Writing the South through the Self


Book Description

Drawing on two decades of teaching a college-level course on southern history as viewed through autobiography and memoir, John C. Inscoe has crafted a series of essays exploring the southern experience as reflected in the life stories of those who lived it. Constantly attuned to the pedagogical value of these narratives, Inscoe argues that they offer exceptional means of teaching young people because the authors focus so fully on their confrontations—as children, adolescents, and young adults—with aspects of southern life that they found to be troublesome, perplexing, or challenging. Maya Angelou, Rick Bragg, Jimmy Carter, Bessie and Sadie Delany, Willie Morris, Pauli Murray, Lillian Smith, and Thomas Wolfe are among the more prominent of the many writers, both famous and obscure, that Inscoe draws on to construct a composite portrait of the South at its most complex and diverse. The power of place; struggles with racial, ethnic, and class identities; the strength and strains of family; educational opportunities both embraced and thwarted—all of these are themes that infuse the works in this most intimate and humanistic of historical genres. Full of powerful and poignant stories, anecdotes, and testimonials, Writing the South through the Self explores the emotional and psychological dimensions of what it has meant to be southern and offers us new ways of understanding the forces that have shaped southern identity in such multifaceted ways.




Writing the South Through the Self


Book Description

"Published in association with the Georgia Humanities Council."




Writing Self, Writing Empire


Book Description

A free ebook version of this title is available through Luminos, University of California Press’s new open access publishing program for monographs. Visit www.luminosoa.org to learn more. Writing Self, Writing Empire examines the life, career, and writings of the Mughal state secretary, or munshi, Chandar Bhan “Brahman” (d. c.1670), one of the great Indo-Persian poets and prose stylists of early modern South Asia. Chandar Bhan’s life spanned the reigns of four different emperors, Akbar (1556-1605), Jahangir (1605-1627), Shah Jahan (1628-1658), and Aurangzeb ‘Alamgir (1658-1707), the last of the “Great Mughals” whose courts dominated the culture and politics of the subcontinent at the height of the empire’s power, territorial reach, and global influence. As a high-caste Hindu who worked for a series of Muslim monarchs and other officials, forming powerful friendships along the way, Chandar Bhan’s experience bears vivid testimony to the pluralistic atmosphere of the Mughal court, particularly during the reign of Shah Jahan, the celebrated builder of the Taj Mahal. But his widely circulated and emulated works also touch on a range of topics central to our understanding of the court’s literary, mystical, administrative, and ethical cultures, while his letters and autobiographical writings provide tantalizing examples of early modern Indo-Persian modes of self-fashioning. Chandar Bhan’s oeuvre is a valuable window onto a crucial, though surprisingly neglected, period of Mughal cultural and political history.




A Self Made of Words


Book Description

Confident or fretful, solemn or sassy, tough or tender, casual or formal: the self you project in writing—your persona—is the byproduct of numerous decisions you make about what to say and how to say it. Though any single word or phrase or sentence might make little difference within the scope of an entire essay or book, collectively they create an impression of who you are or seem to be—an impression that’s sure to influence how readers respond to your work. Thus it’s essential to take charge of how you come across on the page, to craft an appropriate persona for whatever you’re writing, whether it’s a personal essay, a blog, a technical report, a letter to the editor, or a memoir. In this wise and ingenious little guide, noted essayist Carl Klaus shows you how to adapt your self to the needs of such varied nonfiction, by varying his own persona to illustrate the distinctive effect produced by each aspect and element of writing. Klaus divides his book into two parts: first, an introduction to the nature and function of a persona, then a survey of the most important elements of writing that contribute to the character of a persona, from point of view and organization to diction and sentence structure. Both parts contain exercises that will give you practice in developing a persona of your choice. Challenging and stimulating, each of his exercises focuses on a distinctly different aspect of composition and style, so as to help you develop the skills of a versatile and personable writer. By focusing on the most important ways of projecting your self in nonfiction prose, you can learn to craft a distinctive self in your writing.




Just South of Home


Book Description

A Kirkus Reviews Best Middle Grade Book of 2019 “A stirring Southern middle grade book that burns brighter than fireworks on the Fourth.” —Kirkus Reviews (starred review) “A must for readers who appreciate a heartfelt mystery.” —Booklist (starred review) “An intricate mix of Southern mystery, history, and a ghost story that creeps but doesn’t scare.” —School Library Journal (starred review) Cousins Sarah and Janie unearth a tragic event in their small Southern town’s history in this witty middle grade novel that’s perfect for fans of Stella by Starlight, The Ghosts of Tupelo Landing, and As Brave as You. Twelve-year-old Sarah is finally in charge. At last, she can spend her summer months reading her favorite science books and bossing around her younger brother, Ellis, instead of being worked to the bone by their overly strict grandmother, Mrs. Greene. But when their cousin, Janie arrives for a visit, Sarah’s plans are completely squashed. Janie has a knack for getting into trouble and asks Sarah to take her to Creek Church: a landmark of their small town that she heard was haunted. It’s also off-limits. Janie’s sticky fingers lead Sarah, Ellis, and his best friend, Jasper, to uncover a deep-seated part of the town’s past. With a bit of luck, this foursome will heal the place they call home and the people within it they call family.




Still Writing


Book Description

This national bestseller from celebrated novelist and memoirist Dani Shapiro is an intimate and eloquent companion to living a creative life. Through a blend of memoir, meditation on the artistic process, and advice on craft, Shapiro offers her gift to writers everywhere: a guide of hard-won wisdom and advice for staying the course. In the ten years since the first edition, Still Writing has become a mainstay of creative writing classes as well as a lodestar for writers just starting out, and above all, an indispensable almanac for modern writers.




The Roots of Southern Writing


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The Writing Experiment


Book Description

'A systematic and engaging approach to creative writing' - Carla Harryman, Wayne State University By suggesting that students who are not born poets can yet learn to become good ones, Smith performs a very important service.' - Professor Susan M. Schultz, University of Hawaii This is an impressive book, because it covers areas of creative writing practice and theory that have not been covered in published form It links radical practice with radical (but better-known) theory, and will appeal to anyone looking for a different approach ' - Robert Sheppard, Edge Hill College of Higher Education, UK The Writing Experiment demystifies the process of creative writing, showing that successful work does not arise from talent or inspiration alone. Hazel Smith breaks down writing into incremental stages, revealing processes that are often unconscious or unacknowledged, and shows how they can become part of a systematic writing strategy. The book encourages writers to take an explorative and experimental approach to their work. It relates practical strategies for writing to major twentieth century literary and cultural movements, including postmodernism. Suitable for both beginners and experienced writers, The Writing Experiment covers many genres including fiction, poetry, writing for performance and new media. Each chapter is illustrated with extensive examples of both student work and published writing, and challenging exercises offer writers at all levels opportunities to develop their skills.




Why I Write


Book Description

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




Autotheory as Feminist Practice in Art, Writing, and Criticism


Book Description

Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.