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Well butter my buns and call me a biscuit because the folks at the Oxford American have done it again! Each year this literary quarterly, proudly published by the University of Central Arkansas, releases a Southern music issue. This year the editors have introduced a new theme—The Southern State Series—because, according to founding editor Marc Smirnoff (no relation to the vodka distillery so far as I know), “We now expect, if not demand, surprises.” Fittingly for a publication out of Conway, Arkansas, the first of these pleasant surprises pays homage to Arkansas natives.
The issue offers not only the printed prose of several talented writers but also a double-disc demo of foot-tappin’-fanny-shakin’-honky-tonkin’ soul and sound. Bursting with improbable yet impeccable rhythms, refreshingly low-brow lyrics, twang, strings, and ol’-timey things, the CDs feature artists like Sonny Burgess, Billy Lee Riley, Larry Donn, Little Beaver, Maxine Brown, Sleepy LaBeef, and other notables among not-so-notables. One CD spotlights local artists (Arkansas Masters); the other, an eclectic, hand-picked mix of musicians from various Southern regions (Southern Masters).
Some of the selections will make you unbutton your shirt, loosen your belt, and flail your body from side to side. Some, though, will tug at your heartstrings. (I cried twice while listening to Southern Masters, but I’m a bit of a sap.) No one genre dominates this mélange of gospel, rock, bluegrass, and blues. Whether wailing about home-sweet-home, prison melancholy, lonesome highways, lost love or love made, these artists are sure to connect. (more…)

It was with great interest—and, perhaps, skepticism, for I myself taught English in Japan—that I read Faulkner Studies in Japan, an assemblage of critical essays written and translated by Japanese academics and edited by American Thomas L. McHaney, professor of literature at Georgia State University.  Whisking eagerly through the pages of this significant, insightful book, I learned, to my surprise, that Faulkner’s reputation in Japan has been, for six decades, mostly favorable, despite that his “works are difficult to read, even in his own country” (xiii).

Though my brief stint as sensei didn’t lend itself to instruction in unconventional, stream-of-consciousness fiction—just getting my pre-teen students to pronounce “Yoknapatawpha” would’ve been inconceivable—other sensei have taught Faulkner with relative, if not outright, success.  (more…)

Allen Mendenhall holds a B.A. in English from Furman University, M.A. in English from West Virginia University, and J.D. from West Virginia University College of Law. He is an LL.M. candidate at Temple University Beasley School of Law and the author of several publications in such journals as the The Southern Literary Messenger, the Aroostook Review, The Georgetown Journal of Law & Modern Critical Race Perspectives, The West Virginia Lawyer, and the International Journal of Baudrillard Studies.  Visit his website at AllenMendenhall.com.

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Reading John Pritchard’s Junior Ray is like sitting in a rocking chair, on the front porch, a beer in your hand, listening to some trash-talking, sheep-screwing redneck—Mr. Junior Ray Loveblood—ramble on about, well, whatever comes to mind.  Junior Ray is the racist, rascally protagonist of this explosive little novel, which, with its roots in oral tradition, recalls Joel Chandler Harris’s The Complete Tales of Uncle Remus, Mark Twain’s The Adventures of Huckleberry Finn, or, more recently, Gayle Jones’s Eva’s Man.  But caveat emptor:  it’s far more profane than any of these books. (more…)