'About as close to flawless as any reader could ask for' The New York Times Book Review 'For anyone who has ever felt the contempt of a self-righteous world, this book will resonate within you like a gospel choir. For anyone who hasn't, this book will be an education' Barbara Kingsolver Carolina in the 1950s, and Bone - christened Ruth Anna Boatwright - lives a happy life, in and out of her aunt's houses, playing with her cousins on the porch, sipping ice tea, loving her little sister Reece and her beautiful young mother. But Glen Waddell has been watching them all, wanting her mother too, and when he promises a new life for the family, her mother gratefully accepts. Soon Bone finds herself in a different, terrible world, living in fear, and an exile from everything she knows. Bastard Out of Carolina is a raw, poignant tale of fury, power, love and family. This editon contains an introduction by the author. Dorothy Allison was awarded the 2007 Robert Penn Warren Award for Fiction, and has been likened to Flannery O'Connor, William Faulkner and Harper Lee.

A Study Guide for Dorothy E. Allison's "Bastard Out of Carolina," excerpted from Gale's acclaimed Novels for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Novels for Students for all of your research needs.

Memoirs in which trauma takes a major—or the major—role challenge the limits of autobiography. Leigh Gilmore presents a series of "limit-cases"—texts that combine elements of autobiography, fiction, biography, history, and theory while representing trauma and the self—and demonstrates how and why their authors swerve from the formal constraints of autobiography when the representation of trauma coincides with self-representation. Gilmore maintains that conflicting demands on both the self and narrative may prompt formal experimentation by such writers and lead to texts that are not, strictly speaking, autobiography, but are nonetheless deeply engaged with its central concerns. In astute and compelling readings of texts by Michel Foucault, Louis Althusser, Dorothy Allison, Mikal Gilmore, Jamaica Kincaid, and Jeanette Winterson, Gilmore explores how each of them poses the questions, "How have I lived? How will I live?" in relation to the social and psychic forms within which trauma emerges. Challenging the very boundaries of autobiography as well as trauma, these stories are not told in conventional ways: the writers testify to how self-representation and the representation of trauma grow beyond simple causes and effects, exceed their duration in time, and connect to other forms of historical, familial, and personal pain. In their movement from an overtly testimonial form to one that draws on legal as well as literary knowledge, such texts produce an alternative means of confronting kinship, violence, and self-representation.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

Seminar paper from the year 2009 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,7, Ruhr-University of Bochum (Englisches Seminar), course: "You Nothing But Trash", language: English, abstract: Gender stereotypes and roles are present in the people's mind and can be found almost everywhere in daily life. Children and adults are confronted and influenced by those stereotypes, most of the time internalize them and behave according to their gender roles. Men and women perform different roles which are based on nothing more than their biological gender. Although these roles cannot be referred to each individual, the majority of people live out their lives in accordance to these pervasive roles. To sum it up, gender is a central and "organizing category in social life" (Warren 7). Women anthropologists from the 1920s up to the present time focused their research on Western women's issues and examined women's settings. Their result is that mainly the domestic sphere, child rearing, health and nutrition are the settings or the tasks ascribed to women. In part, this is - according to the anthropologists - a consequence of expectations associated with the society's home territory and with Western anthropologist's cultural assumptions. Additionally, the societies which were studied by these anthropologists were often highly gender-segregated and numerous roles and activities could be taken by one gender and were banned to the other (Warren 16). To put in other words, most societies are "husband-centered" (Warren 14) and some of the societies studied "to a degree even greater than is customary in Western Europe and America". (ibid.) The novel "Bastard Out of Carolina" written by Dorothy Allison deals with gender stereotypes and tells the story of the so called 'white trash'-girl Ruth 'Bone' Boatwright and her family. Allison critiques in the novel not only two of the most damaging bourgeois myths about "white trash" - illegitima

Includes substantial alphabetically arranged entries on roughly 70 feminist writers whose works are widely read in English, and on some 20 related topics.

Bastard Out of Carolina, nominated for the 1992 National Book Award for fiction, introduced Dorothy Allison as one of the most passionate and gifted writers of her generation. Now, in Two or Three Things I Know for Sure, she takes a probing look at her family's history to give us a lyrical, complex memoir that explores how the gossip of one generation can become legends for the next. Illustrated with photographs from the author's personal collection, Two or Three Things I Know for Sure tells the story of the Gibson women -- sisters, cousins, daughters, and aunts -- and the men who loved them, often abused them, and, nonetheless, shared their destinies. With luminous clarity, Allison explores how desire surprises and what power feels like to a young girl as she confronts abuse. As always, Dorothy Allison is provocative, confrontational, and brutally honest. Two or Three Things I Know for Sure, steeped in the hard-won wisdom of experience, expresses the strength of her unique vision with beauty and eloquence.

Looking at works by Carrie Mae Weems, Toni Morrison, Emily Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers, and Zora Neale Hurston, Claire Raymond uncovers a pattern of femininity constructed around representations of sadistic violence in American women's literature and photography from the late nineteenth and twentieth centuries. Dickinson's poetry is read through its relationship to the Southern Agrarian critics who championed her work. While the representations of violence found in Carrie Mae Weems's installation From Here I Saw What Happened and I Cried, Morrison's Beloved, Dickinson’s poetry, O'Connor's 'A View of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard Out of Carolina, McCullers' Ballad of the Sad Café, and Hurston's Mules and Men are diverse in terms of artistic presentation, all allude to or are set in the antebellum and Jim Crow South. In addition, all involve feminine characters whose subjectivity is shaped by the practice of seeing acts of violence inflicted where there can be no effective resistance. While not proposing an equivalence between representing violence in visual images and written text, Raymond does suggest that visual images of violence can be interpreted in context with written evocations of violent imagery. Invoking sadism in its ethical sense of violence enacted on a victim for whom self-defense and recourse of any kind are impossible, Raymond's study is ultimately an exploration of the idea that a femininity constructed by the positioning of feminine characters as witnesses to sadistic acts is a phenomenon distinctly of the American South that is linked to the culture's history of racism.

This book explores the intersections of sexualized, gendered, and racialized traumas in five US novels about father-daughter incest from the 1990s. It examines how incest can be connected to wider past and present structural oppression and institutional abuse, and what fiction looks like that testifies against and references a historical background of slavery, poverty, settler colonialism, annexation, and immigration. Investigating the means of resistance used against attempts at silencing and denial in these texts, the book also shows how contemporary women’s novels can propose social change. Overall, this study uniquely argues that the individual trauma of incest in these texts must be understood in relation to histories of and present collective wounding against marginalized communities. By sitting at the intersections between trauma theory and US third world feminism, it allows for theory to meet literary activism.