Margaret Mitchell’s sweeping epic about the Civil War has been called many things since its publication. Admirers have classified Gone With the Wind as an elegy for a lost and noble civilization, others as nothing more than cheap melodrama. Ultimately, it stands as a remarkable literary achievement in American myth-making, an idealized saga about a way of life that relied on the enslavement and exploitation of human beings. As a Southern writer, Mitchell can hardly be classified among the likes of William Faulkner and Flannery O’Connor. Rather, Gone With the Wind exists in its own territory, partly by virtue of its ...
Essays on Prissy
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