John Crowe Ransom, Allen Tate, Donald Davidson, and Robert Penn Warren—each began his career as one of the coterie of southern poets centered at Vanderbilt University who attracted national attention with their publication of The Fugitive magazine in the early 1920s and the celebrated essays in I’ll Take My Stand. Collectively known as the Fugitives (or Agrarians as they were later called) they became ardent and influential participants in the regionalist-proletarian literary controversies of the Depression decades. Each of the four poets was personally concerned with the connection between their creative work and the social realities around them. In The Wary Fugitives Louis Rubin masterfully explores and illustrates the relationships between their poetry, novels, and literary criticism, and their work as social critics. He conducts, in the process, a revealing and provocative inquiry into the connection between American history and the twentieth-century South.

Anthology of the finest modern Southern poets, including Warren, Ransom, Tate, Davidson.

Previously, the protégés of John Crowe Ransom, Allen Tate, Donald Davidson, and Robert Penn Warren have received considerable scholarly attention only as individuals or in relation to small groups of close-knit writers within single literary genres. Now, for the first time, this far-ranging group of accomplished writers is united as part of a larger phenomenon, the Fugitive legacy, which has extended its influence far beyond the parameters of southern literature. In The Fugitive Legacy, Charlotte H. Beck demonstrates the strong influence of the Nashville Fugitives as teachers, editors, and mentors by examining the extraordinary impact on American letters of the critics, poets, and fiction writers whom they taught or sponsored. By treating the careers of these brilliant authors as a single chapter in literary history, Beck makes an invaluable contribution to the understanding of southern literature. The cultural importance of the Fugitives has too often been confused with the narrow politics of Agrarianism and relegated to a reactionary piety for regionalism and dead tradition. The Fugitive Legacy fills a void in southern literary theory by revealing the resounding echo of this group's voice in modern American literature.

The years after World War I saw a different sort of war in the American South, as Modernism began to contest the "New South Creed" for the allegiance of Southern intellectuals. In The War Within, Daniel Joseph Singal examines the struggle between t

The group known as the Southern Agrarians came out of Vanderbilt University in the wake of the 1925 Scopes Trial in Dayton, Tennessee. In response to attacks on the South and Southern culture, these scholars and poets-including Allen Tate, Donald Davidson, John Crowe Ransom, Robert Penn Warren, Andrew Lytle, Frank Owsley, and others-turned their attention to the defense of the South and its political tradition in numerous essays and books. Christopher Duncan's Fugitive Theory situates the Agrarians' political thought within the larger context of the Western political tradition in general and in the context of American political thought in particular. Duncan argues that the political theory of the Southern Agrarians is best understood in terms of a civic republicanism that has its roots in the thought of theorists such as Aristotle, Machiavelli, James Harrington, and Thomas Jefferson. In exploring this fascinating chapter of twentieth-century American history Duncan recovers a vision that included a commitment to private property in land, autonomy, and decentralized power-a vision that pitted itself against the call for centralization and materialism implicit in the ascendant industrial order.

As a quintessentially southern campus, Louisiana State University has logically spawned some of the most important regional scholarly studies of the twentieth century. During the campus' golden age in the 1930s, such eminent scholars as Cleanth Brooks, Robert Penn Warren, and Eric Voeglin made LSU one of the leading academic institutions in the country. It was during this period that a series called the Walter Lynwood Fleming Lectures in Southern History, named in honor of a noted scholar and researcher at LSU in the early 1900s, was created to add to the body of knowledge in the developing field of southern history.Now considered one of the most distinguished lecture series of its kind, the Fleming series has brought to the LSU campus scholars of note who have studied the South in its various aspects. Lecturers ranging from C. Vann Woodward and Lewis P. Simpson to Eric Foner and Drew Gilpin Faust have presented a wide panorama of views and methodological approaches. In this book Burl Noggle presents an informative history of the lectures from 1937 through 1990.As a member of the LSU history faculty for more than thirty years, Noggle has heard most of the Fleming lectures delivered and has participated in the selection of lecturers. He thus brings a rather special perspective to his subject -- that of an insider who has been intimately involved in the series itself -- as well as the broader understanding of a mature scholar who has devoted a substantial portion of his career to the analysis of American historiography.Noggle focuses on two aspects of the Fleming series. On one level, he discusses the history of the lectures themselves -- who lectured on what topic, why each lecturer was chose, what general historiographical trends prevailed at the time, and how each speaker's lectures were related to scholarly currents within the profession. On another level, Noggle discusses just what the lecturers said about southern history and how they contributed to, qualified, refuted, or revised existing conceptions about southern history. The Fleming Lectures, 1937--1990 is, therefore, both a history of the lecture series and an analysis of the history contained in the lectures.

In this major reconsideration of a regional consciousness, Richard Gray explores how generations of southerners have been engaged in "writing the South", in reinventing their place even as they describe it. "Humane and learned, informative and analytical, WRITING THE SOUTH is a most impressive addition to cultural inquiry".--THE LISTENER. 12 photos.