{"title":"Alligator Gar and Other Poems","authors":"Thomas Parrie","doi":"10.1353/SOQ.2016.0005","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0005","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"294 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113966901","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Are Isleño décimas really décimas?: Tracking Media and Memory in Spanish-Speaking Louisiana","authors":"J. Gillespie","doi":"10.1353/SOQ.2016.0011","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0011","url":null,"abstract":"The décima, popular since its origin in sixteenth-century Spain, entered Louisiana with late eighteenth century settlers from the Canary Islands. These settlers, known as the Isleños, formed a closely-bound enclave that resisted all outsiders. Slowly, however, natural and economic factors forced them to leave behind their lifestyle of fi shing and trapping and to join the adjacent English-speaking communities. Social change notwithstanding, they have worked as a community to preserve their heritage into the new millennium. One valued memento of their language and culture is the décima. Mixing tradition with community experiences, the Isleños maintained traditional décimas, adopted others, and created their own. (Hispania 447)","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134348768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Televangelism, the South, Modernity, and Darcey Steinke’s Jesus Saves","authors":"W. L. Hogue","doi":"10.1353/SOQ.2016.0013","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0013","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"1994 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125543890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Acting It Out Like a Play”: Flipping the Script of Kitchen Spaces in Faulkner’s Light in August","authors":"Carrie Helms Tippen","doi":"10.1353/soq.2016.0017","DOIUrl":"https://doi.org/10.1353/soq.2016.0017","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132323691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Cemetery at Grand Coteau","authors":"Stella Nesanovich","doi":"10.1353/SOQ.2016.0003","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0003","url":null,"abstract":"","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130048266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making the Lie True: Tennessee Williams’s Cat on a Hot Tin Roof and Truth as Performance","authors":"Rebecca Holder","doi":"10.1353/SOQ.2016.0007","DOIUrl":"https://doi.org/10.1353/SOQ.2016.0007","url":null,"abstract":"In Tim O’Brien’s The Things They Carried, the story “How to Tell a True War Story” grapples with the nature of truth in fi ction. O’Brien (both the author and the character) claims that truth is found not in the happening truth—the historically accurate facts—but instead in the story truth—the emotionally resonant telling that “makes the stomach believe” (78). In an aesthetic reading of the short story collection, critic Robin Silbergleid argues that the apparent autobiographical form the novel takes directly refl ects O’Brien’s statements about the nature of truth as performative and ultimately unknowable. She concludes,","PeriodicalId":246124,"journal":{"name":"The Southern Quarterly","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126852669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}