Note: I goofed, didn't I? A busy week, and I posted Part 2 prior to Part 1. I hope you'll indulge me and, after reading this post, re-read Part 2. It might make more sense then.
First, I know my posts lately have been overlong, so this trilogy of posts will be shorties.
As I sat with my second cup this morning to read the latest issue of The Writer’s Chronicle mag, I thought of a collection of short stories I’ve been writing that involve Southern culture, and how I might accentuate Southern authenticity as I write. I don’t style myself as a Southern writer, per se; but the South’s in my blood, and I find myself writing about it a lot, especially from the family standpoint.
With this worrying me, I came across three articles that bear directly on this.
The first is an article on Flannery O’Connor, by Bret Lott. To cite O’Connor:
“…the new Southern writer must be something other than Southern: his faith and his fiction must be fixed somewhere beyond the Southern experience: he must find his own source.” (emphasis is mine).
In other words, the new generation of writers about the South must have another life perspective beyond just the Southern one. O’Connor’s was her Catholicism, which added her version of a moral base to the “what is” of the then-segregated-era South.
Causes Bob Mustin Supports
Native American culture. Education. Creative writing.