Bøger af Greg Bottoms

An innovative, hybrid work of literary nonfiction, Lowest White Boy takes its title from Lyndon Johnson's observation during the civil rights era: "If you can convince the lowest white man he's better than the best colored man, he won't notice you're picking his pocket."

Beginning in Georgia with a trip to Finster's famous "Paradise Gardens", this title provides a look into the lives and visionary works of some of Finster's contemporaries: the self-taught evangelical artists whose beliefs and oeuvres occupy the gray area between madness and Christian ecstasy.

In Spiritual American Trash, Greg Bottoms goes beyond the examination of eight outsider artists and inhabits the spirit of their work and stories in engaging vignettes. From the janitor who created a holy throne room out of scraps in a garage, to the lonely wartime mother who filled her home with driftwood replicas of Bible scenes, Bottoms illustrates the peculiar grace in madness.Using facts as scaffolding he constructs intimate narratives around each artist, painting their poor and difficult circumstances on the outskirts of American society and demonstrating struggles influence on their largely undiscovered art. Both mournful and celebratory, these profiles embrace these compulsive creators with empathy and visceral sensory details.Each sentence reads with the cadence of a preacher who engages the art of the spirit and passion that often strays into obsession. Raised in the working-class South as a devout Christian with a deeply troubled brother, Bottoms understands how these eight outsiders made art for a higher power and for themselves.

Provocatively blurring the lines between autobiography, short fiction, and essay, Greg Bottoms presents a series of fifteen honest and beautifully spare tales of class, poverty, violence, and racism set in the margins of the urban and suburban New South.An ode to Pulitzer–nominee Breece D'J Pancake's life and untimely death, the title story deftly interweaves Bottoms's personal history to insightful result. In the transformative "The Metaphor," the narrator proclaims, "when the world looks like every little promise has been lanced and bled out, you need a story to tell yourself." So we move seamlessly between the lives of people both real and imagined and the life of the author, and what emerges is not only a composite of sharply drawn and revealing moments, but also a book–length meditation on the nature of, and necessity for, storytelling itself. Including three new stories — "Sam at the Gun Show," "Strangers and Dreams," and "Heroism #2" — this revised edition announces an understated, arresting new voice in literature.