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Sarah Ford's fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too. -- John Lowe, author of Jump at the Sun: Zora Neale Hurston's Cosmic Comedy

Tracing Southern Storytelling in Black and White is a significant contribution to literary scholarship of the US South and an important resource for those interested in studies of the self, oral storytelling, and narrative influences in southern and African American literature. --South Central Review Tracing Southern Storytelling in Black and White breaks down barriers of literary approaches to southern writers and southern writing in terms of color, gender, and storytelling techniques. Ford urges scholars and teachers to look again at what they have assumed to be solidified, to shake loose the dirt of possibility, and to allow some connections to spring forth that have otherwise been barred by artificial and limited approaches to southern writing and race. Ford puts black and white writers and their works in conversation with each other in ways that showcase blending without dissolution. The fact that the author explores these ticklish issues in an effort to gauge how features of oral storytelling saturate the narratives of African American and white southern writers who may not consciously be aware of how black, white, and blended traditions influence their creativity is the true merit of this volume. -- Trudier Harris, author of Summer Snow: Reflections from a Black Daughter of the South and The Scary Mason-Dixon Line: African American Writers and the South Sarah Ford's fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too. -- John Lowe, author of Jump at the Sun: Zora Neale Hurston's Cosmic Comedy

Sarah Ford s fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too. John Lowe, author of <i>Jump at the Sun: Zora Neale Hurston s Cosmic Comedy</i>

"""Sarah Ford's fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too."" --John Lowe, author of Jump at the Sun: Zora Neale Hurston's Cosmic Comedy ""Tracing Southern Storytelling in Black and White is a significant contribution to literary scholarship of the US South and an important resource for those interested in studies of the self, oral storytelling, and narrative influences in southern and African American literature."" --South Central Review ""Tracing Southern Storytelling in Black and White breaks down barriers of literary approaches to southern writers and southern writing in terms of color, gender, and storytelling techniques. Ford urges scholars and teachers to look again at what they have assumed to be solidified, to shake loose the dirt of possibility, and to allow some connections to spring forth that have otherwise been barred by artificial and limited approaches to southern writing and race. Ford puts black and white writers and their works in conversation with each other in ways that showcase blending without dissolution. The fact that the author explores these ticklish issues in an effort to gauge how features of oral storytelling saturate the narratives of African American and white southern writers who may not consciously be aware of how black, white, and blended traditions influence their creativity is the true merit of this volume."" --Trudier Harris, author of Summer Snow: Reflections from a Black Daughter of the South and The Scary Mason-Dixon Line: African American Writers and the South"

Sarah Ford's fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too. -- John Lowe, author of Jump at the Sun: Zora Neale Hurston's Cosmic Comedy Tracing Southern Storytelling in Black and White is a significant contribution to literary scholarship of the US South and an important resource for those interested in studies of the self, oral storytelling, and narrative influences in southern and African American literature. --South Central Review Tracing Southern Storytelling in Black and White breaks down barriers of literary approaches to southern writers and southern writing in terms of color, gender, and storytelling techniques. Ford urges scholars and teachers to look again at what they have assumed to be solidified, to shake loose the dirt of possibility, and to allow some connections to spring forth that have otherwise been barred by artificial and limited approaches to southern writing and race. Ford puts black and white writers and their works in conversation with each other in ways that showcase blending without dissolution. The fact that the author explores these ticklish issues in an effort to gauge how features of oral storytelling saturate the narratives of African American and white southern writers who may not consciously be aware of how black, white, and blended traditions influence their creativity is the true merit of this volume. -- Trudier Harris, author of Summer Snow: Reflections from a Black Daughter of the South and The Scary Mason-Dixon Line: African American Writers and the South

Sarah Ford's fresh and lively manuscript makes a real contribution to our understanding of southern storytelling, particularly in its insistence on interracial narrative hybridity. By offering intriguing combinations of black and white writers, but taking a different approach toward storytelling in each chapter, Ford provides some strikingly original readings and very useful cultural configurations. She demonstrates a well-modulated and thoughtful approach to issues of gender, voice, and the construction of identity on both sides of the color line, and more importantly, across it too. -- John Lowe, author of Jump at the Sun: Zora Neale Hurston's Cosmic Comedy Tracing Southern Storytelling in Black and White is a significant contribution to literary scholarship of the US South and an important resource for those interested in studies of the self, oral storytelling, and narrative influences in southern and African American literature. --South Central Review Tracing Southern Storytelling in Black and White breaks down barriers of literary approaches to southern writers and southern writing in terms of color, gender, and storytelling techniques. Ford urges scholars and teachers to look again at what they have assumed to be solidified, to shake loose the dirt of possibility, and to allow some connections to spring forth that have otherwise been barred by artificial and limited approaches to southern writing and race. Ford puts black and white writers and their works in conversation with each other in ways that showcase blending without dissolution. The fact that the author explores these ticklish issues in an effort to gauge how features of oral storytelling saturate the narratives of African American and white southern writers who may not consciously be aware of how black, white, and blended traditions influence their creativity is the true merit of this volume. -- Trudier Harris, author of Summer Snow: Reflections from a Black Daughter of the South and The Scary Mason-Dixon Line: African American Writers and the South

Author Information

Sarah Gilbreath Ford is an associate professor at Baylor University where she directs the undergraduate programme in English and teaches early American, African American, and southern literature. She has published on Eudora Welty, Zora Neale Hurston, Sarah Pogson, and Ebenezer Cook.

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