Great writing is timeless, and so it is with Deja Reviews, Fifteen years later, five years, no matter how old her review, no matter how dated the topic of an essay, readers of this hearty collection will find that Miss Florence King's sharp, crafted prose still dazzles, sizzles, and edures, which is why she finds herself in the exclusive company of great American writers and humorists, such as Dorothy Parker, H. L. Mencken, and Westbrook Pegler, renowned for not suffering fools gladly. Deja Reviews is a compilation of the book reviews and essays Miss King wrote between 1991 and 2002 for National Review and The American Spectator, It is a joy--a duty! a service!--to republish these treasured pieces...

Presents articles on feminist literature, including significant authors, themes and history.

GIFT LOCAL 11-15-2002 $13.95.

The tragic sentiment of Southern literature and its heteronormative perspective are foundational attributes generally accepted by both popular and scholarly audiences. Yet a pantheon of great authors ranging from like Tennessee Williams, Carson McCullers, and Truman Capote to present-day voices of Alice Walker, John Waters, and David Sedaris, collectively attest to both the vibrancy of queer experience and the prevalence of humor found in this rich regional cannon. In Precious Perversions: Humor, Homosexuality, and the Southern Literary Canon, Tison Pugh challenges the premises that elevate William Faulkner and diminish Florence King, that esteem Walker Percy yet marginalize David Sedaris, by arguing for the inclusion of gay comic authors as long-standing, defining voices in the field. By redefining the tenets of Southern literature Pugh reveals long-overlooked or discounted aspects of gay humor within the South's literary realm. Noting, for example, that Tennessee Williams is revered as a dramatist who probes the heart of the human condition rather than for his submerged camp humor, and Truman Capote's comic cinema and literature never eclipsed serious works, Pugh establishes a history of mainstream and academic critique that ignored queer humor. Likewise, Florence King and Rita Mae Brown wrote defining narratives of Southern lesbian experience in, respectively, Confessions of a Failed Southern Lady and Rubyfruit Jungle, yet, according to Pugh, they are almost entirely neglected in accounts of the literary South. More recently, the author shows, the critical reception of Dorothy Allison's Bastard Out of Carolina testifies to an overarching interest in the traumatic aspects of her poetry and fiction rather than in her humor and its cathartic power. Pugh also asserts that David Sedaris, as a writer of the "post-Southern South," who appears to fall beyond the parameters of regional literature for many readers, creates a new, humorous vision of the region that recognizes both its pained history and its grudging accession to modernity. Drawing from works of key southern writers Pugh sets forth a new vision of Southern literature emerges -- one illuminated by the humor of gay voices no longer at the margins.

Confessions of a Failed Southern Lady is Florence King's classic memoir of her upbringing in an eccentric Southern family, told with all the uproarious wit and gusto that has made her one of the most admired writers in the country. Florence may have been a disappointment to her Granny, whose dream of rearing a Perfect Southern Lady would never be quite fulfilled. But after all, as Florence reminds us, "no matter which sex I went to bed with, I never smoked on the street."