Southern Frontier Humor

If, as some suggest, American literature began with Huckleberry Finn, then the humorists of the Old South surely helped us to shape that literature. Twain himself learned to write by reading the humorists’ work, and later writers were influenced by it. This book marks the first new collection of humor from that region published in fifteen years—and the first fresh selection of sketches and tales to appear in over forty years. Thomas Inge and Ed Piacentino bring their knowledge of and fondness for this genre to a collection that reflects the considerable body of scholarship that has been published on its major figures and the place of the movement in American literary history. They breathe new life into the subject, gathering a new selection of texts and adding Twain—the only major American author to contribute to and emerge from the movement—as well as several recently identified humorists. All of the major writers are represented, from Augustus Baldwin Longstreet to Thomas Bangs Thorpe, as well as a great many lesser-known figures like Hamilton C. Jones, Joseph M. Field, and John S. Robb. The anthology also includes several writers only recently discovered to be a part of the tradition, such as Joseph Gault, Christopher Mason Haile, James Edward Henry, and Marcus Lafayette Byrn, and features authors previously overlooked, such as William Gilmore Simms, Ham Jones, Orlando Benedict Mayer, and Adam Summer. Selections are timely, reflecting recent trends in literary history and criticism sensitive to issues of gender, race, and ethnicity. The editors have also taken pains to seek out first printings to avoid the kinds of textual corruptions that often occur in later versions of these sketches. Southern Frontier Humor offers students and general readers alike a broad perspective and new appreciation of this singular form of writing from the Old South—and provides some chuckles along the way.

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. Southern Frontier Humor: New Approaches represents the next step in this revival, providing a series of essays with fresh perspectives and contexts. First, the 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, followed by an essay addressing how this humor genre and its ideological impact helped to stimulate a national cultural revolution. Several essays 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. Essays 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.

The Old Southwest flourished between 1830 and 1860, but its brand of humor lives on in the writings of Mark Twain, the novels of William Faulkner, the television series The Beverly Hillbillies, the material of comedian Jeff Foxworthy, and even cyberspace, where nonsoutherners can come up to speed on subjects like hickphonics. The first book on its subject, The Enduring Legacy of Old Southwest Humor engages topics ranging from folklore to feminism to the Internet as it pays tribute to a distinctly American comic style that has continued to reinvent itself. The book begins by examining frontier southern humor as manifested in works of Faulkner, Erskine Caldwell, Flannery O’Connor, Eudora Welty, Woody Guthrie, Harry Crews, William Price Fox, Fred Chappell, Barry Hannah, Cormac McCarthy, and African American writers Zora Neale Hurston, Ralph Ellison, Alice Walker, Ishmael Reed, and Yusef Komunyakaa. It then explores southwestern humor’s legacy in popular culture—including comic strips, comedians, and sitcoms—and on the Internet. Many of the trademark themes of modern and contemporary southern wit appeared in stories that circulated in the antebellum Southwest. Often taking the form of tall tales, those stories have served and continue to serve as rich, reusable material for southern writers and entertainers in the twentieth century and beyond. The Enduring Legacy of Old Southwest Humor is an innovative collaboration that delves into jokes about hunting, drinking, boasting, and gambling as it studies, among other things, the styles of comedians Andy Griffith, Dave Gardner, and Justin Wilson. It gives splendid demonstration that through the centuries southern humor has continued to be a powerful tool for disarming hypocrites and opening up sensitive issues for discussion.

The humor of the Old South—tales, almanac entries, turf reports, historical sketches, gentlemen's essays on outdoor sports, profiles of local characters—flourished between 1830 and 1860. The genre's popularity and influence can be traced in the works of major southern writers such as William Faulkner, Erskine Caldwell, Eudora Welty, Flannery O'Connor, and Harry Crews, as well as in contemporary popular culture focusing on the rural South. This collection of essays includes some of the past twenty five years' best writing on the subject, as well as ten new works bringing fresh insights and original approaches to the subject. A number of the essays focus on well known humorists such as Augustus Baldwin Longstreet, Johnson Jones Hooper, William Tappan Thompson, and George Washington Harris, all of whom have long been recognized as key figures in Southwestern humor. Other chapters examine the origins of this early humor, in particular selected poems of William Henry Timrod and Washington Irving's "The Legend of Sleepy Hollow," which anticipate the subject matter, character types, structural elements, and motifs that would become part of the Southwestern tradition. Renditions of "Sleepy Hollow" were later echoed in sketches by William Tappan Thompson, Joseph Beckman Cobb, Orlando Benedict Mayer, Francis James Robinson, and William Gilmore Simms. Several essays also explore antebellum southern humor in the context of race and gender. This literary legacy left an indelible mark on the works of later writers such as Mark Twain and William Faulkner, whose works in a comic vein reflect affinities and connections to the rich lode of materials initially popularized by the Southwestern humorists.

William Gilmore Simms (1807-1870), the antebellum South's foremost author and cultural critic, was the first advocate of regionalism in the creation of national literature. This collection of essays emphasizes his portrayal of America's westward migration.

Main Currents in American Thought will stand as a model for venturesome scholars for years to come. Readers and scholars of the rising generation may not follow Parrington’s particular judgments or point of view, but it is hard to believe that they will not still be captivated and inspired by his sparkle, his daring, and the ardor of his political commitment. In Volume II, The Romantic Revolution in America, 1800 - 1860, Parrington treats such influential figures as John Marshall, John C. Calhoun, Andrew Jackson, Abraham Lincoln, Washington Irving, James Fenimore Cooper, Herman Melville, Daniel Webster, Ralph Waldo Emerson, Henry David Thoreau, and Nathaniel Hawthorne

In Minstrelsy and Murder, Andrew Silver locates the foundation of the South’s dark humor in the great and violent cultural upheavals of the nineteenth century. Examining the connection between comic victimization and real acts of aggression, Silver shows southern humor to be a product not of America’s wholeness and national unity but of its internal fears, divisiveness, and perpetual civil strife. He focuses on the work of southern writers Augustus B. Longstreet, George Washington Harris, Charles Chesnutt, and Mark Twain, exploring a strain of regional humor that runs counter to the more familiar American comic tradition. A profound distress about class emerges clearly in Silver’s reading of Longstreet’s Georgia sketches, just as Harris’s post–Civil War stories reveal an escalating anger toward Yankees, emancipated African Americans, and upstart women. Twain and Chesnutt, however, mark a turning point for southern humor, Silver argues. By resisting entrenched comic elements of racist acts of violence and instead using narratives that turn upon and expose the destructive power of racist typing, they created humor that both wounds and dares to speak of wounds. With engaging critical discussion of race, class, and gender, Silver investigates the cultural fears that southern popular comedy of the 1800s addresses—as well as the various forms and “voices” it employed: Yankee humor, minstrelsy, sentimental fiction, political broadsides, Ku Klux Klan sketches, frontier humor, and sadistic slapstick. He shows how southern humor, as the product of middle-class authors who were at once outraged and eminently practical, revolutionary and conformist, anti-authoritarian and craving the approval of authorities, evolved into a genre at war with itself, stifling laughter by unearthing the trauma at the core of the comic.