debut in 1996, The Oxford American's more-or-less annual Southern Music Issue has become legendary for its passionate and wide-ranging approach to music and for working with some of America's greatest writers. These writers—from Peter Guralnick to Nick Tosches to Susan Straight to William Gay—probe the lives and legacies of Southern musicians you may or may not yet be familiar with, but whom you'll love being introduced, or reintroduced, to. In one creative, fresh way or another, these writers also uncover the essence of music—and why music has such power over us. To celebrate ten years of Southern music issues, most of which are sold-out or very hard to find, the fifty-five essays collected in this dynamic, wide-ranging, and vast anthology appeal to both music fans and fans of great writing.

This volume offers a survey of American short fiction in 59 tales that combine classic works with 'different, unexpected gems', which invite readers to explore a wealth of important pieces by women and minority writers. Authors include: Amy Tan, Alice Adams, David Leavitt and Tim O'Brien.

A collection of wide-ranging film reviews and journalism from a beloved Nashville writer

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

"A sumptuous selection of short fiction and poetry. . . . Its invitation to share the passion of women's voices characterizes the entire volume."--"USA Today."

From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting.

Voices from Louisiana provides thoughtful, timely profiles of some of the state’s most highly regarded and popular contemporary authors. Readers interested in Louisiana’s rich literary tradition will appreciate these evocative essays on writers whose works emanate from the cultures and landscapes of the Gulf South. Ann Brewster Dobie explores the works of eleven well-known authors and concludes with a look at several emerging talents. These writers work in a broad range of genres, from coming-of-age stories and historical narratives that recover the voices of silenced and oppressed peoples, to crime thrillers set in New Iberia and New Orleans, to poetic invocations of the natural world and narratives capturing the realities of working-class lives. Whether native to the state or transplants, these writers produce works that reflect the vibrant culture that defines the intricate literary landscape of the Pelican State. Dobie highlights the careers of Darrell Bourque, James Lee Burke, Ernest Gaines, Tim Gautreaux, Shirley Ann Grau, Greg Guirard, William Joyce, Julie Kane, Tom Piazza, Martha Serpas, and James Wilcox. Newcomers also profiled include Wiley Cash, Ashley Mace Havird, Anne L. Simon, Katy Simpson Smith, Ashley Weaver, Steve Weddle, and Ken Wheaton.