By Charles S. Watson
Point out southern drama at a dinner party or in an American literature survey, and you can listen cries for "Stella!" or laments for "gentleman callers." but southern drama relies on even more than a menagerie of hugely strung spinsters and metal magnolias.
Charles Watson explores this box from its eighteenth- and nineteenth-century roots in the course of the southern Literary Renaissance and Tennessee Williams's triumphs to the performs of Horton Foote, winner of the 1994 Pulitzer Prize. Such popular smooth figures as Lillian Hellman and DuBose Heyward earn clean seems, as does Tennessee Williams's altering depiction of the South―from delicate research to outraged indictment―in reaction to the Civil Rights Movement.
Watson hyperlinks the paintings of the early Charleston dramatists and of Espy Williams, first glossy dramatist of the South, to later twentieth-century drama. robust heroines in performs of the Confederacy foreshadow the spunk of Tennessee Williams's Amanda Wingfield. Claiming that Beth Henley fits the satirical brilliance of Eudora Welty and Flannery O'Connor, Watson connects her zany humor to 1840s New Orleans farces.
With this paintings, Watson has ultimately responded the decision for a single-volume, complete background of the South's dramatic literature. With interesting aspect and pro notion, he unearths the wealthy historical past of southern drama.
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