Relevant bibliographies by topics / Mississippi in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Mississippi in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Mississippi in fiction"

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Gretlund, Jan Nordby. "Fiction Is Like Fire." American Studies in Scandinavia 33, no. 2 (September 1, 2001): 69–82. http://dx.doi.org/10.22439/asca.v33i2.2584.

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Buzacott, Lucy. "History, Fiction, Autobiography: William Faulkner’s ‘Mississippi’." Life Writing 16, no. 4 (September 3, 2019): 553–66. http://dx.doi.org/10.1080/14484528.2019.1633248.

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Sheehan, Lucy. "“Fraud, Fun, and Feeling”: Slavery, Industrialism, and the Mother-Machine in Frances Trollope's Fiction." Victorian Literature and Culture 48, no. 3 (2020): 519–50. http://dx.doi.org/10.1017/s106015031900007x.

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For Frances Trollope, the nineteenth century was defined by what she perceives to be a pervasive mechanization of emotional life, a phenomenon similar to what Tamara Ketabgian has recently described as the “industrialization of affect” in this period. At the center of this phenomenon, for Trollope, is the disquieting specter of the mother-machine, a figure in whom the processes of mechanical production and maternal reproduction collide. The figure originates, in Trollope's fiction, in the character Juno, an enslaved woman whose alienation from her children under slavery serves as a major plot point in her groundbreaking 1836 antislavery novel The Life and Adventures of Jonathan Jefferson Whitlaw; or Scenes on the Mississippi. That figure is then reworked in the violent relationship between children and machines Trollope would go on to depict in her 1839–40 novel, The Life and Adventures of Michael Armstrong, the Factory Boy, one of the first industrial novels published in Victorian England. In these early fictions, Trollope documents what she perceives to be the mechanization of the maternal body under, alternately, slavery and industrialism, and its consequences for both the work and experience of care under nineteenth-century capitalism in its varied forms.
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Sensibar, Judith L. "Writing for Faulkner, Writing for Herself: Estelle Oldham's Anticolonial Fiction." Prospects 22 (October 1997): 357–78. http://dx.doi.org/10.1017/s0361233300000168.

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Before estelle oldham married William Faulkner in June 1929, she had spent nearly eight years in the Pacific and Far East as a participant-observer in two American colonial cultures. In June 1918, her first marriage to the Mississippi lawyer and entrepreneur Cornell S. Franklin brought her as a new bride to what were then called the Hawaiian Territories. But despite his excellent Southern connections, the business community in the “Paradise of the East” had little room for a bright yet arrogant young man with no capital. Thus, in December 1921, Estelle Oldham Franklin, her husband, and their four-year-old daughter sailed for the more open markets in the International Settlement of Shanghai, then China's largest treaty port. Oldham hated Shanghai; she refused to continue playing the role of Southern Belle hostess she had assumed so willingly and graciously in Honolulu, and, like her husband and many other colonials, she had become an alcoholic. Summarizing her life in Shanghai, she once told her daughter, “I don't think I took a sober breath for three years.”
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Sutton, Matthew Daniel. "Motion and the Noise." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 317–29. http://dx.doi.org/10.47060/jaaas.v1i2.131.

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William Faulkner's dislike of unwanted sound is well documented. The acoustic environment of rural Mississippi amplified irreversibly after the introduction of the automobile, airplane, and automated farm machinery. In his Intruder in the Dust (1948), the jukebox and radio absorb pointed criticism for producing "canned" sounds outside of their "proper" environment. The narrowing gap between town square and dance hall signifies encroaching chaos, as noise drowns out the attenuated "harmony" that keeps elite whites in power and Intruder's African American protagonist Lucas Beauchamp out of the hands of the lynch mob. For Faulkner, the shift in the auditory environment presents both a disruption and an impediment to a system built on white bourgeois ideals. However, Faulkner's pessimism is counterpointed by sociological studies undertaken by Fisk University researchers. The Fisk study identifies the emergence of a blues culture in the Delta whose energy and boundary-crossing impulses illustrate the liberating possibilities of an expanding soundscape. By juxtaposing Faulkner's damning descriptions of "the motion and the noise" with the Fisk University researchers' illuminating fieldwork, this essay interprets a transformative period in the constantly shifting soundscape of the U.S. South. In line with Jacques Attali's dictum that "our music foretells our future," Intruder in the Dust anticipates the cultural upheaval that would energize the Civil Rights Movement. Both in fiction and in fact, the "noise" emanating from jukeboxes and radios in 1940s Mississippi accelerated social change at a volume much higher and a tempo much faster than Faulkner and other gradualists desired.
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Womble, Todd. "The Order and the Other: Young Adult Dystopian Literature and Science Fiction. Joseph W.Campbell. University Press of Mississippi, 2019." Journal of American Culture 44, no. 4 (December 2021): 347–48. http://dx.doi.org/10.1111/jacc.13297.

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McMillin, T. S. ""Strangers Still More Strange": The Meaning of Rivers Bedeviled." Review of International American Studies 14, no. 1 (September 30, 2021): 49–75. http://dx.doi.org/10.31261/rias.10267.

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Steamboats transformed rivers in 19th-century United States, providing what many people considered a kind of mastery over nature. In literature from the period, while most writers marveled at or exulted in that perceived mastery, some questioned the origins of the reputed conquest. Did it result from human ingenuity? divine inspiration? a deal with the devil? Amid all the fog, smoke, and various other vapors associated with the steamboat, vivid stories, compelling dramas, and comic searches for meaning took shape, and no literary work captured the tension informing, uncertainty surrounding, and ramifications emerging from this instance of technological innovation as powerfully as The Confidence-Man: His Masquerade (1857). Herman Melville’s last novel, The Confidence-Man explores the author’s notion that “Books of fiction” can perhaps give readers more truth, “more reality, than real life can show.” Literature, for Melville, was an opportunity to reconsider the nature of things and our means of understanding that nature. In The Confidence-Man, he presented readers with a different view of the Mississippi River and the curious vessels working its waters. The novel imagined The Devil himself to be on board the steamboat, imperiling the soul of America.
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Kelting, Lily. "Between Nostalgia and History in the US South: Fictions of the Black Waiter on Film." Paragrana 25, no. 2 (December 1, 2016): 162–73. http://dx.doi.org/10.1515/para-2016-0036.

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AbstractIn this essay, I examine frictions between the past, present and future which, in the tension between them, generate fictions which conflate not only Southern nostalgia with history but undergird American exceptionalism more broadly. These fictions generated by the rubbing together of past and present are not only nostalgic for a past that never existed but actively anti-historical, supplanting discrete periods in the history of the U.S. South (such as slavery, the Jim Crow Era, and the present day) with an intentionally confounded “temporal estrangement”. To trace the fault-lines at which nostalgia and history chafe against each other, I focus on the figure of the black waiter.As to my choice of the word black instead of African-American: as this article focuses explicitly on racial divides in American Southern history, I have chosen to use the word black rather than African-American. I see this move as a way to emphasize the lived consequences of racial difference for black Americans in the time period I analyze here – effects which, like the murder of Booker Wright, do not live in the hybrid space of the hyphen. My primary case study is Paula Deen’s legal deposition, taken in Savannah in 2013 after almost three years of legal proceedings. But in order to situate Deen’s fictions more fully within and beyond the context of the U.S. South, I read this deposition through and against two films, one largely-forgotten documentary, Mississippi: An Inside Story and one blockbuster, Forrest Gump.
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ATKINSON, TED. "“Blood Petroleum”: True Blood, the BP Oil Spill, and Fictions of Energy/Culture." Journal of American Studies 47, no. 1 (July 31, 2012): 213–29. http://dx.doi.org/10.1017/s0021875812001247.

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The third season of the HBO series True Blood, set in fictional Bon Temps, Louisiana, aired in a mediascape shaped by coverage of the BP oil spill that wreaked economic and ecological havoc on the US Gulf South during the summer of 2010. A retrospective examination of the series in this context, and against the grain of critical consensus labeling it mere escapism, demonstrates that taking True Blood seriously can yield compelling insights into the US Gulf South as a site in which convergences of the global and the local, of reality and representation, and of energy and cultural production result in the formation of a hybrid: energy/culture. Analysis of the storyline featuring the Vampire King of Mississippi shows how True Blood extends the long-standing cultural practice of making vampires screens for projecting collective desires and anxieties. Through a “camp aesthetic” that weaves into the Vampire King's maniacal pursuit of blood in various forms dire warnings about excessive consumption and environmental apocalypse, True Blood offers fictional ways to make meaning of the actual conditions and consequences of energy production and consumption brought to the surface with great urgency by the BP oil spill.
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Pioffet, Marie-Christine. "Nouvelle-France ou France nouvelle : les anamorphoses du désir." Tangence, no. 90 (September 2, 2010): 37–55. http://dx.doi.org/10.7202/044339ar.

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Ce texte explore la perception imaginaire de la Nouvelle-France chez les voyageurs français depuis Verrazano et Cartier jusqu’à Charlevoix, en passant par Marc Lescarbot, Gabriel Sagard, Paul Lejeune, Chrétien Leclercq et même Marie de l’Incarnation. À peine peuplé, ce vaste territoire devient le théâtre des rêves expansionnistes et missionnaires les plus ambitieux. En raison de ses contours incertains et des failles de la cartographie, cette France d’Amérique nourrit les fantasmes des explorateurs qui y cherchent tantôt un passage vers la Chine, tantôt des villes prospères et populeuses, tantôt un nouvel Eldorado situé au Saguenay ou quelque part dans le Mississipi. La fiction déborde la géographie et se répercute sur un axe temporel, que ce soit par des échappées dans un avenir glorieux ou encore dans un passé magnifié, celui des Gaulois, intrépides navigateurs aux yeux de Lescarbot, ou des croisés enrôlés dans une guerre sainte, à en croire Paul Lejeune. Dans ce contexte, l’image de la Nouvelle-France, fabrication idéo-politique, spatiale mais aussi historique, voire eschatologique, se construit pour panser les espoirs déçus.
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Dissertations / Theses on the topic "Mississippi in fiction"

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Bowers, Kerry. "Gender matters : performativity and its discontents in women's science fiction /." Full text available from ProQuest UM Digital Dissertations, 2009. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1801444221&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1268678127&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2009.
Typescript. Vita. "May 2009." Dissertation director: Natalie M. Schroeder Includes bibliographical references (leaves 168-177). Also available online via ProQuest to authorized users.
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Busby, Robert. "The Dead Fish at Twenty Mile and Other Stories from Bodock, Mississippi." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/1870.

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THE DEAD FISH AT TWENTY MILE AND OTHER STORIES FROM BODOCK, MISSISSIPPI is set in a mythical town of nine-hundred-and-forty-eight Bodockians on the northwest corner of fictitious Claygardner County. Much like the canon of Faulkner's Yoknapatawpha works, the stories in this collection contribute to the myth of Bodock-from the fictional town's origins sometime in the 1830s, to the turn of the twenty-first century-while exploring such themes as mortality, regret, folklore, the New South at the end of the twentieth-century, and the relationship between man and nature. With the exception of the title story, the occasion for these stories is the ice storm which devastated much of the Mid-South in 1994. To accomplish this myth creation, the stories often employ folklore, magical realism, pathos and comedy, and storytelling, as influenced by Lewis Nordan's Welcome to the Arrow-Catcher Fair and Flannery O'Connor's A Good Man is Hard to Find.
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Tam, Pou U. "Machines in Faulkner's Mississippi garden." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554101.

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Henderson, Ryan Lynn. "Magnolia Star Route." Master's thesis, Mississippi State : Mississippi State University, 2007. http://library.msstate.edu/etd/show.asp?etd=etd-04092007-130126.

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Redd, James Madison. "LIVING WITHOUT: STORIES OF VANDLER COUNTY AS TOLD BY JAMES MADISON REDD." MSSTATE, 2008. http://sun.library.msstate.edu/ETD-db/theses/available/etd-07182008-110226/.

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Living Without: Stories of Vandler County As Told By James Madison Redd studies the transition of the rural, and behind-the-times South, which was once firmly situated in place and time, into the present where Southern identity has become confused. The stories follow a Faulknerian trend by sharing a setting in a fictional county located in North Mississippi. All of the stories are interrelated and contain common characters. The genre is the Southern Gothic, and the time range is from the sixties to the present. Preceding the collection of stories is a critical introduction that explores the possibility of expanding the definition of movement, thereby increasing its significance within the craft of fiction.
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Thomas, Woodlief A. "Just Off Elysian Fields." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1949.

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Books on the topic "Mississippi in fiction"

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Mississippi! Boston, Mass: G.K. Hall, 1986.

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One Mississippi. New York: Little, Brown and Company, 2007.

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Taylor, Mildred D. Mississippi Bridge. New York: Bantam Books, 1992.

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Taylor, Mildred D. Mississippi bridge. New York: Dial Books for Young Readers, 1990.

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Taylor, Mildred D. Mississippi bridge. New York: Puffin Books, 2000.

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Hornbuckle, M. David. Zen, Mississippi. New York: Tritone Media, 2010.

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Mississippi blues. Washington, DC: Sepia/BET Books, 2004.

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Mississippi blues. Washington, DC: Sepia, 2004.

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Zee, Ruth Vander. Mississippi morning. Grand Rapids, Mich: Eerdmans Books for Young Readers, 2004.

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Goldrick, Emma. Mississippi Miss. Richmond: Mills& Boon, 1991.

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Book chapters on the topic "Mississippi in fiction"

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Orwell, George. "“Fiction and Life”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0013.

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This chapter comments on The Hamlet, arguing that the novel is difficult to read. It begins with the opinion that William Faulkner is one of the most “important” of living American writers, one who raises the question of whether a writer is to be taken seriously merely because he is “intellectual.” It then suggests that the difficulty of reading The Hamlet comes from the fact that Faulkner “crams into each sentence thoughts which occur to him in passing but which have not necessarily much to do with the matter at hand.” The chapter also contends the plot of the story is quite hard to grasp—it is about some people somewhere in the Southern States of America, people who commit a rape or a murder from time to time—and that a second reading would not be worthwhile.
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Parker, Dorothy. "“Best Fiction of 1957”." In The Dixie Limited. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496803382.003.0023.

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In this chapter, Dorothy Parker discusses William Faulkner's novel The Town, which she declares the best fiction of 1957. Parker says she wishes to sendThe Town to those she most loves and respects. According to Parker, she cannot consider The Town as Faulkner's finest work because his books are so variegated that comparisons among them are not possible. The Town comes after The Hamlet in Faulkner's triptych of the horrible, evil, greedy, irresistible Snopes family, on their way to taking over full power in Yoknapatawpha County. Parker once said that 1957 was no banner year for American novels, but admits that The Town made her a fool and a liar.
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Ahmed, Maaheen. "Fantasy and Science Fiction." In Openness of Comics. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496805935.003.0005.

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This chapter describes and analyzes books where fantasy is the dominant element and acquires vivid degrees of visuality. Adhering to a chronological order, analyses of Moebius’ Arzach, Enki Bilal’s Nikopol trilogy, and Yslaire’sXXeCielare carried out and concluded by comparisons between these works and other popular examples of fantastic comics. In order to underscore the degrees of openness between comics generated by images, JarmoMäkilä’sTaxi Ride through Van Gogh’s Earis then discussed. The importance of Moebius’ books comes through their visual detail and the subsequent encouragement of intensive visuality and experimentation with form usually ascribed to the fine arts. The comics by Bilal, Yslaire, and Mäkilä indicate both the extent and the ways in which conventional comics have been altered:adhering more strongly to comics conventions, Bilal’s and Mäkilä’s comics offer diverse options of interpretation through, for instance, intertextual and intermedial references.
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Wade, Leslie A. "Chewbacchus and Science-Fiction Carnival." In Downtown Mardi Gras, 145–77. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496823786.003.0006.

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This chapter features the fastest growing of the new Downtown Mardi Gras organizations, the Intergalactic Krewe of Chewbacchus. New Orleans culture is not conventionally associated with science-fiction or futurism; however, this krewe has tapped a rich and vibrant vein, blending conventional Carnival with science-fiction fandom—the mash-up of Bacchus and Chewbacca from Star Wars. This chapter examines the egalitarian impulse of Chewbacchus, which clearly situates itself in opposition to traditional Uptown krewes. The chapter also investigates its relation to the Downtown neighborhood of Bywater and how the color and energy of the enterprise both reflects and contributes to the gentrification of the area. Finally, the chapter speculates upon the krewe’s fantastical expressions and implicit utopianism, how its carnivalesque, otherworldly aspect might alter or impact actual social realities.
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Gray, Jonathan W. "“The Whole Heart Of Fiction”." In Civil Rights in the White Literary Imagination, 72–104. University Press of Mississippi, 2013. http://dx.doi.org/10.14325/mississippi/9781617036491.003.0004.

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Davis, Doug. "Flannery O’Connor’s Gothic Science Fiction." In Reconsidering Flannery O'Connor, 79–94. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831798.003.0006.

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Where convention categorizes southern literature as especially preoccupied with the past, Doug Davis reads O’Connor’s stories as science fiction, highlighting the surprising extent of her engagement with futurism. From time travelers to space cadets to cyborgs, O’Connor’s stories are filled with images and characters that appear in popular science fiction. Davis argues that for O’Connor, the vocabulary of science fiction provides a way to both explore and critique the promises and effects of technological progress in the context of Cold War America.
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Labarre, Nicolas. "Meat Fiction and Burning Western Light." In Comics and the U.S. South, 242–66. University Press of Mississippi, 2012. http://dx.doi.org/10.14325/mississippi/9781617030185.003.0010.

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Magoulick, Mary J. "The Good Goddess in Popular Fiction." In The Goddess Myth in Contemporary Literature and Popular Culture, 138–59. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837066.003.0006.

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Popular fantasy or speculative fiction by women often embraces ideas of Goddess Culture and matriarchal prehistory in positive but essentialized ways. Jean Auel’s bestselling Earth’s Children series (1980 - 2011) features heroine Ayla, a human raised by Neanderthals who then finds other humans, in Upper Paleolithic Europe. Ayla becomes a shamanistic leader of a peaceful, goddess-mother-worshipping culture. Marion Zimmer Bradley’s Avalon series, especially The Mists of Avalon (1983), set during King Arthur’s time, focuses mainly on Morgaine, recast here as the good heroine and priestess of Mother-Goddess worshipping culture, that sadly falls before Patriarchy and Christianity during the novel. Margaret Atwood’s The Penelopiad (2005) focuses on Odysseus’ wife and how she is haunted by the hanging of her twelve maids, conceived as an overthrow of matriarchal prehistory. Such popular, speculative fiction by women writers romanticizes goddess culture, showing matriarchy as mostly, sadly gone, disappearing, or largely forgotten.
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Donner, Mathieu. "“Open to Me. Maybe I Can Help”." In Posthumanism in Young Adult Fiction, 3–26. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0001.

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After millennia of eugenic planning, Doro’s supremacy is challenged by a young telepath named Mary in Octavia Butler’s Mind of My Mind. Matthieu Donner argues that Mary’s transition as described by Butler reframes adolescence as an ethical awakening, a violent rupture that transitions from singularity to plurality, solipsism to interdependence, boundaried to vulnerable. Mary is able to network with other telepaths, training them and centering them, accomplishing quickly and sensitively what Doro failed to do—establish a community of telepaths who are free from societal interference. Butler’s ideas are understandably fraught with contradictions, but nevertheless revolutionary.
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Hervey, Shannon. "Information Disembodiment Takeover." In Posthumanism in Young Adult Fiction, 27–52. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0002.

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Focusing on four YA novels-—#16thingsithoughtweretrue, The Future of Us, Feed, and The Unwritten—Shannon Hervey describes how adolescent anxiety results from the realization that teens are not just addicted to the Internet; they are tech-human hybrids. Social media demands self-commodification with the capitalistic return of followers and readers, feeding the fear that the virtual self seems to create or at least control the material self. Three of the novels offer unsatisfactory endings, as withdrawal from social media is the only answer. The Unwritten, though, tries to work through the process of actualization and the acceptance of posthumanist subjectivities.
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