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The adventures of two young boys befriended by an old black man who is a legendary hunter.
Collection of works of the storyteller, Skeeter Skelton, interspersed with anecdotes and tales about him by people who knew him.
U.S.
Original publication and copyright date: 2009.
Intergalactic aliens or a government conspiracy? Skeeter and Yancey are about to find out when they are abducted and have to save not only themselves, but their friends and neighbors. A secret military base in the smoky mountains, flying saucers, aliens, and rednecks. Let the carnage and comedy begin!
"May be the nearest thing to an American Ulysses . . . wildly funny and infinitely sad." —Fintan O'Toole, The Irish times Focusing on the lives of more than a dozen characters—among them the Oregon rave boy Skeeter; the progressive-thinking octogenarian Violet, remembering her life from her bohemian youth in prewar Paris to her jazz-clubbing in postwar Greenwich Village; and the street-smart prostitute Bushie, holding forth on the profanity of the world—Heather Woodbury has forged a unique kind of fiction that combines the immediacy of performance art with the narrative structure and subtle characterization of a traditional novel. Taking off from her acclaimed one-woman show of the same title, Woodbury continually surprises in this novel with her ability to create new forms while always locating the unique, resonant humanity that links all the characters to one another—and to the reader.
When thirteen-year-old Robert "Skeeter" Tates, fed up with his Yankee stepfather and stepbrothers, leaves his Arkansas home for Texas in 1867, he meets up with unexpected traveling companions as well as outlaws and the lawmen tracking them.
Kathryn Stockett’s 2009 best-selling novel The Help and its subsequent 2011 film center on the experiences of African-American domestic workers living in Jackson, Mississippi. Stockett’s sanitized portrayal of life in the Deep South where black women were charged with rearing white children while concurrently barred from sharing toilets and common eating areas with their employers simultaneously enthralled and disturbed readers and viewers alike. Notably, it is not the domestics themselves who render their tales but rather Eugenia Phelan, a white, twenty-something Mississippian with whom they hesitantly collaborate, who ultimately “voices” their stories of life during the harrowing early days of the Civil Rights movement in the Deep South. Essentially, these stories are articulated through the voice of a white woman; a fact that becomes even more complex when one acknowledges that this fictional tale of the inner life of black maids working in Jackson, Mississippi, one of the most notorious states in regards to racial atrocities suffered during the mid-twentieth century, is rendered through the words of a white southern writer. Despite the book’s positive public reception, its sentimental portrait of the lives of African-American domestic workers is troubling due to its heavy-handed use of dialect and “feel good” message about the admirable interventions of a white protagonist intent on alleviating some suffering while glossing over the vicious attacks on African-Americans during the Civil Rights era. The issue of visibility/invisibility is central in this text. At its most basic level, the text itself has lacked traditional critical visibility, as, currently, there has been a dearth of academic books focusing on this specific novel, although the novel and subsequent film received much attention in national newspapers and magazines, as well as significant critical debate in a wide variety of online venues. This collection considers why such sterilized versions of America’s complex racial history resonate so deeply in our contemporary timeframe. Essay topics range from examinations of the laboring black female body to the impact of domestic work on families, both black and white, to explorations of the connections between rhetoric, writing and race. Also included are several comparative pieces that draw connections between Stockett’s work and that of 1940s cartoonist Jackie Ormes, as well as filmic comparisons to Imitation of Life (1934 and 1959) and Black Girl (1966) by Senegalese filmmaker Ousmane Sembène. With a “Preface” by Trudier Harris and the inclusion of several essays previously published in Southern Quarterly and Southern Cultures, this volume represents the first text dedicated solely to Stockett’s wildly popular novel and its subsequent film adaptation.