Kathryn McKee
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617037689
- eISBN:
- 9781621039389
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037689.003.0006
- Subject:
- Literature, American, 19th Century Literature
This chapter examines four of Sherwood Bonner’s stories—“Hieronymus Pop and the Baby,” “Dr. Jex’s Predicament,” “Aunt Anniky’s Teeth,” and “The Gentlemen of Sarsar”—and their close affinities to the ...
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This chapter examines four of Sherwood Bonner’s stories—“Hieronymus Pop and the Baby,” “Dr. Jex’s Predicament,” “Aunt Anniky’s Teeth,” and “The Gentlemen of Sarsar”—and their close affinities to the genre of southern frontier humor. It considers Bonner’s humor in relation to southern culture as well as expectations for both race and gender in postbellum America. It also discusses how Bonner’s stories address not only changing roles for black and white men and women, but also humor as a means of resisting the simultaneous instantiation of restrictively contoured white womanhood at the center of nascent Lost Cause ideology. It argues that Bonner significantly modified and expanded the “conventions” of antebellum southern humor, reconfiguring them in such a way as to challenge some of the prevailing expectations for both women’s literature and regional writing during the period.Less
This chapter examines four of Sherwood Bonner’s stories—“Hieronymus Pop and the Baby,” “Dr. Jex’s Predicament,” “Aunt Anniky’s Teeth,” and “The Gentlemen of Sarsar”—and their close affinities to the genre of southern frontier humor. It considers Bonner’s humor in relation to southern culture as well as expectations for both race and gender in postbellum America. It also discusses how Bonner’s stories address not only changing roles for black and white men and women, but also humor as a means of resisting the simultaneous instantiation of restrictively contoured white womanhood at the center of nascent Lost Cause ideology. It argues that Bonner significantly modified and expanded the “conventions” of antebellum southern humor, reconfiguring them in such a way as to challenge some of the prevailing expectations for both women’s literature and regional writing during the period.
Ed Piacentino (ed.)
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617037689
- eISBN:
- 9781621039389
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037689.001.0001
- Subject:
- Literature, American, 19th Century Literature
Since its inception in the early 1830s, southern frontier humor (also known as the humor of the Old Southwest) has had enduring appeal. The onset of the new millennium precipitated an impressive ...
More
Since its inception in the early 1830s, southern frontier humor (also known as the humor of the Old Southwest) has had enduring appeal. The onset of the new millennium precipitated an impressive rejuvenation of scholarly interest. This book shows the importance of Henry Junius Nott, a virtually unknown and forgotten writer who mined many of the principal subjects, themes, tropes, and character types associated with southern frontier humor. One chapter addresses how this humor genre and its ideological impact helped to stimulate a national cultural revolution. Several chapters focus on the genre’s legacy to the post-Civil War era, exploring intersections between southern frontier humor and southern local color writers—Joel Chandler Harris, Charles W. Chesnutt, and Sherwood Bonner. Mark Twain’s African American dialect piece “A True Story,” though employing some of the conventions of southern frontier humor, is reexamined as a transitional text, showing his shift to broader concerns, particularly in race portraiture. Chapters also examine the evolution of the trickster from the Jack Tales to Hooper’s Simon Suggs to similar mountebanks in novels of John Kennedy Toole, Mark Childress, and Clyde Edgerton and transnational contexts, the latter exploring parallels between southern frontier humor and the Jamaican Anansi tales. Finally, the genre is situated contextually, using contemporary critical discourses, which are applied to G. W. Harris’s Sut Lovingood and to various frontier hunting stories.Less
Since its inception in the early 1830s, southern frontier humor (also known as the humor of the Old Southwest) has had enduring appeal. The onset of the new millennium precipitated an impressive rejuvenation of scholarly interest. This book shows the importance of Henry Junius Nott, a virtually unknown and forgotten writer who mined many of the principal subjects, themes, tropes, and character types associated with southern frontier humor. One chapter addresses how this humor genre and its ideological impact helped to stimulate a national cultural revolution. Several chapters focus on the genre’s legacy to the post-Civil War era, exploring intersections between southern frontier humor and southern local color writers—Joel Chandler Harris, Charles W. Chesnutt, and Sherwood Bonner. Mark Twain’s African American dialect piece “A True Story,” though employing some of the conventions of southern frontier humor, is reexamined as a transitional text, showing his shift to broader concerns, particularly in race portraiture. Chapters also examine the evolution of the trickster from the Jack Tales to Hooper’s Simon Suggs to similar mountebanks in novels of John Kennedy Toole, Mark Childress, and Clyde Edgerton and transnational contexts, the latter exploring parallels between southern frontier humor and the Jamaican Anansi tales. Finally, the genre is situated contextually, using contemporary critical discourses, which are applied to G. W. Harris’s Sut Lovingood and to various frontier hunting stories.
