It’s difficult to overestimate the impact of the many new works by James Agee uncovered and published in the last twenty years. These previously unknown primary works have, in turn, encouraged a parallel explosion of critical evaluation and reevaluation by scholars, to which James Agee in Context is the latest contribution.

This superb collection from well-known James Agee scholars features myriad approaches and contexts for understanding the author’s fiction, poetry, journalism, and screenwriting. The essays bring the reader from the streets of James Agee’s New York to travel with the author from Alabama to Hollywood to Havana. Contributors explore overlapping and sometimes unique subjects, themes, and accomplishments (or lack thereof) in Agee’s uncovered works and highlight the diversity of interest that Agee’s complete body of work inspires. The insightful scholarship on influence examines connections between Agee and Wright Morris, Helen Levitt, John Dos Passos, Ernest Hemingway, and Stephen Crane. Such juxtapositions serve to illustrate how Agee drew on literary influences as a young man, how he used his work as a journalist to craft fiction as he was about to turn thirty, and his influence upon others. The volume concludes with three poems and a short story by Agee, all previously unknown.

It seems astonishing that so much remains to be discovered about this protean author, his materials, and his circle. Yet, the recovery and analysis of neglected texts and information mined from newspapers and magazines proves the extent to which Agee kept his mind and his work, as he himself put it, “patiently concentrated upon the essential quietudes of the human soul.”

The essayists in this volume argue that far more recognition is due to James Agee than is usually granted. Although the significance of his accomplishments is often overshadowed by his short, turbulent, life, any reevaluation of his work must still begin with the man himself. Agee's complex and driven life seems to crystallize the debate over the relationship between art and reality in the modern age.

Continually exploring new fields, Agee achieved success as a poet, journalist, and essayist, as well as a writer of screenplays and fiction. Agee's sense of place, ingrained in him during his boyhood in Knoxville, Tennessee, provided the ground upon which he tested the temper of his creative process and his beliefs and attempted to reconcile the Romantic and Modern viewpoints into what he termed a "whole of consciousness."

But the price of attempting transcendence was high. At times Agee ravaged his own life in a quest to dissolve the barrier between reality and art; at other times, his gusto and vitality were converted into unique and innovative works like the audacious and uncategorizable Let Us Now Praise Famous Men and the highly charged autobiographical novel A Death in the Family. The essays in this volume, drawn in part from the 1989 "Agee Legacy" symposium, focus upon these two major works and upon Agee's explorations of narrative technique. The authors demonstrate that the measure of Agee's success is in large part the direct result of his supposed flaws: his variety of subject and form, and his life of often reckless abandon.

One of the most gifted of America’s writers, James Rufus Agee (1909–1955), spent a third of his short life in Tennessee, yet no biographical treatment until this one has so fully explored his roots in the state. In Rufus, Paul F. Brown draws deeply on a trove of journals, letters, interviews, and contemporaneous newspaper accounts, to produce a captivating portrait of Agee’s boyhood.

Brown meticulously delineates Agee’s family history, his earliest years as a sensitive child growing up in Knoxville’s Fort Sanders neighborhood, and the traumatic event that marked his sixth year: his father’s death in an automobile accident. Young Rufus—as his family always called him—revered his father and would use his memories of the tragedy to create his most enduring work of fiction, the Pulitzer Prize–winning A Death in the Family. Just a few years after his father was killed, Agee’s mother placed him in the St. Andrew’s School for Mountain Boys near Sewanee, Tennessee, where he would meet his mentor and lifelong friend, Father James Flye; these experiences would inspire Agee’s poignant novella, The Morning Watch. Another year in Knoxville followed, and then his mother, newly remarried, whisked him away to New England, where he would complete his education at Phillips Exeter Academy and Harvard.

Brown’s account deftly reconstructs various settings the young Agee encountered—including not only turn-of-the-century Knoxville and St. Andrew’s but also the mountain hamlet of LaFollette, his father’s hometown—and the complex family relationships that swirled around the young writer-to-be. Brown also explores Knoxville’s belated discovery of its famous son, initiated when Hollywood came to town in 1962 to film All the Way Home, an adaptation of A Death in the Family. Notable commemorations—including academic seminars, a public park, and a street named in Agee’s honor—would come later as the writer’s posthumous reputation bloomed. And now, with Rufus, we have the definitive account of how it all began.