Drawing on themes as old as the Bible, Foote's novel compels us to inhabit lives obsessed with sin and starving for redemption. A work reminiscent of both Faulkner and O'Connor, yet utterly original.

    Rucker Blakeslee, elopes with Miss Love Simpson. He is barely three weeks a widower, and she is only half his age and a Yankee to boot. As their marriage inspires a whirlwind of local gossip, fourteen-year-old Will Tweedy suddenly finds himself eyewitness to a family scandal, and that’s where his adventures begin.Cold Sassy Tree is the undeniably entertaining and extraordinarily moving account of small-town Southern life in a bygone era. Brimming with characters who are wise and loony, unimpeachably pious and deliciously irreverent, Olive Ann Burns’s classic bestseller is a timeless, funny, and resplendent treasure.

    In 1933, the year that forms the centerpiece of the narrative, Harry is 11 years old and living with his mother, father, and younger sister on a farm outside of Marvel Creek, Texas, near the Sabine River bottoms. Harry's world changes forever when he discovers the corpse of a young black woman tied to a tree in the forest near his home. The woman, who is eventually identified as a local prostitute, has been murdered, molested, and sexually mutilated. She is also, as Harry will soon discover, the first in a series of similar corpses, all of them the victims of a new, unprecedented sort of monster: a traveling serial killer.From his privileged position as the son of constable (and farmer and part-time barber) Jacob Collins, Harry watches as the distinctly amateur investigation unfolds. As more bodies -- not all of them "colored" -- surface, the mood of the local residents darkens. Racial tensions -- never far from the surface, even in the best of times -- gradually kindle. When circumstantial evidence implicates an ancient, innocent black man named Mose, the Ku Klux Klan mobilizes, initiating a chilling, graphically described lynching that will occupy a permanent place in Harry Collins's memories. With Mose dead and the threat to local white women presumably put to rest, the residents of Marvel Creek resume their normal lives, only to find that the actual killer remains at large and continues to threaten the safety and stability of the town.Lansdale uses this protracted murder investigation to open up a window on an insular, poverty-stricken, racially divided community. With humor, precision, and great narrative economy, he evokes the society of Marvel Creek in all its alternating tawdriness and nobility, offering us a varied, absolutely convincing portrait of a world that has receded into history. At the same time, he offers us a richly detailed re-creation of the vibrant, dangerous physical landscapes that were part of that world and have since been buried under the concrete and cement of the industrialized juggernaut of the late 20th century. In Lansdale's hands, the gritty realities of Depression-era Texas are as authentic -- and memorable -- as anything in recent American fiction.

    In a series of variations, Gass gives us a mosaic of a life—futile, comic, anarchic—arranged in an array of vocabularies, altered rhythms, forms and tones, and broken pieces with music as both theme and structure, set in the key of middle C.It begins in Graz, Austria, 1938. Joseph Skizzen's father, pretending to be Jewish, leaves his country for England with his wife and two children to avoid any connection with the Nazis, who he foresees will soon take over his homeland. In London with his family for the duration of the war, he disappears under mysterious circumstances. The family is relocated to a small town in Ohio, where Joseph Skizzen grows up, becomes a decent amateur piano player, in part to cope with the abandonment of his father, and creates as well a fantasy self—a professor with a fantasy goal: to establish the Inhumanity Museum . . . as Skizzen alternately feels wrongly accused (of what?) and is transported by his music. Skizzen is able to accept guilt for crimes against humanity and is protected by a secret self that remains sinless.Middle C tells the story of this journey, an investigation into the nature of human identity and the ways in which each of us is several selves, and whether any one self is more genuine than another.

    On a dark Kentucky night in 1952 exactly halfway between her fifteenth and sixteenth birthdays, Annie Holleran crosses into forbidden territory. Everyone knows Hollerans don’t go near Baines, not since Joseph Carl was buried two decades before, but, armed with a silver-handled flashlight, Annie runs through her family’s lavender fields toward the well on the Baines’ place. At the stroke of midnight, she gazes into the water in search of her future. Not finding what she had hoped for, she turns from the well and when the body she sees there in the moonlight is discovered come morning, Annie will have much to explain and a past to account for.It was 1936, and there were seven Baine boys. That year, Annie’s aunt, Juna Crowley, with her black eyes and her long blond hair, came of age. Before Juna, Joseph Carl had been the best of all the Baine brothers. But then he looked into Juna’s eyes and they made him do things that cost innocent people their lives. Sheriff Irlene Fulkerson saw justice served—or did she? As the lavender harvest approaches and she comes of age as Aunt Juna did in her own time, Annie’s dread mounts. Juna will come home now, to finish what she started. If Annie is to save herself, her family, and this small Kentucky town, she must prepare for Juna’s return, and the revelation of what really happened all those years ago

    Growing up in the small town of Boiling Springs, North Carolina, in the 70’s and 80’s, Linda believes that she is profoundly different from everyone else, including the members of her own family. “What I know about you, little girl, would break you in two” are the cruel, mysterious last words that Linda’s grandmother ever says to her.Now in her thirties, Linda looks back at her past when she navigated her way through life with the help of her great-uncle Harper, who loves her and loves to dance, and her best friend Kelly, with whom Linda exchanges almost daily letters. The truth about my family was that we disappointed one another. When I heard the word “disappoint,” I tasted toast, slightly burnt. For as long as she can remember, Linda has experienced a secret sense—she can “taste” words, which have the power to disrupt, dismay, or delight. She falls for names and what they evoke: Canned peaches. Dill. Orange sherbet. Parsnip (to her great regret). But with crushes comes awareness. As with all bodies, Linda’s is a mystery to her, in this and in other ways. Even as Linda makes her way north to Yale and New York City, she still does not know the truth about her past. Then, when a personal tragedy compels Linda to return to Boiling Springs, she gets to know a mother she never knew and uncovers a startling story of a life, a family. Revelation is when God tells us the truth. Confession is when we tell it to him.This astonishing novel questions many assumptions—about what it means to be a family and to be a friend, to be foreign and to be familiar, to be connected and to be disconnected—from others and from the past, our bodies, our histories, and ourselves.

    The Moviegoer is Binx Bolling, a young New Orleans stockbroker who surveys the world with the detached gaze of a Bourbon Street dandy even as he yearns for a spiritual redemption he cannot bring himself to believe in. On the eve of his thirtieth birthday, he occupies himself dallying with his secretaries and going to movies, which provide him with the "treasurable moments" absent from his real life. But one fateful Mardi Gras, Binx embarks on a hare-brained quest that outrages his family, endangers his fragile cousin Kate, and sends him reeling through the chaos of New Orleans' French Quarter. Wry and wrenching, rich in irony and romance, The Moviegoer is a genuine American classic.

    The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet - unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson--sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss.

    For the oddballs and lowlifes who inhabit the sleepy, working class bayou town of Jeannette,  these desperate circumstances serve as the catalyst that pushes them to enact whatever risky schemes they can dream up to reverse their fortunes. At the center of it all is Gus Lindquist, a pill-addicted, one armed treasure hunter obsessed with finding the lost treasure of pirate Jean Lafitte. His quest brings him into contact with a wide array of memorable characters, ranging from a couple of small time criminal potheads prone to hysterical banter, to the smooth-talking Oil company middleman out to bamboozle his own mother, to some drug smuggling psychopath twins, to a young man estranged from his father since his mother died in Hurricane Katrina. As the story progresses, these characters find themselves on a collision course with each other, and as the tension and action ramp up, it becomes clear that not all of them will survive these events.

    In the aftermath of one tragic afternoon, they are all forced to look at themselves and face up to the observation that the truth does not change according to our ability to stomach it.Crippled by lupus at twenty-five, celebrated author Flannery O'Connor was forced to leave New York City and return home to Andalusia, her family farm in Milledgeville, Georgia. Years later, as Flannery is finishing a novel and tending to her menagerie of peacocks, her mother drags her to the wedding of a family friend. Cookie Himmel embodies every facet of Southern womanhood that Flannery lacks: she is revered for her beauty and grace; she is at the helm of every ladies' organization in town; and she has returned from her time in Manhattan with a rich fiancé, Melvin Whiteson. Melvin has come to Milledgeville to begin a new chapter in his life, but it is not until he meets Flannery that he starts to take a good hard look at the choices he has made. Despite the limitations of her disease, Flannery seems to be more alive than other people, and Melvin is drawn to her like a moth to a candle flame. Melvin is not the only person in Milledgeville who starts to feel that life is passing him by. Lona Waters, the dutiful wife of a local policeman, is hired by Cookie to help create a perfect home. As Lona spends her days sewing curtains, she is given an opportunity to remember what it feels like to be truly alive, and she seizes it with both hands. Heartbreakingly beautiful and inescapably human, these ordinary and extraordinary people chart their own courses through life. In the aftermath of one tragic afternoon, they are all forced to look at themselves and face up to Flannery's observation that "the truth does not change according to our ability to stomach it."

    Peejoe and his older brother Wiley move on to their Uncle Dove's home in Industry, Ala., where racial conflict brings frightening bloodshed as well as oratory from George Wallace and Martin Luther King Jr. Meanwhile, on the road and in California, the newly emancipated Lucille brings every ounce of her desirability and determination to bear on her quest for stardom. Childress tells his story through the masterfully crafted voice of the adult Peejoe reminiscing from his home in present-day San Francisco. He depicts each character with convincing detail and all the vividness of childhood memory; there is magic in his mixture of humor and pathos, boyish candor and time-earned understanding. The narrative has a unique gentleness that tempers even the most extreme horrific or comic events without dismissing or oversimplifying them. Terrible crimes go unpunished, and good people face tragedy--not always nobly--but this remains a tale of laughter and great hope, one not easily forgotten.

    These long, sad stories of heartbreak and betrayal, violence and love, have been sung for generations by the descendents of those who settled the Appalachian mountains in the 1700s. As they raised their children, they taught them first to sing, for the songs told the children everything they needed to know about life. So it was with the Stanton family living in Marshall, North Carolina, during the 1800s. Even Larkin Stanton, just a baby when his parents die and he's taken in by his cousin Arty, starts humming before he starts talking. As he grows up, he hungrily learns every song he can, and goes head-to-head with his cousin Hackley for the best voice, and, of course, the best attentions of the women. It's not long before the two boys find themselves pursuing the affections of the same lovely girl, Mary, who eventually chooses Hackley for her husband. But, just as in the most tragic ballads, there is no stowing away of emotions. And when Hackley leaves his wife under his cousin's care in the midst of the Civil War, Larkin finds himself drawn back to the woman who's held his heart for years. What he does about that love defies all his learning of family and loyalty and reminds us that those mournful ballads didn't just come from the imagination, but from the imperfections of the heart.

    She doesn't understand why her father leaves each night with a mysterious box or why her mama drinks so much. What Florence knows are sultry days spent with her grandparents, being cared for by their maid, Zenie, on the colored side of town.Tension builds during the summer of 1963. Mama bakes cakes at all hours to scrape by. And Zenie's niece Eva is in town, selling insurance to the blacks and stepping on Mr. Forrest's toes. When Eva is brutally assaulted, all hell breaks loose: Mama crashes her car, Florence's grandfather dies, a woman is murdered, and Florence finally gets a look in Daddy's box.Florence sees things that summer that she won't understand for years to come: her mother's disappearance, her father's racism. Years later, she'll face the truth and how she was caught in the middle of it. The Queen of Palmyra is rich in both setting and characters. It's an affecting tale of a girl who is loved yet lost, trying to make sense of the world in a tumultuous time, finally forced to confront the sins of her father.

    During the twilight of a Sunday afternoon in March, New York book editor Phillip Carver receives an urgent phone call from each of his older, unmarried sisters. They plead with Phillip to help avert their widower father's impending remarriage to a younger woman. Hesitant to get embroiled in a family drama, he reluctantly agrees to go back south, only to discover the true motivation behind his sisters' concern. While there, Phillip is forced to confront his domineering siblings, a controlling patriarch, and flood of memories from his troubled past. Peter Taylor is one of the masters of Southern literature, whose work stands in the company of Eudora Welty, James Agee, and Walker Percy. In A Summons to Memphis, he has composed a richly evocative story of revenge, resolution, and redemption and given us a classic work of American literature.

    It captured with devastating accuracy the deep-seated racial conflicts of a tightly knit southern town. The book is as engrossing and incendiary now as the day it was written.