Beye, Charles Rowan. “Gone with the Wind, and Good Riddance.” Southwest Review 78.3 (1993): 366–380.
Harwell, Richard, ed. Gone with the Wind as Book and Film. Columbia: University of South Carolina Press, 1983.
Hawkins, Harriett. Classics and Trash: Traditions and Taboos in High Literature and Popular Modern Genres. London: Harvester Wheatsheaf, 1990.
Leff, Leonard J. “David Selznick’s Gone with the Wind: ‘The Negro Problem.’” The Georgia Review 38.1 (Spring 1984): 146–164.
Pyron, Darden Asbury. Recasting: Gone with the Wind in American Culture. Miami: University Presses of Florida, 1983.
Randall, Alice. The Wind Done Gone: A Novel. Boston: Houghton Mifflin Company, 2001.
Taylor, Helen. Scarlett’s Women: Gone with the Wind and Its Female Fans. New Brunswick, New Jersey: Rutgers University Press, 1989.
Poor Ashley. He never quite fit in with the Old Guard, even though he embodied the traits they valued. It was a hard fall from Scarlett's pedestal.
"but as the novel ends she still has not reflected on her actions or learned from her wrongdoing. In some ways, she has not progressed at all."
She makes the most significant revelation in the whole novel, that she loves Rhett and was only in love with Ashley superficially, and that is not considered learning or reflecting? What more does she need to reflect on with regard to her actions?
It might seem ridiculous to classify the stereotypically ignorant and silly Prissy as a heroine, but if you shift the point of view from that of the priveleged upper class to the horribly oppressed slave population a different picture presents itself. Prissy has lived with her mother Dilcey all her life, following her mother's path as a servant but not midwife. Dilcey does not permit Prissy to observe a birth because Prissy is regarded as lazy, shiftless, stupid and untruthful. This is deeply frustrating to her owners as well as her mother
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