Cover

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Title Page, Copyright Page, Dedication, Quote

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Contents

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Acknowledgments

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pp. ix-x

An early version of chapter three was published (with the same title) in Ellen Glasgow: New Perspectives (Knoxville: University of Tennessee Press, 1995) and is reprinted here with permission. More material in that chapter is also drawn from an article I created out of material cut from that essay and published...

List of Abbreviations

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p. xi

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Introduction

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pp. 1-17

I well remember my first viewing of the movie Gone with the Wind with my eighth-grade class in the mid-1970s. Our history teacher took us to see the movie on the big screen as it made its last rounds in theaters before going to cable. I was so disturbed by the movie’s ending, Rhett leaving Scarlett...

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Chapter 1. In Defense of Scarlett O’Hara

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pp. 18-33

My first or perhaps summary complaint with the critics of Scarlett O’Hara (including both her own community in the world of the novel and the community of readers outside of it) is this: if she were a man, almost none of her behavior would be found so objectionable—certainly not her enterprising...

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Chapter 2. Gone with the Men: Scarlett and Melanie Redux in Cold Mountain

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pp. 34-58

Gone with the Wind (the film as well as the novel) is often mischaracterized as a romance. Arguing against such a classification, Harriet Hawkins notes the novel’s lengthy focus on the women after the men have gone to war: “Nowadays the film and novel tend to be characterized as deplorably romantic...

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Chapter 3. “Put your heart in the land”: An Intertextual Reading of Barren Ground and Gone with the Wind

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pp. 59-89

When Margaret Mitchell’s Gone with the Wind was first published in 1936, reviewers compared it most often to Tolstoy’s War and Peace and Thackeray’s Vanity Fair; thus, it was likely inevitable that critics would later write extended articles delineating the similarities to these novels, as Harold K. Schefski...

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Chapter 4. Sula: “More sinned against than sinning”

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pp. 90-115

Almost fifty years after Glasgow’s Barren Ground was published, Toni Morrison set her novel Sula in about the same period of time that Glasgow left Dorinda. Sula certainly takes place in a different region of the country, Ohio, and depicts a different culture, a community descended from slaves, but still...

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Chapter 5. “Disregarding the female imperative”: Kat Meads’s Kitty Duncan, a 1960s-Era Scarlett O’Hara

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pp. 116-137

Kat Meads’s fictional biographer for her novel The Invented Life of Kitty Duncan (Benedict Roberts Duncan), Mo, is, like Sula’s Nel, drawn to a woman seemingly her complete opposite: for Meads’s biographer-character, it is the title character of Meads’s novel. Readers may find Kitty Duncan reminiscent...

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Afterword

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pp. 138-144

During the years that I worked on this book, when I would mention my subject to colleagues, they would recommend a “Scarlett” for my study, but more often than not, the suggested characters were more comparable to the typical misperception of the character type, an unfairly critical view of Scarlett that...

Bibliography

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pp. 145-152

Index

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pp. 153-160

About the Author

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p. 161