In Mainstreaming Fundamentalism: John R. Rice and Fundamentalism’s Public Reemergence, Keith Bates embarks on a thematic and chronological exploration of twentieth-century Baptist fundamentalism in postwar America, sharing the story of a man whose career intersected with many other leading fundamentalists of the twentieth century, such as J. Frank Norris, Bob Jones Sr., Bob Jones Jr., and Jerry Falwell.
Unique among histories of American fundamentalism, this book explores the theme of Southern fundamentalism’s reemergence through a biographical lens. John R. Rice’s mission to inspire a broad cultural activism within fundamentalism—particularly by opposing those who fostered an isolationist climate—would give direction and impetus to the movement for the rest of the twentieth century. To support this claim, Bates presents chapters on Rice’s background and education, personal and ecclesiastical separatism, and fundamentalism and political action, tracing his rise to leadership during a critical phase of fundamentalism’s development until his death in 1980.
Bates draws heavily upon primary source texts that include writings from Rice’s fundamentalist contemporaries, his own The Sword of the Lord articles, and his private papers—particularly correspondence with many nationally known preachers, local pastors, and laypeople over more than fifty years of Rice’s ministry. The incorporation of these writings, combined with Bates’s own conversations with Rice’s family, facilitate a deeply detailed, engaging examination that fills a significant gap in fundamentalist history studies.
Mainstreaming Fundamentalism: John R. Rice and Fundamentalism’s Public Reemergence provides a nuanced and insightful study that will serve as a helpful resource to scholars and students of postwar American fundamentalism, Southern fundamentalism, and Rice’s contemporaries.
"In this insightful analysis of representations of mammy, Wallace-Sanders skillfully illustrates how this core icon of Black womanhood has figured prominently in upholding hierarchies of race, gender, and class in the United States. Far from being a timeless, natural, benign image of domesticity, the idealized mammy figure was repeatedly reworked to accommodate varying configurations of racial rule. No one reading this book will be able to see Gone with the Wind in the same way ever again."
---Patricia Hill Collins, University of Maryland
"Kimberly Wallace-Sanders' interdisciplinary approach is first-rate. This expansive and engaging book should appeal to students and scholars in American studies, African American studies, and women's studies."
---Thadious Davis, The University of Pennsylvania
Her cheerful smile and bright eyes gaze out from the covers of old cookbooks, song sheets, syrup bottles, salt and pepper shakers, and cookie jars, and she has long been a prominent figure in fiction, film, television, and folk art. She is Mammy, a figure whose provocative hold on the American psyche has persisted since before the Civil War.
But who is Mammy, and where did she come from? Her large, dark body and her round smiling face tower over our imaginations to such an extent that more accurate representations of African American women wither in her shadow. Mammy's stereotypical attributes---a sonorous and soothing voice, raucous laugh, infinite patience, self-deprecating wit, and implicit acceptance of her own inferiority and her devotion to white children---all point to a long-lasting and troubled confluence of racism, sexism, and southern nostalgia.
This groundbreaking book traces the mammy figure and what it has symbolized at various historical moments that are linked to phases in America's racial consciousness. The author shows how representations of Mammy have loomed over the American literary and cultural imagination, an influence so pervasive that only a comprehensive and integrated approach of this kind can do it justice.
The book's many illustrations trace representations of the mammy figure from the nineteenth century to the present, as she has been depicted in advertising, book illustrations, kitchen figurines, and dolls. The author also surveys the rich and previously unmined history of the responses of African American artists to the black mammy stereotype, including contemporary reframings by artists Betye Saar, Michael Ray Charles, and Joyce Scott.
Kimberly Wallace-Sanders is Associate Professor of the Graduate Institute of Liberal Arts and Women's Studies at Emory University. She is editor of Skin Deep, Spirit Strong: The Black Female Body in American Culture.
Dr. Martin Luther King Jr. is as relevant today as he was when he led civil rights campaigns in the 1950s and 1960s. He was an agent and a prophet of political change in this country, and the election of President Barack Obama is his direct legacy.
Now from one of Britain's most experienced political observers comes a new, accessible biography of the man and his works. The story of King is dramatic, and Godfrey Hodgson presents it with verve, clarity, and acute insight based in part on his own reporting on-scene at the time. He interviewed King half a dozen times or more; heard his speech at the March on Washington; was in Birmingham, Selma and Chicago; and met many of the characters in King's life story. Martin Luther King combines the best of his own reporting, plus the work of other biographers and researchers, to trace the iconic civil rights leader's career from his birth in Atlanta in 1929, through the campaigns that made possible the Civil Rights Act of 1964 and the Voting Rights Act of 1965, to his assassination in Memphis in 1968. Hodgson sheds light on every aspect of an extraordinary life: the Black Baptist culture in which King grew up, his theology and political philosophy, his physical and moral courage, his insistence on the injustice of inequality, his campaigning energy, his repeated sexual infidelities.
Hodgson describes the political minefield in which King operated; follows how he gradually persuaded President Kennedy that he could not stand by and allow the civil rights movement to be frustrated; and describes how, on the verge of success, his career was threatened by President Johnson's anger at King's principled decision to come out against the Vietnam War. He also puts King's career into the context of American history in the crisis of the 1960s. In his life, King was frustrated; but in death, he has been triumphant.
Martin Luther King allows the charisma and power of King's personality to shine through, showing in gripping narrative style exactly how one man helped America to progress toward its truest ideals. Hodgson's extensive research and detail help paint an accurate, complex portrait of one of America's most important leaders.
Godfrey Hodgson has worked in Britain and America as a newspaper and magazine journalist; as a television reporter, documentary maker and anchor; as a university teacher and lecturer; and as the author of a dozen well-received books about U.S. politics and recent history, including America in Our Time, a history of the United States in the 1960s; More Equal than Others, on politics and society in twentieth-century America; and most recently, a biography of Senator Daniel Patrick Moynihan, The Gentleman from New York. Hodgson met King on a number of occasions between 1956 and 1967. He recently retired as director of the Reuters Foundation Programme at Oxford University and is a visiting journalism professor at City University in London.
PRAISE FOR America in Our Time
"A critique so stimulating and compelling that I can only say read it."
---Richard Lingeman, The New York Times
"It simply gets right, without great fuss, the detail and proportion of things like the civil rights movement, student unrest, the stages of our Vietnam engagement."
---Garry Wills, The New York Review of Books
PRAISE FOR More Equal than Others
"The most thoughtful, thorough and sorrowful book imaginable on what has happened in these years."
---Bernard Crick, The Independent
A genteel southern intellectual, saloniste, and wife to a prominent colonel in Jefferson Davis’s inner circle, Mary Chesnut today is remembered best for her penetrating Civil War diary. Composed between 1861 and 1865 and revised thoroughly from the late 1870s until Chesnut’s death in 1886, the diary was published first in 1905, again in 1949, and later, to great acclaim, in 1981. This complicated literary history and the questions that attend it—which edition represents the real Chesnut? To what genre does this text belong?—may explain why the document largely has, until now, been overlooked in literary studies.
Julia A. Stern’s critical analysis returns Chesnut to her rightful place among American writers. In Mary Chesnut’s Civil War Epic, Stern argues that the revised diary offers the most trenchant literary account of race and slavery until the work of Faulkner and that, along with his Yoknapatawpha novels, it constitutes one of the two great Civil War epics of the American canon. By restoring Chesnut’s 1880s revision to its complex, multidecade cultural context, Stern argues both for Chesnut’s reinsertion into the pantheon of nineteenth-century American letters and for her centrality to the literary history of women’s writing as it evolved from sentimental to tragic to realist forms.
Mary McLeod Bethune was born on May 10, 1875, in a log cabin in rural Sumter County, South Carolina. She was the fifteenth child among seventeen siblings but the first born free of the bonds of slavery. As a child she attended a Presbyterian mission school in nearby Mayesville and Scotia Seminary in Concord, North Carolina. After some years at Scotia she was admitted in 1894 to the Moody Bible Institute in Chicago. Her two years of training at Moody did not lead to missionary work in Africa, as she had dreamed, but to missionlike teaching positions in the South and eventually her founding, in 1904, of the Daytona Normal and Industrial Institute for Girls, in Daytona Beach, Florida. That institution would grow to the present-day Bethune-Cookman University.
In this religious biography, author Yahya Jongintaba traces Bethune’s life of service in lively prose, structuring his book in a five-part framework that organizes his subject’s life in parallel with the Lord’s Prayer and virtues identified by Bethune herself: freedom, creativity, integrity, discipline, and love. With unfettered access to Bethune’s personal archive, Jongintaba paints a picture of a mother figure and mentor to generations, a nearsaint who lived “a blameless life for four-score years.” With deep empathy and the kind of “spiritual understanding” that Bethune had despaired of finding in a biographer in her own lifetime (despite attempts by publishers and herself to find just the right person), Jongintaba endeavors to achieve in his biography what Bethune wrote that she hoped to accomplish in an autobiography that never materialized: to “give to the world the real Mary McLeod Bethune’s life as I have lived it.”
You're in the American South now, a proud region with a distinctive history and culture. A place that echoes with names like Thomas Jefferson and Robert E. Lee, Scarlett O'Hara and Uncle Remus, Martin Luther King and William Faulkner, Billy Graham, Mahalia Jackson, Muhammad Ali, Elvis Presley. Home of the country blues and country music, bluegrass and Dixieland jazz, gospel music and rock and roll. Where menus offer both down-home biscuits and gravy and uptown shrimp and grits. Where churches preach against "cigarettes, whiskey, and wild, wild women" (all Southern products) and where American football is a religion.
For more than thirty years John Shelton Reed has been “minding” the South—watching over it, providing commentary upon it. He is the author or editor of thirteen books about the South, and despite his disclaimer regarding formal study of Southern history, Reed has read widely and in depth about the South. His primary focus is upon Southerners’ present-day culture and consciousness, but he knows that one must approach the South historically in order to understand the place and its people.
During the Mississippian period (approximately A.D. 1000-1600) in the midwestern and southeastern United States a variety of greater and lesser chiefdoms took shape. Archaeologists have for many years explored the nature of these chiefdoms from the perspective common in archaeological investigations—from the top down, investigating ceremonial elite mound structures and predicting the basic domestic unit from that data. Because of the increased number of field investigations at the community level in recent years, this volume is able to move the scale of investigation down to the level of community and household, and it contributes to major revisions of settlement hierarchy concepts.
Archaeologists and architects draw upon theoretical perspectives from their fields to provide valuable insights into the structure, development, and meaning of prehistoric communities.
Architecture is the most visible physical manifestation of human culture. The built environment envelops our lives and projects our distinctive regional and ethnic identities to the world around us. Archaeology and architecture find common theoretical ground in their perspectives of the homes, spaces, and communities that people create for themselves. Although archaeologists and architects may ask different questions and apply different methods, the results are the same—a deeper understanding of what it means to be human.
In this volume, prominent archaeologists examine the architectural design spaces of Mississippian towns and mound centers of the eastern United States. The diverse Mississippian societies, which existed between A.D. 900 and 1700, created some of the largest and most complex Native American archaeological sites in the United States. The dominant architectural feature shared by these communities was one or more large plazas, each of which was often flanked by buildings set on platform mounds. The authors describe the major dimensions of an architectural grammar, centered on the design of the plaza and mound complex that was shared by different societies across the Mississippian world. They then explore these shared architectural features as physical representations or metaphors for Mississippian world views and culture.
Sydney Saylor Farr is a woman who knows Appalachia well. Born on Stoney Fork in southeastern Kentucky, she has lived much of her life close to the mountains, among people whose roots are deep in the soil and who pass on to their children a love for the land, a strong sense of belonging and of place.
Mountain food and how it is cooked is very much a part of this sense of place. Ask any displaced Appalachians what they miss most and they will probably talk about soup beans, country ham, and homemade buscuits. They may also remember the kitchens at home, the warmth from the wood-burning stove, the smell of coffee, and the family gathered around the kitchen table to eat and talk.
More than Moonshine is both a cookbook and a narrative that recounts the way of life of southern Appalachia from the 1940s to 1983. The women of Stoney Fork rarely had cash to spend, so they depended upon the free products of nature - their cookery used every nutritious, edible thing they could scour from the gardens and hillsides. These survival skills are recounted in the pages of More than Moonshine, with instructions for making moonshine whiskey, for fixing baked groundhog with sweet potatoes, for making turnip kraut, craklin’ bread, egg pie, apple stackcake, and other traditional dishes.
More than Moonshine is more than a cookbook. It evokes a way of life in the mid-twentieth century not unlike that of pioneer days.
In the decades immediately following the Civil War, the United States expanded rapidly. As the nation grew, so too did federal law, moving into areas of citizens’ lives previously regulated by local custom and state and territorial statutes.
In Mormons and Cowboys, Moonshiners and Klansmen, Cresswell uses then moves beyond a case-study approach to illuminate larger questions including the evolution of the American criminal justice system, the relationship of the South and the West to the rest of the nation, the workings of the 19th-century American bureaucracy, and conflict of the local, state, and federal governments. Out of the efforts of early federal marshals came the modern federal justice system, with its firm policy guidelines, its Federal Bureau of Investigation, and its broader powers over the country as a whole.
Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied.
The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose.
Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.
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