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03987aam a2200421 i 4500 001 58F084DC527411EC8E4D38A14AECA4DB 003 SILO 005 20211201010015 008 200615s2020 msu b 001 0 eng 010 $a 2020014594 020 $a 1496829700 020 $a 9781496829702 020 $a 1496829697 020 $a 9781496829696 040 $a MsSM/DLC $b eng $e rda $c DLC $d OCLCF $d YDX $d CUV $d SILO 042 $a pcc 050 00 $a PS374.S58 $b F67 2020 082 00 $a 810.9/355 $2 23 100 1 $a Ford, Sarah Gilbreath, $d 1968- $e author. 245 10 $a Haunted property : $b slavery and the gothic / $c Sarah Gilbreath Ford. 264 1 $a Jackson : $b University Press of Mississippi, $c [2020] 300 $a x, 233 pages ; $c 23 cm 504 $a Includes bibliographical references and index. 505 0 $a Introduction. The bill of sale : Gothic, property, slavery, and the South -- Chapter One. From damsels to specters in Harriet Jacobs's 'Incidents in the Life of a Slave Girl' and Hannah Crafts's 'The Bondwoman's Narrative' -- Chapter Two. Playing con games in Herman Melville's 'Benito Cereno', Mark Twain's 'Pudd'nhead Wilson', and Sherley Anne Williams's 'Dessa Rose' -- Chapter Three. Specters on staircases in William Faulkner's 'Absalom, Absalom!', Eudora Welty's 'Delta Wedding', and Toni Morrison's 'Song of Solomon' -- Chapter Four. Claiming, killing, and haunting in Toni Morrison's 'Beloved' -- Chapter Five. Claiming the property of history in Octavia Butler's 'Kindred' and Natasha Trethewey's 'Native Guard' -- Epilogue. What the gothic can do -- Notes -- Works cited -- Index. 520 $a "At the heart of America's slave system was the legal definition of people as property. While property ownership is a cornerstone of the American dream, the status of enslaved people supplies a contrasting American nightmare. Sarah Gilbreath Ford considers how writers in works from nineteenth-century slave narratives to twenty-first-century poetry employ gothic tools, such as ghosts and haunted houses, to portray the horrors of this nightmare. 'Haunted Property : Slavery and the Gothic' thus reimagines the southern gothic, which has too often been simply equated with the macabre or grotesque and then dismissed as regional. Although literary critics have argued that the American gothic is driven by the nation's history of racial injustice, what is missing in this critical conversation is the key role of property. Ford argues that out of all of slavery's perils, the definition of people as property is the central impetus for haunting because it allows the perpetration of all other terrors. Property becomes the engine for the white accumulation of wealth and power fueled by the destruction of black personhood. Specters often linger, however, to claim title, and Ford argues that haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, Ford reveals how writers can use the gothic to combat legal possession with spectral possession."-- $c Provided by publisher. 650 0 $a Slavery in literature. 650 0 $a Gothic revival (Literature) $x History and criticism. 650 0 $a African Americans in literature. 650 7 $a African Americans in literature. $2 fast $0 (OCoLC)fst00799727 650 7 $a Gothic revival (Literature) $2 fast $0 (OCoLC)fst00945084 650 7 $a Slavery in literature. $2 fast $0 (OCoLC)fst01120515 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 776 08 $i Online version: $a Ford, Sarah Gilbreath, 1968- $t Haunted property $d Jackson : University Press of Mississippi, 2020. $z 9781496829719 $w (DLC) 2020014595 941 $a 2 952 $l OVUX522 $d 20231117013204.0 952 $l UQAX771 $d 20211201010549.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=58F084DC527411EC8E4D38A14AECA4DB 994 $a C0 $b JIDInitiate Another SILO Locator Search