 Title page of the first edition. | |
| Authors | Thomas Dixon, Jr. |
|---|---|
| Language | English |
| Publisher | D. Appleton and Co. |
Publication date | 1912 |
| Pages | 462 |
The Sins of the Father: A Romance of the South is a 1912 novel by Thomas Dixon Jr.
| Title page of the first edition. | |
| Authors | Thomas Dixon, Jr. |
|---|---|
| Language | English |
| Publisher | D. Appleton and Co. |
Publication date | 1912 |
| Pages | 462 |
The Sins of the Father: A Romance of the South is a 1912 novel by Thomas Dixon Jr.
Dan Norton, a Confederate veteran, Ku Klux Klan leader and newspaper publisher, hires a quadroon called Cleo Peeler as a caretaker for his son and his ailing wife, Jean Norton, a descendant of Southern planters. [1] [2] They sleep together and have a daughter, whom he sends to an orphanage. [1] [2] Shortly after, Cleo attempts to blackmail him to regain her position as caretaker. [1] [2]
Norton runs for office as a pro-segregation politician. [1] Meanwhile, his son has a relationship with the octoroon daughter Norton had with Cleo. [1] [2] His wife Jean commits suicide. [2] As he kills his son to put an end to the relationship, he also commits suicide. [1] [2]
The main theme is miscegenation, [3] [4] or in Dixon's words, it was a "study of race mixing". [5] A second theme is the white male's sexual desire for the black woman. [2] A consubstantial theme is "the need for complete racial separation." [2]
The novel portrays the Wilmington insurrection of 1898.
Academic Joseph B. Keener has argued that Dixon "reverses the stereotyped figure of the tragic mulatto, making her the tyrannical aggressor and the cause of the South's degradation." [1] Instead of being a "victim of white sexual exploitation," she becomes "the sexual aggressor." [1]
According to Sandra Gunning, an Assistant Professor of English at the University of Michigan, the book may have been less successful than The Clansman or The Leopard's Spots because it was too fatalistic. [2] She went on to characterize the plot as the "repetition of antebellum white traditions of breaking sexual and familial taboos." [2] She added that Dixon was "forced to kill his hero to cleanze the novel's idealized white world." [2] In contrast, she added that the other two aforementioned novels had provided "a more palatable fantasy of a white male rescue based on disciplining of unruly body." [2]
Dixon had first written a three-act play in 1909, which he turned into a novel published in 1912. [6] The play was first performed on September 21, 1910 at the Academy of Music in Norfolk, Virginia. [6] According to Dixon, after the lead actor was killed by a shark at Wrightsville Beach, off the coast of Wilmington, North Carolina, Dixon took over the role and acted in the play for a year. [3] [5] However, biographer Anthony Slide disagrees with this story, suggesting the lead actor was dismissed at the end of that month. [6]
The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken.
Margaret Munnerlyn Mitchell was an American novelist and journalist. Mitchell wrote only one novel, published during her lifetime, the American Civil War-era novel Gone with the Wind, for which she won the National Book Award for Fiction for Most Distinguished Novel of 1936 and the Pulitzer Prize for Fiction in 1937. Long after her death, a collection of Mitchell's girlhood writings and a novella she wrote as a teenager, titled Lost Laysen, were published. A collection of newspaper articles written by Mitchell for The Atlanta Journal was republished in book form.
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The Leopard's Spots: A Romance of the White Man's Burden—1865–1900 is the first novel of Thomas Dixon's Reconstruction trilogy, and was followed by The Clansman: A Historical Romance of the Ku Klux Klan (1905), and The Traitor: A Story of the Fall of the Invisible Empire (1907). In the novel, published in 1902, Dixon offers an account of Reconstruction in which he portrays a Reconstruction leader, Northern carpetbaggers, and emancipated slaves as the villains; Ku Klux Klan members are anti-heroes. While the playbills and program for The Birth of a Nation claimed The Leopard's Spots as a source in addition to The Clansman, recent scholars do not accept this.
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Southern United States literature consists of American literature written about the Southern United States or by writers from the region. Literature written about the American South first began during the colonial era, and developed significantly during and after the period of slavery in the United States. Traditional historiography of Southern United States literature emphasized a unifying history of the region; the significance of family in the South's culture, a sense of community and the role of the individual, justice, the dominance of Christianity and the positive and negative impacts of religion, racial tensions, social class and the usage of local dialects. However, in recent decades, the scholarship of the New Southern Studies has decentralized these conventional tropes in favor of a more geographically, politically, and ideologically expansive "South" or "Souths".
The Clansman: A Historical Romance of the Ku Klux Klan is a novel published in 1905, the second work in the Ku Klux Klan trilogy by Thomas Dixon Jr.. Chronicling the American Civil War and Reconstruction era from a pro-Confederate perspective, it presents the Ku Klux Klan heroically. The novel was adapted first by the author as a highly successful play entitled The Clansman (1905), and a decade later by D. W. Griffith in the 1915 movie The Birth of a Nation.
Thomas Frederick Dixon Jr. was an American Baptist minister, politician, lawyer, lecturer, writer, and filmmaker. Referred to as a "professional racist", Dixon wrote two best-selling novels, The Leopard's Spots: A Romance of the White Man's Burden—1865–1900 (1902) and The Clansman: A Historical Romance of the Ku Klux Klan (1905), that romanticized Southern white supremacy, endorsed the Lost Cause of the Confederacy, opposed equal rights for black people, and glorified the Ku Klux Klan as heroic vigilantes. Film director D. W. Griffith adapted The Clansman for the screen in The Birth of a Nation (1915). The film inspired the creators of the 20th-century rebirth of the Klan.
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