South To A Very Old Place

The highly acclaimed novelist and biographer Albert Murray tells his classic memoir of growing up in Alabama during the 1920s and 1930s in South to a Very Old Place. Intermingling remembrances of youth with engaging conversation, African-American folklore, and astute cultural criticism, it is at once an intimate personal journey and an incisive social history, informed by "the poet's language, the novelist's sensibility, the essayist's clarity, the jazzman's imagination, the gospel singer's depth of feeling" (The New Yorker). "His perceptions are firmly based in the blues idiom, and it is black music no less than literary criticism and historical analysis that gives his work its authenticity, its emotional vigor and its tenacious hold on the intellect...[It] destroys some fashionable socio-political interpretations of growing up black."--Toni Morrison, The New York Times Book Review

Taking Albert Murray’s South to a Very Old Place as a starting point, contributors to this exciting collection continue the work of critically and creatively remapping the South through their freewheeling studies of southern literature and culture. Appraising representations of the South within a context that is postmodern, diverse, widely inclusive, and international, the essays present multiple ways of imagining the South and examine both new places and old landscapes in an attempt to tie the mythic southern balloon down to earth. In his foreword, an insightful discussion of numerous Souths and the ways they are perceived, Richard Gray explains one of the key goals of the book: to open up to scrutiny the literary and cultural practice that has come to be known as “regionalism.” Part I, “Surveying the Territory,” theorizes definitions of place and region, and includes an analysis of southern literary regionalism from the 1930s to the present and an exploration of southern popular culture. In “Mapping the Region,” essayists examine different representations of rural landscapes and small towns, cities and suburbs, as well as liminal zones in which new immigrants make their homes. Reflecting the contributors’ transatlantic perspective, “Making Global Connections” challenges notions of southern distinctiveness by reading the region through the comparative frameworks of Southern Italy, East Germany, Latin America, and the United Kingdom and via a range of texts and contexts—from early reconciliation romances to Faulkner’s fictions about race to the more recent parody of southern mythmaking, Alice Randall’s The Wind Done Gone. Together, these essays explore the roles that economic, racial, and ideological tensions have played in the formation of southern identity through varying representations of locality, moving regionalism toward a “new place” in southern studies.

Rediscover the “most important book on black-white relationships” in America in a special 50th anniversary edition introduced by Henry Louis Gates, Jr. (Walker Percy) “The United States is in actuality not a nation of black people and white people. It is a nation of multicolored people . . . Any fool can see that the white people are not really white, and that black people are not black. They are all interrelated one way or another.” These words, written by Albert Murray at the height of the Black Power movement, cut against the grain of their moment, and announced the arrival of a major new force in American letters. In his 1970 classic The Omni-Americans, Murray took aim at protest writers and social scientists who accentuated the “pathology” of race in American life. Against narratives of marginalization and victimhood, Murray argued that black art and culture, particularly jazz and blues, stand at the very headwaters of the American mainstream, and that much of what is best in American art embodies the “blues-hero tradition”—a heritage of grace, wit, and inspired improvisation in the face of adversity. Reviewing The Omni-Americans in 1970, Walker Percy called it “the most important book on black-white relationships . . . indeed on American culture . . . published in this generation.” As Henry Louis Gates, Jr. makes clear in his introduction, Murray’s singular poetic voice, impassioned argumentation, and pluralistic vision have only become more urgently needed today.

In the illustrious and richly documented history of American jazz, no figure has been more controversial than the jazz critic. Jazz critics can be revered or reviled—often both—but they should not be ignored. And while the tradition of jazz has been covered from seemingly every angle, nobody has ever turned the pen back on itself to chronicle the many writers who have helped define how we listen to and how we understand jazz. That is, of course, until now. In Blowin’ Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present. The music itself is prominent in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and beyond. But the work takes its shape from fascinating stories of the tradition’s key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, among many others. Gennari is the first to show the many ways these critics have mediated the relationship between the musicians and the audience—not merely as writers, but in many cases as producers, broadcasters, concert organizers, and public intellectuals as well. For Gennari, the jazz tradition is not so much a collection of recordings and performances as it is a rancorous debate—the dissonant noise clamoring in response to the sounds of jazz. Against the backdrop of racial strife, class and gender issues, war, and protest that has defined the past seventy-five years in America, Blowin’ Hot and Cool brings to the fore jazz’s most vital critics and the role they have played not only in defining the history of jazz but also in shaping jazz’s significance in American culture and life.

“A novelistic mosaic that simultaneously reads like a thriller and like a strange, dreamlike excursion into the subconscious.” —The New York Times Years ago, when House of Leaves was first being passed around, it was nothing more than a badly bundled heap of paper, parts of which would occasionally surface on the Internet. No one could have anticipated the small but devoted following this terrifying story would soon command. Starting with an odd assortment of marginalized youth -- musicians, tattoo artists, programmers, strippers, environmentalists, and adrenaline junkies -- the book eventually made its way into the hands of older generations, who not only found themselves in those strangely arranged pages but also discovered a way back into the lives of their estranged children. Now this astonishing novel is made available in book form, complete with the original colored words, vertical footnotes, and second and third appendices. The story remains unchanged, focusing on a young family that moves into a small home on Ash Tree Lane where they discover something is terribly wrong: their house is bigger on the inside than it is on the outside. Of course, neither Pulitzer Prize-winning photojournalist Will Navidson nor his companion Karen Green was prepared to face the consequences of that impossibility, until the day their two little children wandered off and their voices eerily began to return another story -- of creature darkness, of an ever-growing abyss behind a closet door, and of that unholy growl which soon enough would tear through their walls and consume all their dreams.

Born in 1928 in the small coastal town of Murrells Inlet, South Carolina, Genevieve "Sister" Peterkin grew up with World War II bombing practice in her front yard, deep-sea fishing expeditions, and youthful rambles through the lowcountry. She shared her bedroom with a famous ghost and an impatient older sister. But most of all she listened. She absorbed the tales of her talented mother and her beloved friend, listened to the stories of the region's older residents, some of them former slaves, who were her friends, neighbors, and teachers. In this new edition she once again shares with readers her insider's knowledge of the lowcountry plantations, gardens, and beaches that today draw so many visitors. Beneath the humor, hauntings, and treasures of local history, she tells another, deeper story—one that deals with the struggle for racial equality in the South, with the sometimes painful adventures of marriage and parenthood, and with inner struggles for faith and acceptance. This edition includes a new foreword by coastal writer and researcher Lee G. Brockington and a new afterword by coauthor and lowcountry novelist William P. Baldwin.

In this visionary book, Murray takes an audacious new look at black music and, in the process, succeeds in changing the way one reads literature. Murray's subject is the previously unacknowledged kinship between fiction and the blues. Both, he argues, are virtuoso performances that impart information, wisdom, and moral guidance to their audiences; both place a high value on improvisation; and both fiction and the blues create a delicate balance between the holy and the obscene, essential human values and cosmic absurdity. Encompassing artists from Ernest Hemingway to Duke Ellington, and from Thomas Mann to Richard Wright, The Hero and the Blues pays homage to a new black aesthetic.

The instant #1 New York Times bestseller. In time for the twentieth anniversary of 9/11, master storyteller Alan Gratz (Refugee) delivers a pulse-pounding and unforgettable take on history and hope, revenge and fear -- and the stunning links between the past and present. September 11, 2001, New York City: Brandon is visiting his dad at work, on the 107th floor of the World Trade Center. Out of nowhere, an airplane slams into the tower, creating a fiery nightmare of terror and confusion. And Brandon is in the middle of it all. Can he survive -- and escape? September 11, 2019, Afghanistan: Reshmina has grown up in the shadow of war, but she dreams of peace and progress. When a battle erupts in her village, Reshmina stumbles upon a wounded American soldier named Taz. Should she help Taz -- and put herself and her family in mortal danger? Two kids. One devastating day. Nothing will ever be the same.