This hilarious send-up of outlandish Southern characters includes a beautician, a luncheonette waitress, a radio evangelist, the widow of a gas and oil distributror and the residents of a fictional mobile home park in Arkansas as they find uproarious ways to enjoy life, needle each other, and remember the dear-departed. 

As commissioner of the Arkansas Department of Education from 1953 to 1978, Arch Ford served under five governors. His vision was to expand educational opportunities because he believed education was the foundation for improving people’s lives. Throughout his career, he campaigned for increased educational funding, better-qualified teachers, and higher teachers’ salaries. Ford helped lead the state in peacefully integrating its schools and established twenty-three vocational-technical schools across the state. During Ford’s tenure, the Arkansas Children’s Colony was established to provide educational services to the developmentally disabled, and the Arkansas Educational Television Network was set up to provide instructional programming across the state.

The state also expanded educational opportunities to include kindergarten, special education, community colleges, and adult education. His leadership left Arkansas with a strong educational system that continued to advance. This was his legacy.

William Gilmore Simms’s (1806–1870) body of work, a sweeping fictional portrait of the colonial and antebellum South in all its regional diversity, with its literary and intellectual issues, is probably more comprehensive than any other nineteenth-century southern author. Simms’s career began with a short novel, Martin Faber, published in 1833. This Gothic tale is reminiscent of James Hogg’s Confessions of a Sinner and was written four years before Edgar Allan Poe’s “William Wilson.” Narrated in the first person, it is considered a pioneering examination of criminal psychology. Martin seduces then murders Emily so that he might marry another woman, Constance. Martin confesses to his friend and is killed after attempting to stab Constance when she visits him in jail. The book was immediately successful and was well received by the northern media, thus starting Simms’s successful career as a writer, one that would rank him as the only major southern literary figure besides Poe before the Civil War. As with other volumes in the Arkansas Edition of Simms’s work, this volume includes a critical introduction by the editor and a Simms chronology, as well as appendices dealing with textual matters. This edition also includes Simms’s 1829 story, “Confessions of a Murderer,” which was the germ for his first book of fiction.

At the First Baptist Church of Maeby, Arkansas, the sins of the child belonged to the parents until the child turned thirteen. Sarah Jones was only eight years old in the summer of 1964, but with her mother Esther Mae on eight prayer lists and flipping around town with the generally mistrusted civil rights organizers, Sarah believed it was time to get baptized and take responsibility for her own sins. That would mean sitting on the mourner’s bench come revival, waiting for her sign, and then testifying in front of the whole church.

But first, Sarah would need to navigate the growing tensions of small-town Arkansas in the 1960s. Both smarter and more serious than her years (a “fifty-year-old mind in an eight-year-old body,” according to Esther), Sarah was torn between the traditions, religion, and work ethic of her community and the progressive civil rights and feminist politics of her mother, who had recently returned from art school in Chicago. When organizers from the Student Non-Violent Coordinating Committee (SNCC) came to town just as the revival was beginning, Sarah couldn’t help but be caught up in the turmoil. Most folks just wanted to keep the peace, and Reverend Jefferson called the SNCC organizers “the evil among us.” But her mother, along with local civil rights activist Carrie Dilworth, the SNCC organizers, Daisy Bates, attorney John Walker, and indeed most of the country, seemed determined to push Maeby toward integration.

With characters as vibrant and evocative as their setting, Mourner’s Bench is the story of a young girl coming to terms with religion, racism, and feminism while also navigating the terrain of early adolescence and trying to settle into her place in her family and community.

Single parent families in the United States have almost tripled in the past few decades. A huge majority of these families are female headed. In American culture it is not so important that we all be equal so much as it is that we all have equal opportunities. Yet sometimes we turn a blind eye to those who need us most. In fact, when it comes to single parent families, it is as if the barriers are too great, the issues too complex. We wind up reducing the debate to its lowest common denominator. Ironically, it is the families who are most affected that get tangled in the political barbed wire and hidden behind numbing statistics. Moreover, community responses, those small grassroots organizations who care deeply and give whole-heartedly are seldom celebrated, seldom recognized for their empowering efforts. Moving Up and Out focuses on just such a program, the Arkansas Single Parent Scholarship Fund, which has since 1984 provided scholarships for single parents interested in obtaining their post-secondary education. In this story of a highly successful nonprofit, Lori Holyfield (herself a recipient of a scholarship) draws upon the voices of single parents to consider the barriers and struggles faced as they attempt to obtain secondary education and change the lives of both themselves and their children. The help this program has brought to Arkansas residents is needed throughout the country.

In the 1920s Genevieve Sadler left her home in California for what she thought would be a short visit to the Arkansas farm where her husband grew up. The visit lasted seven years, and Sadler’s life was changed forever in the time she spent among the cotton farms near Dardanelle in Yell County, Arkansas, on the eve of the Great Depression. Based on her long and detailed letters to her mother, she wrote this engaging memoir with its rich portrait of a small town and its inhabitants, many of whom were poor cotton farmers working on shares.