{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://iastate.aviaryplatform.com/iiif/wm13n21b2z/manifest","type":"Manifest","label":{"en":["Roberts, John W., Writing the Black South"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/004/original/ISULogo.png?1601681107","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["Writing the Black South. Iowa State University Lecture Series (RS 8/6/53). Special Collections and University Archives, Iowa State University Library, Ames, Iowa."]}},{"label":{"en":["Publisher"]},"value":{"en":["Iowa State University. Special Collections and University Archives"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["There are no restrictions on access. (access)","This item is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. 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weather.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=6.737,8.96"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think this is the last time we're","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=8.96,10.26"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ever gonna try to do anything in January.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=10.26,12.75"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Give up on this weather.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=12.75,14.22"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But thank you,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=14.22,15.053"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's great to see so many warm bodies here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=15.053,17.66"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My name's Sheryl St. Germain,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=17.66,18.96"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I'm the director for the Center","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=18.96,20.497"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for Excellence in Arts and Humanities.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=20.497,22.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We are co-sponsoring this event.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=22.73,24.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I wanna thank a couple people","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=24.77,26.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"before we get started and organizations,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=26.08,30.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Humanities Iowa who is co-sponsoring this event,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=30.08,34.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the Committee on Lectures,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=34.13,35.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the African-American studies program.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=35.68,38.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I also wanna thank the Ames Public Library","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=38.29,40.69"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"especially Lynne Carey and Susan North","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=40.69,42.89"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for hosting this event and providing refreshments.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=42.89,45.638"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Susan Bedell and Big Table Books.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=45.638,47.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Big Table Books is right here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=47.92,50.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've got a wonderful display of writers,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=50.11,53.79"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"black writers' work,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=53.79,55.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"so please buy some books afterwards.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=55.61,58.393"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I'm supposed to say formally that this event was funded","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=60.05,62.95"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in part by a grant from Humanities Iowa,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=62.95,65.33"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I sound like the PBS station,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=65.33,67.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the National Endowment for the Humanities.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=67.05,69.463"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have a wonderful series.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=71.64,73.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is the beginning","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=73.74,75.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of our spring series of arts and humanities","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=75.5,77.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the environment.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=77.41,78.64"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's a poster on the back.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=78.64,79.99"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Please feel free to take one that will tell 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sheet","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=84.45,86.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that I'm gonna ask Molly Homer's, who I also wanna thank,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=86.0,89.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"our programming assistant to pass 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was","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=139.053,142.833"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"named our Distinguished Humanity Scholar.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=142.833,145.42"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And in 2003, a Regents Faculty Excellence Award was","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=145.42,148.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"granted to him.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=148.91,149.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Please welcome Jim Dow.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=149.91,151.387"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience applause)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=151.387,154.387"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e Jim:\u003c/strong\u003e Thank 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South","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=210.83,213.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from her vantage point.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=213.34,215.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In that same class we read only one 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poses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=2806.41,2809.139"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/1044","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for his maturation as an emotionally balanced human being.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=2809.139,2814.139"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/1045","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ironically, the weather forces them inside where James 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[Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28690/annotation/1046","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/690/original/AV204835_Writing_the_Black_South_a.vtt?1622826384","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/690/original/AV204835_Writing_the_Black_South_a.vtt?1622826384"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28691","type":"AnnotationPage","label":{"en":["AV204835_Writing_the_Black_South_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618/transcript/28691/annotation/1047","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- [Sheryl] You all for coming out tonight, braving this weather. I think this is the last time we're ever gonna try to do anything in January. Give up on this weather. But thank you, It's great to see so many warm bodies here. My name's Sheryl St. Germain, and I'm the director for the Center for Excellence in Arts and Humanities. We are co-sponsoring this event. I wanna thank a couple people before we get started and organizations, Humanities Iowa who is co-sponsoring this event, the Committee on Lectures, the African-American studies program. I also wanna thank the Ames Public Library especially Lynne Carey and Susan North for hosting this event and providing refreshments. Susan Bedell and Big Table Books. Big Table Books is right here. I've got a wonderful display of writers, black writers' work, so please buy some books afterwards. And I'm supposed to say formally that this event was funded in part by a grant from Humanities Iowa, I sound like the PBS station, and the National Endowment for the Humanities. We have a wonderful series. This is the beginning of our spring series of arts and humanities in the environment. There's a poster on the back. Please feel free to take one that will tell you about the rest of the events in the series. We also have a signup sheet that I'm gonna ask Molly Homer's, who I also wanna thank, our programming assistant to pass around. The Humanities Iowa asks us to get a count of everyone who comes here. There's also an evaluation sheet in the back. So please sign that and participate in evaluating if you can. I am gonna introduce Jim Dow who is a member of our Steering Committee who then is going to introduce John Roberts. Jim Dow is a member of our Steering Committee, as I said, he's also a professor of German. He was the chair of the department of foreign languages and literatures from 1991 to 1997. His research effort is primarily devoted to transmitting theoretical developments and folklore to the English speaking world. He is the one who suggested that we bring John Roberts here, and for that, we're very thankful to Jim Dow. Finally, in 2002, James Dow was named our Distinguished Humanity Scholar. And in 2003, a Regents Faculty Excellence Award was granted to him. Please welcome Jim Dow.\r\n\r\n- [Jim] Thank you. I've put my watch on so that I will not speak more than a couple of minutes. I want 30 seconds to say something personal. When I was in high school in Mississippi, my English teacher invited a writer from down the street. We thought it was wonderful to have this local writer come in and talk to us because we didn't have to do what was required of us that day. She was sort of a funny looking woman, we thought, but then all high school students think that Miss Welty was sort of funny. What I didn't know at the time, and I know now very well is that was Eudora Welty, one of the most famous short story writers this country has ever produced who also wrote about the South and also wrote about the black South from her vantage point. In that same class we read only one piece of truly black literature, \"Christmas Night in the Quarters\", but other than that, we had really no exposure to what we're going to be hearing and talking about tonight. That was my personal statement. Eudora Welty was the person who did the reading that evening. Her name by the way, is probably on your computer. That is the Eudora is named after her. The writing of the black South is perhaps best approached through somebody who has training in folklore because it reaches close to the spirit of the area, the region, the people that are then the topic of the writing, and John Roberts, our speaker this evening, will talk about any, I assume, any number of writers one in particular, Gaines, Ernest Gaines, I believe. Yeah, Ernest Gaines, talk about him in particular. John Roberts has quite an impressive set of credentials. Tusculum College in Greenville, Tennessee. Columbia University, Master's degree. PhD from Ohio State University. Teaching at the University of Missouri Columbia. Teaching at University of Pennsylvania. Teaching at Ohio State University. Publications, books, articles, and if you read through his CV, certain names begin to appear that are clearly part of this larger topic of African-American literature some names better known than others, the Gullah, the Stagolee and so forth, others, less well-known. But John is one of those who has explored any number of topics in American black, African American folklore and literature. He is professor of English at Ohio State University, and just recently he's become Associate Dean of one of the colleges there that is the Humanities College. It is an honor and indeed a privilege to welcome him to Iowa State and to Farwell Brown room in the public library to talk to us about writing the black South, Professor Roberts.\r\n\r\n- [John] Thank you, very much. I guess this was the appropriate time to come and talk about the South in the middle of winter in the Midwest, but I'm gonna see what shakes out tonight. I'm gonna get directly into what I wanna say. In many ways, African-American literature begins as a way of talking about the experiences of African-Americans in the South, but when one peruses the pages of hundreds of slave narratives or searches the transcripts of numerous pages of recorded lore, one discovers a veritable treasure trove of Southern black voices intent on telling the story of life in the South. This early literature was given over primarily to the task of envisioning a relationship between the races and the regions and the conditions for African Americans created by the inequality inherent in it. While the writers of slave narratives, for example, focus pointedly on the conditions for African-Americans created by chattel slavery and told of often near superhuman efforts to escape them, vernacular traditions envisions both intra and inter group relationships between people living within the slave system. During this period, written literature tended to be directed outward in a desperate plea to educate those outside of the region who had the power to effect change. African-American folk traditions, on the other hand, emerged out of a rich cultural heritage of Africans in America and spoke internally to members of the group often metaphorically. Oral traditions were designed to communicate conceptions of behaviors and strategies that would enhance the wellbeing of African-Americans living under conditions of enslavement. The legacy of these early traditions of black expression for African-American writers has remained salient to the present. In African-American literature, writers, regardless of their own geographical place of birth, often reveal that the legacy of the South is an inheritance with which they must grapple in order to tell the story of black life in America. While slavery remains a pivotal moment in the black past, the view of the South in post-emancipation black writing is also colored by a legacy of Jim Crowism, migration, and and often violent struggles to achieve dignity and equality as citizens and as human beings. Nevertheless, early black expression bequeathed to black writing certain themes and tropes that have become recurrent in representing the South in African American literature. Violence against African-Americans, paternalism, miscegenation, the environment, history, especially the legacy of slavery, and the power of black folk tradition emerge as potent tropes in this body of expression. These themes are often intertwined in various ways to create complex portraits of African-American life in the region from a black point of view. While grappling with the diverse aspects of this legacy is a burden shared by many African-American writers, it is a representational task differentially embraced even by those who have made representing the Southern black experience the focus of their creative endeavors. In this paper I want to focus primarily on the fiction of Ernest J. Gaines, a writer who accepts the label of Southern black rider comfortably. While Gaines brings to his creative endeavors a unique perspective on black southerness, he shares with other Southern black writers a concern with writing the black South. By this I mean that he envisions his work not only as a creative intervention in an ongoing discourse about the unique character of life in the South, but also one that attempts to correct or right the record of African-American culture and life in the region. To date, Gaines has published six novels, \"Catherine Carmier\", \"Of Love and Dust\", \"The Autobiography of Miss Jane Pittman\", \"In My Father's House\", \"A Gathering of Old Men\", and \"A Lesson Before Dying\", as well as a collection of short stories called \"Bloodlines.\" All of Gaines' work is set in the South, primarily Louisiana, and deals with characters, conflicts and themes that reflect life in the region from slavery through the post-Civil Rights Era. In his fiction, Gaines' exploits the Southern backdrop of his stories as more than setting. He uses it to evoke history and tradition, establish character, explore psychological states, and probe caste and class in the region. In Gaines' stories, the plantation is the physical site for much of the action in his stories. The plantation setting allows him to explore many of the issues that he believes defines the unique character of the black Southern experience, evoke the history of slavery and the agricultural-based economy of the region, and probe the system of economic dependency, of human exploitation and of racial subordination, subjugation and violence that is its legacy. Though small in scale, the plantation for Gaines serves as a microcosm of the larger Southern social system within which people, place, and conflict come together to create rich dramas of Southern life inflected by issues of race, class, as well as economics. With Gaines, as with many other African-American writers, representing the South as a tale coming to terms with the legacy of slavery as historical moment and it's continuing influence on the lives of subsequent generations. Vestiges of slavery's past permeate the pages of his novels and short stories from the plantation settings to patterns of labor and race relations. In dealing with this legacy, the slave narrative tradition which effectively ended with the emancipation of African-Americans provides a powerful expressive model for him. Gaines appropriates the form of this tradition in one of his best known works, \"The Autobiography of Miss Jane Pittman\" to produce a novel and a form that has come to be known as the Neo-slave narrative. Although the 19th century slave narrative tradition tended to be dominated by representations of the black male experience within the system, the 20th century fictional Neo-slave narrative tradition tends to focus on the experiences of women and the forms of hardship imposed on them by the system. In borrowing from this tradition, Gaines joins a select group of 20th century fiction writers who also turned to this tradition to write the historical record. Works such as Margaret Walker's \"Jubilee\", Sherley Anne Williams, \"Dessa Rose\", and Toni Morrison's \"Beloved\", other examples of this genre that also chronicle experiences of black females. While these works tend to view the experiences from the perspectives of post emancipation freedom, they nevertheless provide penetrating analyses of the gender nature of life under slave regimes. They also afford their authors opportunities to intervene in a discourse on slavery informed by hindsight and to highlight its continuing and deleterious effects on human beings in its aftermath. According to Gaines, \"The Autobiography of Miss Jane Pittman\" emerged from his desire to write a folk biography, a narrative that would tell a story of the collective experiences of African-Americans through the experiences of a representative individual. Gaines accomplishes this by presenting Miss Jane's story as a first person narrative about her life while framing it within that of a fictional historian who explains how the completed narrative is the product of multiple contributions achieved through his ethnographic intervention. Gaines' historian informs the reader that he uses a tape recorder to interview not only Miss Jane, but also other members of her community who fill in details that she either forgets or refuses to tell herself. In the end, the fictional historian reminds us that Miss Jane's story is all of their stories, and their stories are Miss Jane's. As Neo-slave narrative, Gaines conceives the autobiography as functioning much the same way as the 19th century slave narrative tradition in that it's intended to educate the reader about experiences of which they have little or no firsthand knowledge. However, it is not intended necessarily for individuals living outside of the South or as a plea for change, rather it's intended as a lesson for all of us living outside of the sweep of history that it covers. As the fictional historian notes, Miss Jane's story is to explain things to my students that aren't in the books. As in other instances of writers embracing the Neo-slave narrative forms, Gaines' folk autobiography uses his main character's triumph over enslaving and subsequent oppressing forces as a measure of her character, her will to survive, and her strength to endure. That is when, at the end of the novel, Miss Jane makes the momentous decision to participate in a civil rights protest at the age of 110 against the wishes of the plantation owner. We're not surprised that the young slave girl who defied her mistress and renamed herself during slavery would grow up to be this woman. The autobiography and its historical sweep from the years immediately preceding emancipation to the modern day civil rights movement allows Gaines to explore many of the events and themes in Southern black life that would influence much of the creative writing about the region. Through the eyes of Miss Jane and her community, we're given glimpses of such epoch making events as slavery, the Civil War, Reconstruction, redemption, the Spanish American War, two World Wars, the Depression, and the civil rights protests of the 1960s. Gaines develops the character of Miss Jane through her participation in and reaction to many of these events, especially her interaction with dominant male figures who play a more direct role in them. Her adopted son, Ned, her husband, Joe Pittman, and her godson, Jimmy. At the same time, these events provide context for his exploration of various recurrent themes. Of the themes that Gaines develops in the novel, white violence against African-Americans in various forms is presented as one of the most persistent. Violence becomes a way of representing not only the legacy of a Southern slave system that held black life cheap, but also as a means of representing continuing patterns of oppression in the region. Despite the imposition of legal rights for African-Americans in the South following emancipation, extra legal violence meted out for infractions of laws and the rules governing racial etiquette remained the powerful threat to black wellbeing. In the 20th century white violence emerges in black texts as a potent reminder of black impotence in the face of economic, social, and political forces controlling the region. Often depicted as the prerogative of the powerful over the powerless. Violence in various forms continues to erupt in the pages of literature, representing the Southern black experience as a consequence of the slightest infractions against the system of white control. In its most extreme form, violence takes the form of lynching, which is most often depicted not merely as the destruction of an individual life but also as a form of tara imposed on the black community. For Gaines, such violence and threats of violence continue to plague the Southern black community primarily as a result of the region's resistance to inevitable change in attitudes toward race. In the autobiography, Gaines portrays white violence as an almost predictable response to changes in the legal or social status of African-Americans in the society. For example, in the immediate aftermath of emancipation, as Jane and other newly freed African-Americans attempt to leave the plantation to express their freedom, we witness the violent death of most of her party at the hands of white paddyrollers, an act that literally makes Jane a mother to young Ned while still a child herself. At the turn of the century, we experience the violent slaying of Ned, turned educator as he attempts to mobilize the black population in rural Louisiana around civil rights philosophies prevalent at the time. And finally Jimmy's efforts to organize the civil rights protest in the 1960s leads to his inevitable death near the end of the novel. Gaines' incorporation of these acts of violence in the novel is not gratuitous. They provide him with a way of representing continuing white resistance to change, and as a means of suggesting the kind of human sacrifice the change necessarily entails. However, even in the face of continuing patterns of violence, he reveals through each incident that change is inevitable though slow in its progress. In other of his works, Gaines implicates Southern white paternalism and the caste system that it perpetuates as the implacable social force that creates the conditions for violence against African-Americans in the region. He portrays paternalistic attitudes as an infantilizing cultural agent for African-Americans and as a by-product of black economic deprivation and dependence. However, his concern is not so much with acts of violence as it is with the social dynamic created within communal context by these threats to collective wellbeing. In his novel \"A Gathering of Old Men\", for example, it is the killing of the white plantation overseer Beau Boutan and the threat of retaliation from his family and friends that galvanize the black community. Set in the post civil rights South, this novel explores both infantalizing power of fraternalism and the strength of character and will that individuals must find to destroy its hold and confront the violence that it allows. At the center of this story is Mathu, an elderly black man and Candy, the young white heiress to the Marshall Plantation for whose upbringing he has been partially responsible. Convinced that Mathu is guilty of the shooting of Beau Boutan, Candy assumes a paternalistic attitude and attempts to protect Mathu from the legal consequences of the act. However, from the point of view of the black community the most threatening force in the story is not the law represented by the Sheriff Mapes, but rather the Boutan family whose eruptions of violence against the African-American community is legion. Therefore, while Candy sets about to protect Mathu from the law by summoning an army of older African-American men to stand alongside her and Mathu at the scene of the crime, the old men respond based on their understanding of a history of extralegal violence against members of their community. As a result of these differential understanding of threats to black wellbeing in the face of such acts, Candy is not prepared for the series of events that will unfold or the challenges to the system that they will represent. As the old men gather with shotguns in hand to stand alongside Mathu and claim credit for the murder of Beau Boutan, their individual confessions of guilt, though conceived as a ruse to thwart the efforts of Sheriff Mapes in his investigation of the crime functions as expressions of collective guilt for not having asserted their rights as men throughout their lives. This novel, which uses multiple narrators to tell the story, emphasizes on one level the importance of individual transformation in effecting systemic change in the face of history and custom. While the old men, in turn, reveal indignities heaped upon them as individuals, their relatives, and their community in the past as well as their silence in the face of them, the reader begins to realize that their confessions of guilt amount to an acceptance of complicity and the perpetuation of a system that only they can change. This lesson is driven home when Charlie, who actually shot Beau Boutan, returns and confesses his guilt to the crime. Charlie, a 50 year old child man, is a prime example of the infantilizing potential of adherence to paternalistic rule. Having spent a lifetime cowering in the face of violent treatment at the hands of whites, his shooting of Beau Boutan following a beating represents an important step toward maturity. And his return to accept responsibility and face the consequences of his action provides a model for the old men and the young boys that gather to participate in this unfolding drama. For the old men, Charlie's willingness to stand up for himself constitutes an act of bravery, and his willingness to confess to his action represents an assertion of manhood worthy of emulation. On another level, the story reveals the destruction to both the land and its human inhabitants that result from adherence to a stagnating and outmoded code of paternalism, which amounts to little more than neglect of human potential. This result of the prevailing system is symbolized in one of the most persistent images in the story, that of weeds that choke and smother life and growth, symbols relevant to an understanding of Gaines' depiction of both the natural environment and the human community. The irony implicit in this story is that the racial system under which these individuals have suffered has already changed as a result of a civil rights revolution that has effectively passed by the plantation system in the South hardly noticed. As the story of the old man as well as that of the vengeful Fix Boutan reveals they must come to terms with change if they are to mature and grow as human beings. As the story unfolds, we learn that the Boutans, and to a lesser extent, Candy, still live by a racial code that no longer exists or is needed. Through the example of the college football duo, of Gil, the youngest Boutan and Cal, his African-American teammate known as Salt and Peppa to fans, Gaines reveals the change in the most persistent aspect of Southern life, unequal race relations is not only possible but inevitable. As a student at LSU, Gil brings to the backwoods of Louisiana not only the benefits of education, but also the actual experience of having worked cooperatively with African-Americans as equal. Joined by his brother who has also left the plantation and discovered in his role as a merchant in the city something of racial inter-dependence, they are able to convince their father that the law rather than lawlessness must define the governance of human affairs even in matters of race. Their persuasive logic is effective in convincing Fix Boutan of the need to allow the law to handle matters and brings to the story a different perspective on the possibility of change. However, it fails to affect Luke Will and his renegade band who still assume that extra legal force against African-Americans is acceptable. In the end, however, the lawless incursions of Luke Will and his cohorts against the old African-American men demonstrate in concrete ways the changing climate of the region in a costly confrontation in which the old men take their stand against them and come out victorious. As \"A Gathering of Old Men\" illustrates, Gaines envisions the failure of the white South to acknowledge and embrace the effects of change as one of the most persistent problems facing both black and white inhabitants of the region. In many ways, the most dramatic effect of change is reflected in the altered physical environment that serves as backdrop for the novel. Most of the action of this story takes place only a few feet from the cane fields that threaten to consume the entire landscape where homes once stood. These homes once provided shelter for families who took sustenance from the land and secured a livelihood. And as one of the old men reiterates again and again in his narrative, the most obvious effect of change is revealed in what people don't see in the altered landscape around them. The failure not to see has led to the displacement of families and the destruction of their way of life. The kind of blindness to human welfare that the old men point to is clearly revealed in the attempt of the Boutans to conquer the land through mechanization symbolized in the story by the relentless noise of the tractor in the background that has made the lives and labor of African-Americans in the region expendable. As we learn from the narratives performed by the old men, it is this mechanization that has made it possible to cultivate the land with fewer human laborers. As a result, the young people have not only been forced to abandon the land, but also the region. Hence, the old people are left with little more than their memories of a productive path on the land to cling to. Of equal importance, mechanization was allowed to landless Cajuns represented by the Boutans to aspire to a level of class distinction which once enjoyed by the white landowning Marshalls, represented in the novel by Candy and her uncle and aunt, Jack and Bea. Candy who claims not to want any part in maintaining the old plantation system has not yet shed its paternalistic value system while Bea and Jack Marshall have simply abandoned any responsibility for what happens in it. In many ways the elder Marshalls in this new class system fare no better than the older African-Americans, who they once constructed as child-like in order to exploit their labor. With their relentless drinking and napping, they're revealed as not only alienated from the land that they own, but from the people whose lives they have circumscribed. While their current state of alienation and disinterest in everyday affairs allows them to appear distant from the present conflict, they and their ancestors are actually responsible for setting it in motion through generations of exploitation of both the land and the people. Therefore they are as responsible for the unfolding action as the Boutans. However, they claim that everything now belongs to Candy. They can maintain the illusion of social superiority without being implicated in present day realities occasioned by past practices. As Gaines reveals in both the autobiography and \"A Gathering of Old Men\", he is particularly interested in developing ways of representing black community and subjectivity in his fictional texts. In the most profound sense he is interested in confounding representation of African-American community that distort and belittle the complex relationship that must attend between the individual and the community under conditions historically faced by African-Americans in the South. In his fiction he has embraced a number of representational techniques in an attempt to capture the complex reality faced by the African-American community from its own point of view. For example, in the autobiography, he simulates oral history, a method that seeks the truth of history in the memories of individuals who lived it. In \"A Gathering of Old Men\", he combines personal experience narratives with stream consciousness narrative techniques to represent the anguish and pain of the old men. The personal experience narrative hinges on the presence of the narrator in the events being narrated, however, it derives its persuasive power from the ability of audience members to accept the truth value inherent in it based on the ability to identify with either the narrator or the narrated events or both. In his novel \"Of Love and Dust\", Gaines turns to African-American folklore for a conceptual framework for exploring community perspective. In the story he draws heavily upon African-American folk traditions surrounding the bad nigger to both allow the reader a glimpse into the subjectivity of the black community while raising important questions about caste, class, and race in the South. The bad nigger as a character type emerged during slavery as one who characteristically adopted aggressive behaviors in the slave system. The character type was recognized by both black and whites as a threatening presence. Individuals who became branded as bad niggers refused to accept either the masters' physical powers as a match for their own physical prowess and mental determination, or to accept the values of the black community as binding on them. They sought through open defiance, violence, and confrontation to improve their lot in slavery regardless of the consequences of their action for their own or the slave community's welfare. Enslaved Africans undoubtedly derived a certain amount of pleasure from the actions of these bold individuals who refuse to accept whippin's, masters and mistresses with impunity, ran away at the slightest provocation, and even killed masters and overseers who abused them. While enslaved Africans did not always evaluate the actions of bad niggers in the same ways as the masters, they also did not endorse such behaviors as acceptable responses to their condition. So this was not in their best interest to condone or emulate such behavior. In the aftermath of slavery, the behaviors associated with the bad nigger character type continued to be evaluated in both the black and white communities based on differential interest in preserving peace and harmony in the society. Despite the imposition of law, many whites in society continue to view almost any black person who challenged their authority or right to define black behavior and social roles as a bad nigger. They also persisted in believing that they had the right to apply personal sanctions against African-Americans who challenged their superiority in the society. While African-Americans after emancipation did not adopt the same views as white toward those identified as bad niggers, they nevertheless had to be concerned with the repercussions for their wellbeing both with whites and within their own communities of condoning behaviors which facilitated actions associated with this character type. Despite their potential for destructiveness, however, they also had to be admired for their courage and strength as well as their willingness to challenge the system. In \"Of Love and Dust\", Gaines exploits these traditions and understanding surrounding the bad nigger character type to explore, among other concerns, the theme of miscegenation in the South in mid 20th century. \"Of Love and Dust\" is the story of Marcus Payne, a young African-American male accused of killing another African-American male in a bar room fight over a woman. Through his grandmother's intervention with her former employer, rich plantation owner Marshall Herbert, Marcus is bonded out to work on the plantation rather than spend time in jail while awaiting his trial. On the plantation he is put in the care of Jim Kelly, a 33 year old black male with an eighth grade education who boasts of having a sit-down job as a tractor driver. Jim, who also serves as the narrator of the story, as well as Marcus work under the watchful eye of the overseer, a white Cajun by the name of Sydney Bonbon who attempts to break Marcus's spirit through hard work in the fields. Marcus who has been raised in the city of Baton Rouge is not only unaccustomed to farm labor, but is also hopelessly recalcitrant and contemptuous of others on the plantation for their conformity. He refuses all efforts to assist him in adjusting to his new circumstances and remains resigned to running away the first chance he gets. Throughout the story, Marcus is referred to as the convict by African-Americans, a label which establishes his reputation as bad. In typical bad nigger fashion, he remains an outsider to the community and an object of fear. He solidifies his reputation as a threat to the wellbeing of the black community early in the story when he creates a violent disruption at a community social function. Due to his refusal to conform to community standards of behavior, Jim Kelly is empowered by the community to control Marcus's behavior. Through repeated conversation with him, Jim attempts to provide Marcus with an understanding of the system from the point of view of the black community. His efforts, however, meet with little success. Shortly after arriving on the plantation, Marcus spies, Pauline Garon, Bonbon's black mistress and the mother of his children. Despite warnings to stay away from Pauline by Jim Kelly, Marcus makes numerous advances toward her. After repeated rebuffs by her, he realizes that she is committed to Bonbon and he savagely attacks her in disgust. He then decides to seduce Bonbon's wife to get back at him for what he considers his mistreatment in the fields and his power over Pauline. When Jim Kelly learns that Marcus intends to seduce the neglected and frustrated Louise Bonbon, a child woman who Bonbon married at the age of 15, he renews his efforts to educate Marcus about community etiquette to prevent his dangerous violation of unwritten rules. As the bad nigger type, however, Marcus refuses to respond to Jim's constant efforts to dissuade him from his dangerous mission or consider the consequences of his action for the community or himself. He persists in believing that he is a match for Bonbon and the system. As Marcus persists in his efforts to seduce Louise, Jim is joined in his efforts by Aunt Margaret, Louise's black maid, in trying to prevent the relationship from being consummated. Despite the best efforts of Jim and Aunt Margaret, Marcus succeeds in seducing Louise and their affair becomes well-known throughout the black community and enshrines it in fear. As Marcus and Louise pursue their affair, both Jim Kelly and Aunt Margaret become increasingly involved in protecting a relationship that they cannot condone from both Bonbon and the black community. Much of the community's reaction is veiled through front porch gossip as characters are forced out of doors by the unbearable heat where individuals report to Jim Kelly on various aspects of Marcus's behavior. Unknown to both Jim and Aunt Margaret, at first, Marcus is enboldened in his scheme by an unexpected offer of assistance from Marshall Herbert, the plantation owner, who also holds a grudge against Bonbon. Marshall offers to ensure Marcus his acquittal in the courts for the murder of the black man and to aid him in escaping to the North in return for his murdering Bonbon. In the end, the community's worst fears are realized. While Marcus does attain an acquittal in the court, he is not able to escape Bonbon who discovers his plot to flee with his wife and kills Marcus in what he knows will be considered a justifiable act of homicide in the South at mid century. What makes the story so compelling is Gaines' treatment of the theme of miscegenation in the South. In most fictional treatments of this theme, it is the offspring of interracial relationships that becomes the focus of the drama that unfolds. Exploration of the fate of an offspring of an interracial relationship is most often referred to as the tragic mulatto theme and is well-known in African-American literature. This theme has been explored in fiction since the late 19th century in such work as William Wells Brown's \"Clotel's Daughter\", Charles Waddell Chestnutt's \"The House Behind the Cedars\", and James Weldon Johnson's \"The Autobiography of an Ex-colored Man\", as well as a host of Harlem Renaissance novels dealing with the theme of passing. Although in \"Of Love and Dust\", Bonbon produces twin boys from his relationship with Pauline, they play little or no role in the narrative. By focusing on the forbidden relationships between Bonbon and Pauline and Marcus and Louise, Gaines is able to explore the complex attitudes surrounding such liaisons from the point of view of the black community. He reveals that the prevailing code concerning interracial relationships between white men and black women has traditionally been silenced within the black community. Therefore, although the relationship between Bonbon and Pauline is well-known, members of the black community remain silent about it. While Pauline suffers slightly by being marginalized within the community, her situation is accepted as something outside of her control. Members of the black community realize that she must endure the relationship as long as Bonbon desires it. The relationship between Marcus and Louise, however, is a different matter altogether. While white men allowed themselves the privilege of crossing the color line, they created mortal sanctions against black men who did the same. By constructing Marcus as a bad nigger, however, Gaines is able to demonstrate that the attitude toward African-American men who violated these norms and rules has traditionally been more complex than the potential consequences of such action would seem to dictate. When Marcus is linked to Louise the immediate response is that he will be lynched. This affair literally creates an uncomfortable situation for the community in that it realizes that such a relationship, if found out, threatens not only Marcus's life but also its wellbeing. However, the community's judgment on the affair between Marcus and Louise often seems as clouded as the landscape from the constant gales of dust being kicked up under the searing heat of a dry summer. Despite the fear engendered in the community by Marcus's action, there's also beneath the fear suppressed admiration for his bravery in violating the rules of a system that they all understand to be unfair. Jim Kelly expresses the sense of Marcus's actions upon learning of his death. No, I didn't blame Marcus anymore. I admired Marcus. I admired his great courage, and that's why I wanted to hurry up and get to the front. That's why my heart jumped in my throat when the tractor went dead on me. I was afraid I wouldn't be able to tell him I admired what he was doing. I wanted to tell him how brave I thought he was. He was the bravest man I knew, the bravest man I ever met. Yes, yes, I wanted to tell him that. Despite Jim's expression of admiration for Marcus, he also realizes the consequences of Marcus's brand of heroism within the system. Therefore, he is neither surprised by Marcus's death nor his own dismissal from the plantation as a result of his failure to control Marcus's actions. In \"Of Love and Dust\", Gaines intertwines many of the themes that animates his work and much of Southern black fiction, violence, miscegenation, caste and class, environment, and resistance to change. In this novel set more than three decades prior to the events that unfold in \"A Gathering of Old Men\", the decadence of a racial caste system and its manipulation is in full view. While Bonbon, the white Cajun overseer, works under Herbert, the white plantation owner, he nevertheless represents an intermediary class that protects the true power brokers from being implicated in the control and exploitation of the Southern system. Despite Marcus's seeming recalcitrance, as it relates to the rules of the system, he becomes in Jim Kelly's words, a tool of an unidentified them. As a tool he is manipulated by Herbert who it is revealed agreed to intervene on his behalf in the first place in order to use Marcus to rid himself of Bonbon who he has allowed to exploit him in order to keep an unsavory shared secret in his past from coming to light. At the same time, Gaines uses Herbert's character to reveal the immorality inherent in invisible control of the white plantation aristocracy. Throughout the story, Marshall remains a shadowy figure, and is seen coming and going in a cloud of dust symbolizing his barely visible control of the system. Therefore, when Marcus is killed at the end of the story by Bonbon through Marshall's machinations, he remains unimplicated in the events. Jim is dismissed from the plantation by Herbert to make sure that his role never comes to light. \"Of Love and Dust\" also illustrates another important aspect of Gaines' fiction, the importance of the Southern environment and climate in representing the South. In this novel, the extreme summer heat pervades the story and becomes crucial as backdrop to the unraveling of events and themes. In the most general sense, the searing temperatures that leave seemingly everything in this novel parched and dry, mirror the volatile situation that this novel explores. The weather forces much of the action out of doors and allows Gaines to explore issues of black community in dialogue with history and tradition. In this first person narrative, the front porch or the gallery serves as an important vantage from which characters observe and report on action that the narrator is not able to witness himself. In other works, Gaines exploits the climatic extremes possible in the South in other ways. As we have noted, the out of doors in much of Gaines' fiction is a crucial site for the performance of community. Whether it's the front porch chat punctuated with gossip, the storefront bustling with commerce and conversation, or the cane and cornfields alive with the sounds of work. On the contrary, the indoors is often a retreat from the weather and by extension a signal of a character's isolation from community. It is a site of introspection and often isolation in a world where so much of community and light unfolds in open spaces. For example, in his novels \"In My Father's House\" and \"A Lesson Before Dying\", most of the action takes place indoors in these stories of introspection. \"In My Father's House\", for example, the story of a prominent civil rights leader whose abandoned and neglected son from a previous and unacknowledged marriage suddenly appears at the height of his success, illustrates Gaines' uses of climatic conditions to probe psychological states. The appearance of this child with the main character's youth forces him to re-examine his life and work on behalf of others in light of this revelation. The constant rain in the story forces most of the action and the two main characters in the story indoors were often in isolated spaces. They contemplate the consequences of decisions made in the past. One of Gaines' most interesting uses of climate to probe psychological states and develop character and theme is in his short story, \"The Sky is Gray.\" In this often anthologized short story, he uses the rainy dreariness of Louisiana winters to signal and probe states of discomfort and isolation of characters from community. Set on a cold wintry day with overcast and threatening skies, the gray of the sky signals both the absence of color in the characters' lives as well as the threat that their poses for the young protagonist. The central characters in this story are young James and his mother Octavia. This story follows Octavia and James on a trip into town to have James' aching tooth pulled. Set in the Jim Crow Era, evidence of the social system are manifest in the story in various ways, including the dentist's office with the separate waiting rooms for black and white patrons. The story itself however explores Octavia's attempts to provide James with a model of manhood in the absence of his father who is away in the military. Because she defines manhood in terms of economic and emotional independence, she adopts behaviors toward James that essentially threatens to isolate her son from community. Despite the efforts of friends and relatives to get Octavia to explain her actions to young James, she refuses to relent and remains cold and indifferent in assigning tasks to him. The extreme weather condition in this story mirrors the cold and unemotional approach taken by Octavia in dealing with James and the threat that her behavior poses for his maturation as an emotionally balanced human being. Ironically, the weather forces them inside where James is.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116618#t=0.0,2823.192"}]}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619","type":"Canvas","label":{"en":["Media File 2 of 2 - AV204835_Writing_the_Black_South_b.mp3"]},"duration":1306.08,"width":640,"height":40,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/116/619/small/lecture.png?1622826387","type":"Image","format":"image/png"}],"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/content/1","type":"AnnotationPage","items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-iastate.s3.wasabisys.com/collection_resource_files/resource_files/000/116/619/original/AV204835_Writing_the_Black_South_b.mp3?1622826387","type":"Audio","format":"audio/mpeg","duration":1306.08,"width":640,"height":40},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619","metadata":[]}]}],"annotations":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692","type":"AnnotationPage","label":{"en":["AV204835_Writing_the_Black_South_b.vtt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Office for lunch and forced them to","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=5.26,7.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the cold rainy weather outside.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=7.27,10.0"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Octavia and James are literally forced to walk the streets.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=10.0,13.31"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They are noticed by the white owners","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=13.31,15.671"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of a grocery store who invite them in for a meal.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=15.671,19.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"However, Octavia's pride will not allow her","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=19.24,21.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to accept the old couples' kindness.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=21.54,24.05"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Recognizing Octavia's pride and James' hunger,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=24.05,27.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the old lady concocts a meaningless task","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=27.24,29.81"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for him to perform in exchange for the meal","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=29.81,32.15"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to ameliorate the mother's pride.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=32.15,34.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"James realizes that the task is not real.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=34.55,37.41"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yet he carries it out because he recognizes","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=37.41,39.581"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the intentions behind the act.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=39.581,42.31"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"James refuses to betray the old couples' rouse,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=42.31,44.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the end suggested the potential","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=44.8,47.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that he will be able to successfully negotiate extreme","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=47.32,50.37"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and harsh forces present in his environment","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=50.37,53.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and become an emotionally balanced human being,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=53.32,56.11"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"despite the threatening conditions surrounding him.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=56.11,59.063"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gaines is quoted in an interview as having said,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=60.12,63.167"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\"That I never think of myself, number one,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=63.167,66.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a 'black' writer or Louisiana 'black'","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=66.13,69.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but as a writer who happens to draw from his environment","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=69.25,72.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"what his life is, what heritage is\".","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=72.34,75.57"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Regardless of how he sees himself,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=75.57,78.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gaines' writing is thoroughly shaped","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=78.02,79.68"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"by his heritage as a Southern African-American","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=79.68,82.82"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who spent his early life in Louisiana.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=82.82,85.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That heritage bequeathed to him a decided concern","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=85.65,88.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with imbuing place with meaning, significance and even life,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=88.71,92.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as it has become a defining element","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=92.8,94.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in his creative endeavors.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=94.98,96.89"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is also determined that he would give us a body","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=96.89,99.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of fiction that would provide a glimpse","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=99.01,101.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"into the often submerged culture of the South","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=101.07,103.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the neglected element of its population.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=103.49,106.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=106.34,107.985"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(Audience clapping)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=107.985,110.985"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Any questions or?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=119.455,121.038"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(facilitator coughing)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=127.707,130.957"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e (faintly 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That last part.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=168.61,171.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Probably the most often cited example","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=172.01,175.03"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the Neo-Slave narratives nowadays 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displacement","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=435.79,438.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of African-Americans off of the land as a result.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=438.74,441.59"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And like A Gathering of Old Men,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=441.59,443.567"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think is a typical example of that.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=443.567,446.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"For people only have memories, they don't have any","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=446.23,448.915"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"real connection to the land anymore.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=448.915,452.72"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, you take a writer like Alice 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landlessness.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=456.21,458.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that is mobility and instability.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=458.77,462.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"For example, in Third Life of Grange 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hmm.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=809.278,814.278"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/239","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(faintly speaking)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=822.93,825.847"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/240","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Why he likes to think of himself as being regional?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=833.91,836.681"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/241","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e (faintly speaking)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=836.681,839.764"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/242","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Well, I think that 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region","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=859.587,862.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/247","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the kind of relationships that exist.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=862.73,865.08"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/248","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because what is interesting about Gaines is","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=865.08,866.9"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/249","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and about Louisiana too","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=866.9,868.33"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/250","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is that you have, you know, you have whites","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=868.33,870.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/251","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"you have Cajuns and you have African-Americans","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=870.86,873.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/252","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and that kind of plays out in other parts of the South.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=873.32,875.92"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/253","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that you have rich whites","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=875.92,877.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/254","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and you have poor whites and you have African-Americans.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=877.65,880.939"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/255","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But the way in which the Cajuns were used in Louisiana,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=880.939,885.939"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/256","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think for Gaines was quite unique.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=886.25,889.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/257","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He doesn't have a story for the most part in which,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=889.09,892.1"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/258","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"some of his short stories,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=892.1,893.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/259","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but the Cajuns were there,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=894.352,895.953"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/260","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in which the Cajuns played a very prominent role","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=897.21,899.39"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/261","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in terms of being that intermediary class.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=899.39,902.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/262","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That class through which African-Americans are exploited","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=902.46,905.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/263","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in a particular kind of way.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=905.49,908.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/264","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think that that's what he had","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=908.46,910.35"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/265","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"identified so strongly with that region.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=910.35,912.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/266","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Because the interesting thing about Gaines is","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=912.13,913.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/267","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that he actually left Louisiana as a teenager.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=913.76,917.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/268","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He and his family moved to San Francisco","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=917.6,921.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/269","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and he spent most of his adult life in San Francisco.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=921.24,926.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/270","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But he would go back","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=926.47,927.83"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/271","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"like many African American kids to the South for the summer.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=927.83,931.718"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/272","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he 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state.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=937.94,941.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/275","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so he spends a part of the year there,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=941.16,943.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/276","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but it's a real conscious kind of 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South.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=954.97,957.083"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/281","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I mean, I think one of the things that you think","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=957.935,959.36"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/282","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"about the South is, it is you think about it as a 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is","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1081.73,1083.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/307","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that Gloria Naylor's Mama Day, which describes,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1083.13,1088.13"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/308","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which is really about a woman who is from the low 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area","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1104.23,1109.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/315","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the low country, the Gullah country in South Carolina.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1109.35,1113.14"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/316","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There are a lot of similarities there,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1113.14,1115.4"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/317","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"besides the fact that we eat rice, lots and lots of rice.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1115.4,1118.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/318","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You don't have meals without 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grown.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1127.45,1130.617"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/323","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Had a lot to do with that kind of","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1130.617,1132.267"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/324","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the love of okra.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1133.521,1135.103"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/325","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gumbo.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1136.096,1136.929"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/326","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, you know, we make good gumbo either 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make.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1143.49,1144.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/329","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But there was certainly a cultural affinity","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1144.56,1147.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/330","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"between those two regions.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1147.46,1149.17"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/331","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That's very close.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1149.17,1150.763"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/332","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, I feel very much at home when I'm","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1150.763,1152.7"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/333","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in Louisiana coming from South Carolina.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1152.7,1156.423"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/334","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"There's a feel about 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else?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1173.78,1174.923"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/339","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e (faintly speaking)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1174.923,1178.006"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/340","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(faintly 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there?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1203.51,1205.443"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/343","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then they pay, no.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1205.443,1206.276"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/344","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I actually had my degree","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1207.77,1208.603"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/345","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from Ohio State and at Ohio State folklore","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1208.603,1212.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/346","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is a specialty within the Department of English","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1212.51,1215.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/347","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"at the PhD level.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1215.93,1217.233"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/348","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so you can study folklore in the English Department.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1218.25,1221.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/349","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And at Ohio State, I not only teach African-American","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1221.93,1226.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/350","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"folklore and literature, but I also teach courses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1228.143,1228.976"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/351","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the history and theory of folklore.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1228.976,1230.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/352","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So my work fits quite nicely in there.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1230.87,1235.82"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/353","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's my sort of, couple of my courses are required courses","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1235.82,1240.56"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/354","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for graduate students","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1240.56,1242.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/355","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in folklore.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1243.39,1245.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/356","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And because we have a huge African-American","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1245.2,1250.2"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/357","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and African studies department, many of the courses I teach","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1250.457,1254.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/358","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in African-American in particular or are cross-listed","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1254.86,1258.23"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/359","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with that department.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1258.23,1259.28"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/360","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So it's a good place for me to be. For sure as a scholar.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1260.84,1264.63"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/361","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Was there another?","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1268.893,1270.393"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/362","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e -:\u003c/strong\u003e Thank you all very much.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1272.083,1272.943"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/363","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We do have John Robert's book here","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1272.943,1275.673"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/364","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(faintly speaking)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1275.673,1278.59"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/365","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you very much for coming.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1287.1,1288.037"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/366","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Don't forget to sign our sheets back there","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1288.037,1291.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/367","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(faintly speaking)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1292.657,1294.972"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/368","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(audience clapping)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=1294.972,1297.972"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28692/annotation/369","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/692/original/AV204835_Writing_the_Black_South_b.vtt?1622826389","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/028/692/original/AV204835_Writing_the_Black_South_b.vtt?1622826389"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28693","type":"AnnotationPage","label":{"en":["AV204835_Writing_the_Black_South_b.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619/transcript/28693/annotation/370","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- Office for lunch and forced them to the cold rainy weather outside. Octavia and James are literally forced to walk the streets. They are noticed by the white owners of a grocery store who invite them in for a meal. However, Octavia's pride will not allow her to accept the old couples' kindness. Recognizing Octavia's pride and James' hunger, the old lady concocts a meaningless task for him to perform in exchange for the meal to ameliorate the mother's pride. James realizes that the task is not real. Yet he carries it out because he recognizes the intentions behind the act. James refuses to betray the old couples' rouse, in the end suggested the potential that he will be able to successfully negotiate extreme and harsh forces present in his environment and become an emotionally balanced human being, despite the threatening conditions surrounding him. Gaines is quoted in an interview as having said, \"That I never think of myself, number one, a 'black' writer or Louisiana 'black' but as a writer who happens to draw from his environment what his life is, what heritage is\". Regardless of how he sees himself, Gaines' writing is thoroughly shaped by his heritage as a Southern African-American who spent his early life in Louisiana. That heritage bequeathed to him a decided concern with imbuing place with meaning, significance and even life, as it has become a defining element in his creative endeavors. It is also determined that he would give us a body of fiction that would provide a glimpse into the often submerged culture of the South and the neglected element of its population. Thank you.\r\n\r\n- Any questions or?\r\n\r\n- Who are critical of them? I'm going to leave that part alone. That last part. Probably the most often cited example of the Neo-Slave narratives nowadays is Toni Morrison's Beloved. Many people talk about that, but in that, her approach to the the Neo-Slave narrative is fairly typical. That it is looked at from a post emancipation perspective. Of course, with Gaines, he starts with the 1960's and he looks all the way back supposedly 110 years with that. The pioneer of this is probably Margaret Walker in her massive book, Jubilee, that many of you may have read, which begins to look back. It's really a family kind of thing. And of course the most widely known example of Neo-Slave narrative is Roots. Alex Haley's Magnum Opus, and that became such an important and popular television drama. But one of the things that I find particularly interesting about most of the Neo-Slave narrative is the fact that they do focus on the experiences of black females, which was an experience that almost totally got left out of the original slave narrative tradition. Besides Linda Brent's Incidents in the Life of a Slave Girl by Harriet Jacobs, there are very few examples of slave narratives written by women. It's fairly obvious as to why that probably would have been true. Certainly fewer women escaped from slavery than men and they had far more to protect by not telling their stories. Those who did than most men did, even though the men were often quite protective of a lot. But in retrospect and certainly that story can now be told. And there's clearly enough information there. Tony Morrison rips Beloved out of the headlines of Cincinnati newspapers based on a real story. I mean, although she certainly does a lot more than the headlines did, but the story was there and it had to be told and she told it. Sherley Ann Williams' Dessa Rose is a similar kind of story.\r\n\r\n- Well, one of the things that a lot of Southern black writers are really concerned about is a problem of landlessness, for African-Americans because one of the things that they came out of slavery without was land and this is something that African-Americans were never able to really sort of capture. One of the things that, you know, Gaines is really concerned about in the sort of Louisiana plantation kind of tradition is the way in which the land gets exploited through balkanization and the displacement of African-Americans off of the land as a result. And like A Gathering of Old Men, I think is a typical example of that. For people only have memories, they don't have any real connection to the land anymore. I mean, you take a writer like Alice Walker. Alice Walker is concerned about another issue that's created by black landlessness. And that is mobility and instability. For example, in Third Life of Grange Copeland, one of the problem is that the family are sharecroppers. And as sharecroppers, you don't own the land, you only work the land. And people are always trying to escape to find a better sharecropping condition. And so the attachment to the land is sort of different in these two writers, but they're all. I mean if you also know Alice Walker, for example, The Color Purple and works like that, one of the things that you notice get sort of a sense in a lot of black writing is that the outdoors is extremely important as a site for community. The front porch, a foot for Gaines, he calls it the gallery. In most other places, we just have plain old front porches but in Louisiana they have galleries. But this is where community gets performed outside a lot. And most of these stories take place outside. A lot of the action takes place outside in Southern writing. When you go inside that's a different, that's a confined environment where people tend to go to introspect to reflect. If you know Gaines' In my Father's House, that is a fabulous example of that. Cause you know one thing Louisiana is this really unique environment in some ways, in and out of itself. It's either dry and hot as hell or it's raining. And usually when it's raining, it's also cold because it usually rains in the winter time. And In My Father's House, it's raining all the time. You feel sorry for these people that was dodging the rain. And they're always confined. The son that returns to the father who's been abandoned as a child rents out a small room in a boarding house. And when you see him, he's in that room and he's tossing and he's turning on that bed and he's reflecting. And the father is constantly in and out of houses because he's trying to connect himself, who he thinks he has become as a person now with his past. And so he's in and out of people's houses trying to locate his past because it's all there. This kind of agonizing and introspection. It's kind of an interesting approach to that kind of representation.\r\n\r\n- Yeah. I tried to allude to that without getting into it. She was neglected, that's what she felt. That she was neglected. She got married when she was 15, she was just a child. And that was not unusual in that region. And because of the way the situation was in the South at the time, BonBon her husband and Pauline the black woman that he was having an affair with, this was quite open. Everybody knew about it. She knew about it and she felt very neglected. And the way she is described is this woman who sort of sits on the front porch all the time and she tries to lure men in to get back at him. She's looking for her own opportunity to get back at her husband. And she knows that the worst thing, that the best way of getting back at him is to become involved with a black man. In that region at that particular time, you know, that was her ultimate revenge. And she had tried to entice other black men with her look, but they knew better. I mean, because the threat in the story is not just from, you know possibility of BonBon finding out, but that it becoming known in the white community and then the whole black community then is under siege essentially. And especially if his brothers found out. That was the real concern because there was no love lost between blacks and Cajuns because they were essentially kind of pitted against each other in the region. But yet Louise, when Marcus finally pays attention to her, she is almost as receptive as he is to the idea of a relationship. The problem for the two characters in the book that I don't really get into, that they actually ended up falling in love and they want to run off together. And they're both terrified of the same thing, of what is going to happen if they get caught. What's going to happen. And there's a whole scene there where she decides that you know, the only way she can run away with Marcus, is to turn black. So she puts soot all over her face and get a practicing for the elopement because they're going to run away at a particular time. Then she has a little daughter too. And she blackens up her little daughter's face and has to explain to her why is she blackening her face, but Louise gets it really into it. But of course, you know, the whole thing was doomed from the start. Because there was no consequences of course, for killing Marcus in a situation like that. And, you know, he just walked up to get her to go away and he was out of there.\r\n\r\n- Mh hmm.\r\n\r\n- Why he likes to think of himself as being regional?\r\n\r\n- Well, I think that Gaines some things that Gains says, he really thinks there's a story to be told that is not being told in the South, about the South, about the black experience in the South, about a particular region and the kind of relationships that exist. Because what is interesting about Gaines is and about Louisiana too is that you have, you know, you have whites you have Cajuns and you have African-Americans and that kind of plays out in other parts of the South. And that you have rich whites and you have poor whites and you have African-Americans. But the way in which the Cajuns were used in Louisiana, I think for Gaines was quite unique. He doesn't have a story for the most part in which, some of his short stories, but the Cajuns were there, in which the Cajuns played a very prominent role in terms of being that intermediary class. That class through which African-Americans are exploited in a particular kind of way. And I think that that's what he had identified so strongly with that region. Because the interesting thing about Gaines is that he actually left Louisiana as a teenager. He and his family moved to San Francisco and he spent most of his adult life in San Francisco. But he would go back like many African American kids to the South for the summer. And he remained continued to have that connection with the South. And now he teaches at Southwest Louisiana state. And so he spends a part of the year there, but it's a real conscious kind of thing for him to want to highlight that particular region. And I really think it's because he thinks that there was a story there that doesn't get told in other representations of the South. And I mean, I think one of the things that you think about the South is, it is you think about it as a region but it's very distinctive as a region. You know, for example, we were talking earlier about the Gullah coast of South Carolina, which is just as different from I'm from South Carolina, from my part of South Carolina as Louisiana is, you know it's just very different. There are all these sort of regional cultures you know, the Delta region is distinct from, you know what we might call the upper South, but you know that there are these different regions of the South that don't get that represented. And they have their own sort of stamp on the nature of the kinds of experiences that people have. And sometimes that experience get made generic especially when it's represented by white writers who don't always see those gradations in the way that black writers do sometimes.\r\n\r\n- Mh hmm\r\n\r\n- I think probably the closest thing that I can think of right off the top of my head is that Gloria Naylor's Mama Day, which describes, which is really about a woman who is from the low country. I believe that one of the islands, Gullah islands and who moved to New York and comes back and interacts with people in that culture. Because it's a lot of the same kind of feel about it, because there's a lot in common between the Louisiana area and the low country, the Gullah country in South Carolina. There are a lot of similarities there, besides the fact that we eat rice, lots and lots of rice. You don't have meals without rice. And in Louisiana, it's the same way. I mean, you know, you sorta think about it sort of, but of course that was because of what was in the environment and what could be grown. Had a lot to do with that kind of and the love of okra. Gumbo. And, you know, we make good gumbo either way but there's lots of the South where the gumbo is not something that you make. But there was certainly a cultural affinity between those two regions. That's very close. I mean, I feel very much at home when I'm in Louisiana coming from South Carolina. There's a feel about it. And people I've met from Louisiana, I have, you know this sort of simpatico right away. You know, we's home people. Anything else?\r\n\r\n- Money led me there. Why else would I go there? And then they pay, no. I actually had my degree from Ohio State and at Ohio State folklore is a specialty within the Department of English at the PhD level. And so you can study folklore in the English Department. And at Ohio State, I not only teach African-American folklore and literature, but I also teach courses in the history and theory of folklore. So my work fits quite nicely in there. It's my sort of, couple of my courses are required courses for graduate students in folklore. And because we have a huge African-American and African studies department, many of the courses I teach in African-American in particular or are cross-listed with that department. So it's a good place for me to be. For sure as a scholar. Was there another?\r\n\r\n- Thank you all very much. We do have John Robert's book here Thank you very much for coming. Don't forget to sign our sheets back there","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43593/file/116619#t=0.0,1306.08"}]}]}]}