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DigiCat Publishing presents to you this special edition of "Balcony Stories" by Grace Elizabeth King. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
Balcony Stories EasyRead Comfort Edition by Grace Elizabet King Pdf
This book is a collection of interesting and beautiful stories. Each one is different from the other; unique and peculiar pathos that sometimes mingles with happiness and the little drama that makes the stories stunningly vibrant. Pleasant and interesting!
The New Orleans writer Grace King was an intensely loyal daughter of the South. Fostered by bitter memories of the Civil War, her loyalty was kept burning by her family’s struggle to regain its wealth and maintain its social position during the long agony of Reconstruction. In Grace King: A Southern Destiny, Robert Bush tells of King’s life and her art, both of which she enthusiastically dedicated to the memory and welfare of her region, her city, and her family. When she began writing in 1886, it was out of a sense of anger at what she saw as George Washington Cable’s disloyalty to the South, his deliberately false portrayal of New Orleans’ Creoles and blacks. King was herself a conservative in racial matters, and a number of her stories celebrate the loyalty that she has observed freed slaves showing their former masters. But Grace King was far from conservative in her determination to earn money as a writer and to master the ideas of her era—neither endeavor considered a particularly appropriate ambition for a patrician woman of her time. She was proud to be able to contribute to her family’s income, and she developed a sharp eye for the fluctuations in the literary marketplace. In the late 1880s King worked in the local-color genre that was then in vogue. When the demand for that school of regional writing declined in the 1890s, she turned to the shorter “balcony stories” in which the details of local background were minimized. Then later in the decade, she focused her talents on writing Louisiana history after she found that publishers wanted the kind of sound, colorful work she was capable of producing. Grace King’s major accomplishments in fiction are a small number of first-rate stories and a quiet, realistic novel about New Orleans during Reconstruction—The Pleasant Ways of St. Médard. Her best historical work is New Orleans, the Place and the People. However the significance and fascination of her life lies not just in the pages of the books she wrote but also in her role as a literary champion of the South, carrying her determined views from New Orleans to New York, New England, Canada, England, and France.
Narratives of Community draws together essays that examine short story sequences by women through the lenses of Sandra Zagarell’s theoretical essay, “Narrative of Community.” Reading texts from countries around the world, the collection’s twenty-two contributors expand scholarship on the genre as they employ diverse theoretical models to consider how female identity is negotiated in community or the roles of women in domestic, social and literary community. Grouped into four sections based on these examinations, the essays demonstrate how Zagarell’s theory can provide a point of reference for multiple approaches to women’s writing as they read the semiotic systems of community. While “narrative of community” provides an organizing principle behind this collection, these essays offer critical approaches grounded in a wide variety of disciplines. Zagarell contributes the collection’s concluding essay, in which she provides a series of reflections on literary and cultural representations of community, on generic categorizations of community, and on regionalism and narrative of community as she returns to theoretical ground she first broke almost twenty years ago. Overall, these essays bring their contributors and readers into a community engaged with a narrative genre that inspires and affords a rich and growing tradition of scholarship. With Narratives of Community, editor Roxanne Harde offers a wealth of critical essays on a wide variety of women's linked series of short stories, essays that can be seen overall to explore the genre as a kind of meeting house of fictional form and meaning for an inclusive sororal community. The book itself joins a growing critical community of monographs and essay collections that have been critically documenting the rise of the modern genre of the story cycle to a place second only to the novel. But more than simply joining this critical venture, Narratives of Community makes a major contribution to studies in the short story, feminist theory, women's studies, and genre theory. Its introduction and essays should prove of enduring interest to scholars and critics in these fields, as well as continue highly useful in the undergraduate and graduate classrooms. — Gerald Lynch, Professor of English, University of Ottawa The introduction, by Prof. Harde, and the 20 essays in the book dialogue with Sandra Zagarell’s proposed paradigm “narratives of community”, which other scholars have called “short story cycles” or “story sequences”. Zagarell’s proposal organically blends a generic model with a thematic concern to explain how women writing community often turn to a particular narrative style that itself supports the literary creation of that community. Harde and the volume contributors appropriate this brilliant and engaging proposal in the context of other crucial discussions of the genre—notably Forest Ingram’s germinal study, J. Gerald Kennedy’s work, and those by Robert Luscher, Maggie Dunn and Anne Morris, James Nagel, Gerald Lynch and (I’m honored to note), my own study on Asian American short story cycles—to expand the range of the critical discussion on the form. The quality and diversity of the essays remind us that there is still much work that can be done in the area of genre studies. The volume emphasizes an important caveat to one vital misconception: that although writers like James Joyce or Sherwood Anderson are thought to be the precursors or, even, “inventors” of the form, women’s sequences, by Sara Orne Jewett and Elizabeth Gaskell, among others, actually predate the work of the male writers. This fact suggests that the development of the form as a genre that attends to specific perspectives or creative formulations of and by women needs to be considered in depth. The temporal scope of the volume is therefore a vital contribution to scholarship on the form, as is the diversity of the writers analyzed. Indeed, the examination of narratives by writers from different countries and that focus on characters from different time periods, racial, religious, or ethnic communities, and social class impels a multilayered reading of the texts that inevitably promotes a nuanced understanding of the project of each of the writers, a project that connects issues of individuality and community in varied and often surprising ways. The essays thus critically explore the notion of community in its myriad associations with the individual and as a crucial site not only for women’s action upon the world but also for her creative endeavors. The essays in the volume revisit familiar texts—Naylor’s The Women of Brewster Place, Cisneros’s The House on Mango Street, Kingston’s The Woman Warrior, Welty’s The Golden Apples, Munro’s The Lives of Girls and Women, among others—but offer new perspectives on the way form interacts with issues of women’s communities and women creating community in these works. Significantly, it also offers readings on texts that have not been analyzed in detail from this perspective—Gaskell’s Cranford or Woolf’s A Haunted House, for example—thus contributing to a continuing conversation about the ways women write. The juxtaposition of the familiar and the new expand the paradigms of current criticism not only on the story cycle but also on women’s writing in general. —Rocio Davis, Professor of Literature, University of Navarre "Roxanne Harde’s forthcoming volume, Narratives of Community: Women’s Short Story Sequences, provides an abundant collection of varied responses to Sandra Zagarell’s longstanding call for further in-depth exploration of the genre that Zagarell christened “the narrative of community” in her 1988 essay linking non-novelistic narrative form with representations of female experience. As Harde observes, such narratives of community overlap significantly with the growing canon of unified but discontinuous collections of autonomous stories that critics have variously labeled as the short story cycle/ sequence/ composite . . . The essays in her collection examine a rich variety of such works by women, extending the scholarship in this area. . . Harde’s ample collection of essays presents a concerted and diverse exploration of the implications of the short story sequence form as a representation of women’s lives as part of and in conflict with membership in a community. . . . Overall, Harde’s volume is a welcome addition to current scholarship on the short story sequence, bringing in a variety of new voices and perspectives to the community of scholars who have engaged in the exploration of this paradoxical, evolving, and increasingly popular genre." — Dr. Luscher
New Orleans is unique – which is precisely why there are many Crescent Cities all over the world: for almost 150 years, writers, artists, cultural brokers, and entrepreneurs have drawn on and simultaneously contributed to New Orleans’s fame and popularity by recreating the city in popular media from literature, photographs, and plays to movies, television shows, and theme parks. Addressing students and fans of the city and of popular culture, Popular New Orleans examines three pivotal moments in the history of New Orleans in popular media: the creation of the popular image of the Crescent City during the late nineteenth century in the local-color writings published in Scribner’s Monthly/Century Magazine; the translation of this image into three-dimensional immersive spaces during the twentieth century in Disney’s theme parks and resorts in California, Florida, and Japan; and the radical transformation of this image following Hurricane Katrina in public performances such as Mardi Gras parades and operas. Covering visions of the Crescent City from George W. Cable’s Old Creole Days stories (1873-1876) to Disneyland’s "New Orleans Square" (1966) to Rosalyn Story’s opera Wading Home (2015), Popular New Orleans traces how popular images of New Orleans have changed from exceptional to exemplary.
Nineteenth-Century Southern Women Writers by Melissa Walker Heidari,Brigitte Zaugg Pdf
The essays in this book explore the role of Grace King’s fiction in the movement of American literature from local color and realism to modernism and show that her work exposes a postbellum New Orleans that is fragmented socially, politically, and linguistically. In her introduction, Melissa Walker Heidari examines selections from King’s journals and letters as views into her journey toward a modernist aesthetic—what King describes in one passage as "the continual voyage I made." Sirpa Salenius sees King’s fiction as a challenge to dominant conceptualizations of womanhood and a reaction against female oppression and heteronormativity. In his analysis of "An Affair of the Heart," Ralph J. Poole highlights the rhetoric of excess that reveals a social satire debunking sexual and racial double standards. Ineke Bockting shows the modernist aspects of King’s fiction through a stylistic analysis which explores spatial, temporal, biological, psychological, social, and racial liminalities. Françoise Buisson demonstrates that King’s writing "is inspired by the Southern oral tradition but goes beyond it by taking on a theatrical dimension that can be quite modern and even experimental at times." Kathie Birat claims that it is important to underline King’s relationship to realism, "for the metonymic functioning of space as a signifier for social relations is an important characteristic of the realist novel." Stéphanie Durrans analyzes "The Story of a Day" as an incest narrative and focuses on King’s development of a modernist aesthetics to serve her terrifying investigation into social ills as she probes the inner world of her silent character. Amy Doherty Mohr explores intersections between regionalism and modernism in public and silenced histories, as well as King’s treatment of myth and mobility. Brigitte Zaugg examines in "The Little Convent Girl" King’s presentation of the figure of the double and the issue of language as well as the narrative voice, which, she argues, "definitely inscribes the text, with its understatement, economy and quiet symbolism, in the modernist tradition." Miki Pfeffer closes the collection with an afterword in which she offers excerpts from King’s letters as encouragement for "scholars to seek Grace King as a primary source," arguing that "Grace King’s own words seem best able to dialogue with the critical readings herein." Each of these essays enables us to see King’s place in the construction of modernity; each illuminates the "continual voyage" that King made.
Race and Culture in New Orleans Stories by James Nagel Pdf
All of these historical factors energize and enrich the fiction of this important region. The literary context of these volumes is also central to understanding their place in literary history. They are short-story cycles--collections of short fiction that contain unifying settings, recurring characters or character types, and central themes and motifs. They are also examples of the "local color" tradition in fiction, a movement that has been much misunderstood. Nagel maintains that "local color" literature was meant to be the highest form of American writing, not the lowest, and its objective was to capture the locations, folkways, values, dialects, conflicts, and ways of life in the various regions of the country in order to show that the lives of common citizens were sufficiently important to be the subject of serious literature.
Author : E. King Grace E. King Publisher : Tutis Digital Pub Page : 208 pages File Size : 50,7 Mb Release : 2008-01 Category : Fiction ISBN : 8184567421
Balcony Stories (Classic Reprint) by Grace King Pdf
Excerpt from Balcony Stories Cony in a country where the summer unrolls in six moon-lengths, and where the nights have to come with a double endow ment of vastness and splendor to compensate for the tedious, sun-parched days. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
