Abstract

Alice Randall's novel The Wind Done Gone, a parodic revision of Margaret Mitchell's Gone with the Wind, has been billed as a work of revisionist history that challenges familiar notions about life on plantations. Yet its use of a fictive source and its therapeutic ethos suggest that it may be more accurately described as an example of what Teresa L. Ebert has called "ludic" postmodernism—a mode of thinking whose privileging of difference and performativity offers psychological satisfactions at the expense of a truer and more transformative history.

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Additional Information

ISSN
1080-658X
Print ISSN
0026-7724
Pages
pp. 120-139
Launched on MUSE
2007-04-17
Open Access
No
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