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In May 1940, Diarmuid Russell, partner in a newly-launched literary agency, wrote to a relatively unknown Eudora Welty, offering to become her agent. This elegant portrait traces Welty's development as a writer and Russell's encouragement of, and devotion to, her talent. Photographs.

"Beyond the portrait of an admirable relationship between author and agent, this work provides insight into the publishing world, the early views and prejudices toward short stories and writers from the South, the obstacles to getting published, and the individual struggles and writing habits of Welty....

-I take...an outward route, arguing that the Agrarian project was and must be seen as a willed campaign on the part of one elite to establish and control 'the South' in a period of intense cultural maneuvering. The principal organizers of I'll Take My Stand knew full well there were other 'Souths' than the one they touted; they deliberately presented a fabricated South as the one and only real thing.-

In Inventing Southern Literature Michael Kreyling casts a penetrating ray upon the traditional canon of southern literature and questions the modes by which it was created. He finds that...

In A Late Encounter with the Civil War, Michael Kreyling confronts the changing nature of our relationship to the anniversary of the war that nearly split the United States. When significant anniversaries arrive in the histories of groups such as families, businesses, or nations, their members set aside time to formally remember their shared past. This phenomenon--this social or collective memory--reveals as much about a group's sense of place in the present as it does about the events of the past. So it is with the Civil War.

As a nation, we have formally remembered two Civil...

Once, history and "the South" dwelt in close proximity. Representations of the South in writing and on film assumed everybody knew what had happened in place and time to create the South. Today, our vision of the South varies, and there is less "there there" than ever before.

In The South That Wasn't There, Michael Kreyling explores a series of literary situations in which memory and history seem to work in odd and problematic ways. Looking at Toni Morrison's masterpiece Beloved, he tests the viability of applying Holocaust and trauma studies to the poetics and politics of remembering...