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The Southern Renaissance was the first mainstream movement within Southern literature to address the criticisms of Southern cultural and intellectual life that had emerged both from within the Southern literary tradition and from outsiders, most notably the satirist H. L. Mencken. In the 1920s Mencken led the attack on the genteel tradition in ...
Dogs feature prominently in Southern life and language. A dog that looks fierce but is really gentle wouldn’t bite a biscuit. If there’s no way a plan can work, that dog won’t hunt.
Southern Poetry from Holman Prison Death Row Inmate Darrell Grayson "Poets in Place," at Southern Spaces. "Society for the Study of Southern Literature". Organization founded in 1968 devoted to scholarship on writings and writers of the American South; History of Southern Literature online publishing.
In the midst of life, we are in death; Into every life a little rain must fall; It ain't over till/until it's over; It ain't over till the fat lady sings; It ain't what you don't know that gets you into trouble. It's what you know for sure that just ain't so; It goes without saying; It is a small world; It is all grist to the mill
The Southern Renaissance (also known as Southern Renascence) [1] was the reinvigoration of American Southern literature in the 1920s and 1930s with the appearance of writers such as William Faulkner, Thomas Wolfe, Caroline Gordon, Margaret Mitchell, Katherine Anne Porter, Erskine Caldwell, Allen Tate, Tennessee Williams, Robert Penn Warren, and Zora Neale Hurston, among others.
Br'er Fox and Br'er Bear (also spelled Brer Fox and Brer Bear, / ˈ b r ɛər /) are fictional characters from African-American oral traditions popular in the Southern United States. These characters have been recorded by many different folklorists, but are most well-known from the folktales adapted and compiled by Joel Chandler Harris ...
In short, "Dixie" made the case, more strongly than any previous minstrel tune had, that African Americans ought to be enslaved. [14] This was accomplished through the song's protagonist, who, speaking in an exaggerated black dialect , implies that despite his freedom, he is homesick for the slave plantation he was born on.
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