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Deep Ellum Blues

...soon after the war, and settled in a variety of 'Freedmantowns' around the city. One of these Freedmantowns remained in the far north of the city in my own childhood...

Covid Light and Darkness Alike

...that our worlds never fall apart, in taking the day-to-day for granted. We like to think we know better (“Here today, gone tomorrow,” and all that). Whatever we know doesn’t...

Going South, Coming North: Migration and Union Organizing in Morristown, Tennessee

...understanding the relationship between immigrant and native-born workers, see Barbara Smith, “Market Rivals or Class Allies? Relations between African American and Latino Immigrant Workers in Memphis,” in Global Connections and...

John Cohen in Eastern Kentucky: Documentary Expression and the Image of Roscoe Halcomb During the Folk Revival

...in front of me and the desire to follow intuitive visual impulses. This set up an internal dialog, a debate between conceptual and creative thinking. I walked the line between...

The Tennessee Jamboree: Local Radio, the Barn Dance, and Cultural Life in Appalachian East Tennessee

...a country music radio variety show, aired between 1953 and 1978 on AM station WLAF in LaFollette, Tennessee. Across twenty-five years, the Blue Valley Boys and Girls, the show's featured...

Enslaved Labor and Building the Smithsonian: Reading the Stones

...J. W. Neal slave house was near the city's center market. Even free people of color did not feel safe on DC's streets. From 1852 until 1906, the celebrated free...

Welcome!

...new cultural non-profit collecting 78rpm records, to the use of Confederate flags at Croatian soccer games, we will present short, scholarly posts about subjects that engage with southern spaces. Provide...

The Countryside Transformed: The Eastern Shore of Virginia, the Pennsylvania Railroad, and the Creation of a Modern Landscape

...islands that buffer the mainland from the Atlantic Ocean. For example, marshlands declined 16 per cent between 1852 to 1960 due largely to sea level rise. Moreover, between 1872 and...

Living with the Ghosts of Queer Pasts

...future is my transitioning body and the pink, white, and blue flag I fly in the driveway. The author's home in Roanoke, Virginia, 2021. Photograph by and courtesy of...

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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