Last post, I wrote briefly about three of the covers from Ernest J. Gaines’s Of Love and Dust (1967). Today, I want to continue the discussion by looking at the 1994 Vintage Books edition and two 1991 covers from French translations. Examined in relation to the covers discussed in the previous post, these images provide readers with three more introductions to OLAD before they … Read More What Does the Cover Say? (Part 2)
One topic that has always interested me is the visual representations of literary works. Visual artists from Gustave Dore and E.W. Kemble illustrated everything from Dante’s Divine Comedy (1320) to Paul Laurence Dunbar’s The Strength of Gideon and Other Stories (1900). Thinking about these visual representations along with the text provides an interesting conversation, not just regarding how the images and texts interact but how … Read More What Does the Cover Say?
After writing about Ellen Glasgow’s “Jordan’s End,” I picked up William Faulkner’s “Dry September” (1931). While not necessarily in the exact same narrative vein, Faulkner’s story, as with his other works, highlight the ideas of the Southern Gothic, specifically a place of suffocating oppression that does not resemble the idyllic region that authors sought to “recapture” after Reconstruction during the latter part of the … Read More Suffocation and Concealment through Dust in Faulkner’s "Dry September"
Richard Perry Loving and Mildred Jeter Loving If Sydney Bonbon found Marcus and Louise engaged in sexual activity, Aunt Margaret thought about what she would tell the Cajun overseer on Hebert Plantation. She knows that she would not be scared; instead, she would stand her ground and tell him, “I was doing it for your child [Tite]. If you want kill me for protecting … Read More Interracial Relationships and Children in "Of Love and Dust"
When Django and Dr. King Schultz ride into Daughtrey, Texas, near the beginning of Quentin Tarantino’s Django Unchained (2012), the white townspeople freeze, staring in shock at an African American riding a horse next to a white man driving a carriage. Django does not drive the carriage, as would be expected of an African American servant or slave. Django rides through the streets on … Read More Horses, Manhood, and Power in Ernest J. Gaines