Drawing from recent debates about the validity of regional studies and skepticism surrounding the efficacy of the concept of authenticity, Clare Chadd’s Postregional Fictions focuses on questions of southern regional authenticity in fiction published by Barry Hannah from 1972 to 2001. The first monograph on the Mississippi author’s work to appear since his death, this study considers the ways in which Hannah’s novels and short stories challenge established conceptual understandings of the U.S. South. Hannah’s writing often features elements of metafiction, through which the putative sense of “southernness” his stories dramatize is complicated by an intense self-reflexivity about the extent to which a sense of place has never been foundational or essential but has always been constructed and performed. Such texts locate a productive terrain between the local and the global, with particular relevance for critical apprehensions of the post-South and postsouthern literature. Offering sustained close readings of selected stories, and focusing especially on Hannah’s late work, Chadd argues that his fiction reveals the region constantly shifting in a process of mythmaking, dialogue, and performance. In turn, she uses Hannah’s work to suggest how notions of the “South” and “southernness” might survive the various deconstructive approaches leveled against them in recent decades of southern studies scholarship. Rather than seeing an impasse between the regional and the global, Chadd’s reading of Hannah shows the two existing and flourishing in tandem. In Postregional Fictions, Chadd offers a new interpretation of Hannah based on an appreciation of the vital intersection of southern and postmodern elements in his work.
Drawing from recent debates about the validity of regional studies and skepticism surrounding the efficacy of the concept of authenticity, Clare Chadd’s Postregional Fictions focuses on questions of southern regional authenticity in fiction published by Barry Hannah from 1972 to 2001. The first monograph on the Mississippi author’s work to appear since his death, this study considers the ways in which Hannah’s novels and short stories challenge established conceptual understandings of the U.S. South. Hannah’s writing often features elements of metafiction, through which the putative sense of “southernness” his stories dramatize is complicated by an intense self-reflexivity about the extent to which a sense of place has never been foundational or essential but has always been constructed and performed. Such texts locate a productive terrain between the local and the global, with particular relevance for critical apprehensions of the post-South and postsouthern literature. Offering sustained close readings of selected stories, and focusing especially on Hannah’s late work, Chadd argues that his fiction reveals the region constantly shifting in a process of mythmaking, dialogue, and performance. In turn, she uses Hannah’s work to suggest how notions of the “South” and “southernness” might survive the various deconstructive approaches leveled against them in recent decades of southern studies scholarship. Rather than seeing an impasse between the regional and the global, Chadd’s reading of Hannah shows the two existing and flourishing in tandem. In Postregional Fictions, Chadd offers a new interpretation of Hannah based on an appreciation of the vital intersection of southern and postmodern elements in his work.
Grace Tynan's life is terrifyingly planned: her career in real estate, the school car pool, her marriage to a man with seven alarm clocks. But after a dreadlocked dropout called Adam knocks the side mirror off her BMW, her friends start noticing alarming changes. Has Grace become a Rainbow Warrior?
For Nan, on the threshold of puberty, and her younger sister Mary, innocence blends uneasily with the trials of convent life and a shadowy knowledge of the facts of life. For their mother, buffeted by the whims of her tyrannical, unreliable husband, the days take on an unreal, dreamlike quality. And while Nellie, the Dickensian maid with a dubious past, regales the children with tales of her antics, home becomes a haven to a stream of unwelcome guests - as the dangerous depths of the adult world loom ever closer...
When aristocratic Englishwoman Elinore Dubois married a handsome young Irishman, her mother warned her that he would give her ten children and leave her destitute. In fact there are only nine Devlins, but in a two-roomed Dublin tenement, Elinore vents her disappointment on her seven daughters and in particular, on beautiful Daisy, whose refusal to accept the grim realities of her life infuriates Mama - and masks the tragic secret of her childhood. Set in Dublin at the turn of the century, Home Rule is a vivid and poignant portrait of a family of spirited girls at the disposal of men and mothers and a celebration of the humourless life force that sustains them. This is the sequel to HOLY PICTURES.
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