In this stimulating study, Mary Weaks-Baxter views the Southern Renaissance, 1900--1960, from a fresh perspective. Many writers in the South began consciously to create new myths for the region at the start of the twentieth century, and these myths, Weaks-Baxter argues, reframed southern history and culture. Instead of being rooted in the plantation culture that had provided inspiration for nineteenth-century southern writers, the new literature was inspired by "southern folk," the common people who farmed the earth and whose values derived from Jeffersonian agrarianism and democracy. By glorifying the yeoman farmer -- a figure not only central to southern life but revered throughout the country -- southern writers confirmed the essential Americanness of southern literature and the southernness of American history, creating a viable myth that offered the promise of renewal and purpose. To illustrate how the myth crossed racial, gender, and economic boundaries as well as geographic lines, Weaks-Baxter examines the work of diverse writers, including Willa Cather, Ellen Glasgow, Olive Dargan, Zora Neale Hurston, Jean Toomer, Jesse Stuart, Elizabeth Madox Roberts, Harriette Arnow, William Faulkner, and the Nashville Agrarians. Their portrayals of the lives of common men and women provided hope for all Americans as they were confronted with industrialization and the Great Depression. Weaks-Baxter shows how this agrarian fable led to a new Southern Renaissance in the late twentieth century, influencing the work of contemporary southern writers such as Madison Smartt Bell, Wendell Berry, Alice Walker, Dori Sanders, and Bobbie Ann Mason. With lively arguments and keen insights, Reclaiming the American Farmer will change the terms of discussion about the Southern Renaissance and southern literature in general as it demonstrates how mythologies can unify southerners as well as divide them.

4th ser., v. 1-4 includes the Proceedings of the 1st-11th annual meetings (1848-58) of the Maryland State Agricultural Society.

An examination of Latino/a immigrant farmers as they transition from farmworkers to farm owners that offers a new perspective on racial inequity and sustainable farming. Although the majority of farms in the United States have US-born owners who identify as white, a growing number of new farmers are immigrants, many of them from Mexico, who originally came to the United States looking for work in agriculture. In The New American Farmer, Laura-Anne Minkoff-Zern explores the experiences of Latino/a immigrant farmers as they transition from farmworkers to farm owners, offering a new perspective on racial inequity and sustainable farming. She finds that many of these new farmers rely on farming practices from their home countries—including growing multiple crops simultaneously, using integrated pest management, maintaining small-scale production, and employing family labor—most of which are considered alternative farming techniques in the United States. Drawing on extensive interviews with farmers and organizers, Minkoff-Zern describes the social, economic, and political barriers immigrant farmers must overcome, from navigating USDA bureaucracy to racialized exclusion from opportunities. She discusses, among other topics, the history of discrimination against farm laborers in the United States; the invisibility of Latino/a farmers to government and universities; new farmers' sense of agrarian and racial identity; and the future of the agrarian class system. Minkoff-Zern argues that immigrant farmers, with their knowledge and experience of alternative farming practices, are—despite a range of challenges—actively and substantially contributing to the movement for an ecological and sustainable food system. Scholars and food activists should take notice.

Provides the first history of the North American farm novel, a genre which includes John Steinbeck's The Grapes of Wrath, Sheila Watson's The Double Hook, and Louis Hémon's Maria Chapdelaine. From John Steinbeck's The Grapes of Wrath and Martha Ostenso's Wild Geese to Louis Hémon's Maria Chapdelaine, some of the most famous works of American, English Canadian, and French Canadian literature belongto the genre of the farm novel. In this volume, Florian Freitag provides the first history of the genre in North America from its beginnings in the middle of the nineteenth century to its apogee in French Canada around the middleof the twentieth. Through surveys and selected detailed analyses of a large number of farm novels written in French and English, Freitag examines how North American farm novels draw on the history of farming in nineteenth-centuryNorth America as well as on the national self-conceptions of the United States, English Canada, and French Canada, portraying farmers as national icons and the farm as a symbolic space of the American, English Canadian, and FrenchCanadian nations. Turning away from traditional readings of farm novels within the frameworks of regionalism and pastoralism, Freitag takes a comparative look at a genre that helped to spatialize North American national dreams. Florian Freitag is Assistant Professor of American Studies at the University of Mainz, Germany.