PDF The Fourth Ghost: White Southern Writers and European Fascism, 1930-1950 (Southern Literary Studies)

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In the classic Killers of the Dream, Lillian Smith described three racial "ghosts" haunting the mind of the white South: the black woman with whom the white man often had sexual relations, the rejected child from a mixed-race coupling, and the black mammy whom the white southern child first lov From R1 Recommended Offers. R1 View Offer. View All Offers. In the classic Killers of the Dream, Lillian Smith described three racial "ghosts" haunting the mind of the white South: the black woman with whom the white man often had sexual relatio Product Details.

In the classic Killers of the Dream, Lillian Smith described three racial "ghosts" haunting the mind of the white South: the black woman with whom the white man often had sexual relations, the rejected child from a mixed-race coupling, and the black mammy whom the white southern child first loves but then must reject.

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In this groundbreaking work, Robert H. Brinkmeyer, Jr. He explores how southern writers of the s and s responded to Fascism, and most tellingly to the suggestion that the racial politics of Nazi Germany had a special, problematic relevance to the South and its segregated social system. Their responses varied widely, ranging from repression and denial to the repulsion of self-recognition. With penetrating insight, Brinkmeyer examines the work of writers who contemplated the connection between the authoritarianism and racial politics of Nazi Germany and southern culture.

He shows how white southern writers -- both those writing cultural criticism and those writing imaginative literature -- turned to Fascist Europe for images, analogies, and metaphors for representing and understanding the conflict between traditional and modern cultures that they were witnessing in Dixie.

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He argues persuasively that by engaging in their works the vital contemporary debates about totalitarianism and democracy, these writers reconfigured their understanding not only of the South but also of themselves as southerners, and of the nature and significance of their art. Reviews 0. Review this product. Write a review.

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  5. Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. As Brinkmeyer demonstrates in his Introduction, the South, with its regional insularity, valorizing of tradition, and preoccupation with race, has been and, one might add, continues to be particularly susceptible to a tarring with the fascist brush.

    No group of Southern intellectuals were assaulted more vigorously in that regard than the Agrarians. Brinkmeyer lays out the unflattering history of the Agrarian alliance with the self-proclaimed fascist Seward Collins a Yankee patrician , but he balances this discussion with an awareness of how the New Critical aesthetic implicit in Agrarian social theory privileged a democratic multiplicity of contending voices and viewpoints tensions and ironies over the univocal demands of propaganda art.

    Still, one wishes he had pursued the implications of the Pound-Bollingen controversy a bit more fully.

    Brinkmeyer, Robert H. [WorldCat Identities]

    The issues surrounding that impassioned affair remain vexing today, and it is worThnoting that not only Tate but Katherine Anne Porter and Robert Penn Warren each of whom warrants a chapter in The Fourth Ghost were members of the jury that awarded Pound the prize, a fact that might have been pursued to advantage. Brinkmeyer follows his account of the Agrarians with a brilliant chapter on one of their principal nemeses, W.

    Brinkmeyer brings sympathy as well as unfl inching honesty to his portrayal of Cash. By the end of Killers of the Dream , she had arrived at a view that anticipated the hope most often associated with the historian C. Vann Woodward and others— that Southerners of probity and goodwill, chastened by the burdens of history, might serve as a light unto the nations.

    The specter of fascism haunted McCullers to be sure, but she had ghosts enough in her own closeted spaces. Robert Penn Warren was made of sterner stuff. In any event, his final verdict on Warren is a just one worthy of full citation:.