First published: 1835

Type of work: Short stories and sketches

Type of plot: Social history

Time of work: 1780-1830

Locale: Georgia

Introduction to Georgia Scenes

The publication of GEORGIA SCENES, CHARACTERS, INCIDENTS, &C., IN THE FIRST HALF CENTURY OF THE REPUBLIC marked a pivotal moment in American literature. Released by the AUGUSTA STATE RIGHTS SENTINEL, this collection of sketches brought forth by "A Native Georgian," whose real identity was Augustus Baldwin Longstreet, introduced a fresh perspective on the social history of the southwestern frontier. Longstreet, a multifaceted individual—lawyer, judge, politician, minister, and educator—crafted a work that now holds a modest yet significant place in the canon of American literature.

Significance and Influence

GEORGIA SCENES stands as a pioneering work of Realism, playing a crucial role in the local-color movement. Longstreet's adept use of dialect anticipated the style that would later be epitomized by authors like Joel Chandler Harris with his Uncle Remus stories. Positioned among the tradition of rough-and-tumble frontier humorists, Longstreet's work is a forebear to the likes of Mark Twain, sharing thematic similarities with HUCKLEBERRY FINN. His satirical lens positions him as a precursor to the revolt from the village movement, critiquing societal norms to provoke thought and reform.

Realism with Purpose

Although not formally schooled in literary theory, Longstreet intuitively applied Realism to craft an authentic portrayal of his observations. His preface makes clear that his intent was to faithfully record the nuances of life he encountered:

They [the sketches] consist of nothing more than fanciful combinations of real incidents or characters.... Some of the sketches are as literally true as the frailties of memory would allow them to be.... The reader will find in the object of the sketches an apology for the minuteness of detail into which some of them run, and for the introduction of some things into them which would have been excluded were they merely the creations of fancy.

Longstreet's approach to Realism served as a vehicle for social critique. He admired works like THE SPECTATOR for their critical examination of societal follies, using similar techniques to expose the shortcomings of his own time. Despite his satirical edge, he advocated for natural American manners over foreign influences, often using humor and ridicule to highlight the absurdities of imported customs.

Sketches and Social Commentary

The collection of nineteen sketches splits broadly into narratives focusing on men and those about women, although the scope extends far beyond these categories. The volume captures a vivid cross-section of rural and urban life, encompassing scenes of brawls, horse races, societal gatherings, and more. As Longstreet acknowledged, the sketches are rich in detail but avoid becoming bogged down by it, resembling the atmospheric character sketches found in Washington Irving's SKETCH BOOK.

Notable Sketches

Among the most renowned sketches are those depicting the harsher realities of rural existence. "The Horse-Swap" features a cunning trader known as "Yallow Blossom" who meets his match, and reveals Longstreet's empathy for animals and critique of their mistreatment. Another vivid sketch, "The Fight," portrays a brutal altercation between two men, spurred by a domestic spat, with graphic depictions of violence that predate even the brutal narratives found in Jack London's works.

Longstreet's commitment to dialect is evident as he transcribes the speech of black characters and rural whites with precision, showcasing his forward-thinking approach for his era. This attention to language connects to his interest in folk customs, as illustrated in "The Turn Out," where students earn a holiday by successfully barricading their teacher out of the school.

Critique of Rural Culture

His critique of violent rural sports shines through in...