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Shadows along the Waccamaw

Readings Dan Albergotti reads "The Mystery of the Great Blue Heron." Poem text. Dan Albergotti reads the poem "The Boatloads." Poem text. Dan Albergotti reads the poem "Accidents Happen with...

Atlanta's Charis Books and More: Histories of a Feminist Space

...were few established businesses, mainstream organizations or tradition-minded civic leaders around. There were, however, plenty of cheap rental properties available and an "anything is possible" view of the future.6According to...

Wanted eLove: Queer Square Spaces and the Revolution in Digital Intimacy

...by smartphone apps. As John Walker writes, "LGBTQ people have long used digital spaces as a means of connecting with others like themselves . . . Scruff et al. are...

Walking into History: The Beginning of School Desegregation in Nashville

...and similarly split districts in surrounding Davidson County, under Superintendent J. E. Moss. In round numbers, there were about ten thousand black students and twenty thousand whites in the city...

Editorial Style Guide

...are usually used. number of international unions 8; total number of women: 79 When to spell out numbers Spell out numbers from one through one hundred and approximate numbers. It...

Living Across Borders: Guatemala Maya Immigrants in the US South

...Guatemala. And while men still make up the majority of Maya migrants, a growing number of women and children have joined husbands, fathers, and brothers in Georgia, resulting in a...

Global Lives, Local Struggles: Latin American Immigrants in Atlanta

Photograph of Rosa, Miguel and their son. Global Lives, Local Struggles (Documentary footage used in this essay was provided by William Brown, Director, Living Across Borders.) Part 2: Dr. Odem describes...

The Pursuit of Health: Colonialism and Hookworm Eradication in Puerto Rico

...Bailey K. Ashford immortalized his first hookworm patients in a photograph. The caption reads: "Photograph of a number of natives of Puerto Rico, showing pernicious anemia due to Ankylostoma duodenale."...

"Beer, Prayer and Nellydrama": (Im)Possibilities in Max Vernon's The View UpStairs

...Delery-Edwards describes the Lounge as a cultural space that sought to insulate patrons from homophobic violence, what Vernon would imagine in a musical number, "The World Outside These Walls."11Max Vernon,...

The Seventeenth Southern Writers Symposium: September 19–20, 2003 at Methodist College, Fayetteville, North Carolina

...line between fiction and autobiography, but crossing generic lines was part of the Old Southwestern tradition. The "Crockett Almanacs" of the 1830's "contain[ed] tall tales based mainly on legends of...

References
1.	Edward L. Ayers and Peter S. Onuf, "Introduction," in "All Over the Map": Rethinking American Regions (Baltimore: Johns Hopkins University Press, 1996), 1-10. See also: David Waldstreicher, In the Midst of Perpetual Fetes. (Chapel Hill, NC: University of North Carolina Press, 1997), for a similar argument regarding nationalism, the public sphere, and resulting sectional and partisan identities. Also on regionalism see: Roberto Maria Dainotto, "'All the regions do Smilingly Revolt': The Literature of Place and Region," Critical Inquiry 22 (Spring 1996): 486-505.
2.	Onuf, "Federalism, Republicanism, and the Origins of American Sectionalism," in All Over the Map , 14. John Donald Wade, Augustus Baldwin Longstreet: A Study of the Development of Culture in the South, ed. M. Thomas Inge (Athens, GA: The University of Georgia Press, 1969), (originally published in 1924). Kimball King, Augustus Baldwin Longstreet. (Boston: Twayne Publishers, 1984). James R. Scafidel, "A Georgian in Connecticut: A.B. Longstreet's Legal Education," Georgia Historical Quarterly 61 (1977): 222-232. David Rachels, "Introduction" to Georgia Scenes Completed, ed. David Rachels (Athens, GA: University of Georgia Press, 1998), xi-lxvii.
3.	The point about the classification of Georgia Scenes as a southern, rather than southwestern humor, book was made by: James B. Meriwether, "Augustus Baldwin Longstreet: Realist and Artist," Mississippi Quarterly 35 (1982): 351-364. See also: Keith Newlin, "Georgia Scenes: The Satiric Artistry of Augustus Baldwin Longstreet," Mississippi Quarterly 41 (1987-88): 21-37. Also instructive on the southern cultural context of the book is: John Mayfield, "The Theatre of Public Esteem: Ethics and Values in Longstreet's Georgia Scenes" Georgia Historical Quarterly 75.3 (1991): 566-586.
4.	Augustus Baldwin Longstreet, Georgia Scenes Completed, ed. David Rachels (Athens, GA: University of Georgia Press, 1998), 90. Further quotations from Georgia Scenes will refer to the edition edited by Rachels. My reading here is guided by: Jessica Wegmann, "'Playing in the Dark' with Longstreet's Georgia Scenes: Critical Reception and Reader Response to Treatments of Race and Gender," Southern Literary Journal 30, no. 1 (Fall 1997): 13-26.
5.	Longstreet, Georgia Scenes Completed, 148. For similar readings of this story see: Scott Romine, "Negotiating Community in Augustus Baldwin Longstreet's Georgia Scenes," Style 30 (Spring 1996): 1-27. Meriwether, "Augustus Baldwin Longstreet: Realist and Artist," 351-364. For a reading similar to Meriwether's, see: James E. Kibler, Jr., "Introduction," to Georgia Scenes (Nashville, TN: J.S. Sanders & Company, 1992), vii-xxii. Kibler argues that "The Shooting Match" shows that class has been overcome. Romine is not so certain.
6.	Longstreet, Georgia Scenes Completed, 42. My interpretation here departs from Ahmed Nimeiri, "Play in Augustus Baldwin Longstreet's Georgia Scenes," Southern Literary Journal (2001): 44 –59. Nimeiri writes that Longstreet offers a "liberating sense of man and human experience" and thus transcends conservatism (46). This interpretation fails to account for Longstreet's actual conservative Jeffersonian political views, which are a recognizable part of the Georgia Scenes. Keith Newlin, "Georgia Scenes: The Satiric Artistry of Augustus Baldwin Longstreet," Mississippi Quarterly 41 (1987-88): 21-37. Newlin sees this aspect of the humor as an Addisonian attack on foppery and the corruption of the upper class. There certainly is a class element in Longstreet's attacks on the corrupt middle to upper class in Georgia towns. My regional interpretation of Longstreet's humor here does not contradict Newlin's point, but focuses on additional aspects of Longstreet's humor. See also: William Snipes, "The Humor of Longstreet's Persona Abram Baldwin in Georgia Scenes," Studies in American Humor 4.4 (1985-1986): 277-289. I depart from Kenneth Lynn's analysis of Southwestern humor and Longstreet as well. Longstreet was not a Whig and thus does not fit in well to Lynn's category of the "gentleman Whig" narrator in Southwestern humor. Mark Twain and Southwestern Humor (Boston: Little, Brown and Company, 1959). Southwestern humor, in the sense that it tried to be realistic, was trying to articulate concerns about American society. In its satirical and humorous aspects, the genre identifies the perspective that the authors take regarding the new individualism of American culture. For another view of Southwestern humor, one that is different than mine but supports much of what I argue, see: Scott Romine, "Texts, Types and Southwest Humor," Mississippi Quarterly 49 (1995-96): 99-108. For older views that recognize that social and political criticism were important to the humorists, see: Edd Winfield Parks, "The Intent of the Ante-Bellum Southern Humorists," Mississippi Quarterly 13 (1960): 163-175. Walter Blair, "The Popularity of Nineteenth-Century American Humorists," American Literature 3 (1931): 175-194.
7.	Hooper, Adventures of Captain Simon Suggs (Tuscaloosa, AL: University of Alabama Press, 1993), 12. Marion Kelley, "The Life and Writing of Johnson Jones Hooper," (Master's Thesis, Alabama Polytechnic Institute, 1934). Kelley also reprinted a number of Hooper's letters and editorials in the appendix. W. Stanley Hoole, Alias Simon Suggs: The Life and Times of Johnson Jones Hooper (Tuscaloosa, AL, 1952). Edgar E. Thompson, "The Literary Career of Johnson Jones Hooper: A Bibliographical Study of Primary and Secondary Material (With a Collection of Hooper's Letters)," (Master's Thesis, Mississippi State University, 1971). Paul Somers, Jr., Johnson J. Hooper. (Boston, MA, 1984). Howard Winston Smith, Johnson Jones Hooper: A Critical Study (Lexington, KY, 1963). For Hooper's literary realism see: Edd Winfield Parks, "The Three Streams of Southern Humor," The Georgia Review IX (1955): 147-159. Edd Winfield Parks, "The Intent of the Ante-Bellum Southern Humorists," Mississippi Quarterly, XIII (1960): 163-168. Harry C. West, "Simon Suggs and His Similes," North Carolina Folklore, 16 (May 1968), 53-57. For a stress on the subversive character of Southwestern Humor, see: Arlin Turner, "Seeds of Literary Revolt in the Humor of the Old Southwest," Louisiana Historical Quarterly XXXIX (1956): 143-151. Eugene Current-Garcia, "Alabama Writers in the Spirit," Alabama Review (October 1957): 243-269. Willard Thorp, "Suggs and Sut in Modern Dress: The Latest Chapter in Southern Humor," Mississippi Quarterly, XIII (1960): 169-175. William E. Lenz, Fast Talk and Flush Times: The Confidence Man as a Literary Convention (Columbia, MO, 1985). David S. Reynolds, Beneath the American Renaissance: The Subversive Imagination in the Age of Emerson and Melville. (New York, 1988). For Some Adventures of Captain Simon Suggs as a burlesque campaign biography, see: Robert Hopkins, "Simon Suggs: A Burlesque Campaign Biography," American Quarterly, 15 (Fall 1963), 459-463. Howard Winston Smith, "An Annotated Edition of Hooper's Some Adventures of Captain Simon Suggs," (PhD dissertation, Vanderbilt University, 1965). See also Smith's, Johnson Jones Hooper: A Critical Study. Joseph O'Beirne Milner, "The Social, Religious, Economic, and Political Implications of the Southwestern Humor of Baldwin, Longstreet, Hooper, and G.W. Harris" (PhD dissertation, University of North Carolina, Chapel Hill, 1971). Milner challenged Kenneth Lynn's argument that the purpose of Southwestern humor was to convert the community to Whiggery. Milner shows that Hooper was not an aristocratic snob who sought to control the lower class, but sympathized and admired certain aspects of the freedom the yeoman experienced on the frontier. Kenneth Lynn, Mark Twain and Southwestern Humor (Boston, MA, 1959). Johanna Nicol Shields, "A Sadder Simon Suggs: Slavery and Freedom in the Humor of Johnson Hooper," Journal of Southern History (November 1990): 641-664. Johanna Nicol Shields, "Introduction," Adventures of Captain Simon Suggs, Late of the Tallapoosa Volunteers; Together with "Taking the Census" and Other Alabama Sketches (Tuscaloosa, AL, 1993). I derive my views of Whiggery primarily from: Lawrence Frederick Kohl, The Politics of Individualism: Parties and the American Character in the Jacksonian Era. (New York: Oxford University Press, 1989).
8.	Hooper, Adventures of Captain Simon Suggs, 12-14.
9.	Ibid., 28-30.
10.	Lenz, Fast Talk and Flush Times, 72-73.
11.	Montgomery (Alabama) Daily Mail, 3 February 1860. See Shields, "A Sadder Simon Suggs" and Shields, Introduction to Johnson Jones Hooper, Adventures of Captain Simon Suggs, xix, xliv-xlvii, for Hooper's racism.
12.	Montgomery (Alabama) Mail, 8 November 1860.
13.	Johnson Jones Hooper to John DeBerniere Hooper, December 25, 1860, reprinted in Edgar E. Thompson, "The Literary Career of Johnson Jones Hooper," 96-97. For southern views of the Civil War as an agent of purification see: Eugene Genovese, A Consuming Fire: The Fall of the Confederacy in the Mind of the White Christian South (Athens, GA: University of Georgia Press, 1998). Some northern intellectuals had a similar view of the purifying nature of the war. See: George Frederickson, The Inner Civil War: Northern Intellectuals and the Crisis of the Union (Urbana, IL: University of Illinois Press, 1965).

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