Mitch Ploskonka's "The Bad Poor"

Mitch Ploskonka is assistant professor of English at the Ohio State University Agricultural Technical Institute (ATI). His research focuses on southern literature, disability studies, and popular culture.

Ploskonka applied the “Page 99 Test” to his new book, The Bad Poor: Race, Class, and the Rise of Grit Lit, and shared the following:

Page 99 of The Bad Poor drops the reader into an analysis of a passage from Larry Brown’s Dirty Work at a moment when the machinery of the book is fully in motion. This is one of the book’s close reading chapters, where key Grit Lit texts become case studies for its larger claims. The ninety-ninth page centers on an extended quote in which a Black, disabled Vietnam veteran imagines a future beyond racial division, only to pull back and acknowledge the historical reality that “they keep us all separated.” My reading uses that turn to show the common impulse in Grit Lit texts—and scholarship on them—to conflate poor white and Black experience. This impulse inevitably falls apart under the weight of historical and structural reality.

The page also shows one of the book’s critical interventions by putting pressure on a tendency in scholarship to treat poverty as the overriding denominator that can explain other forms of difference. Class matters profoundly in these texts, but it does not cancel race. On page 99, that problem appears in miniature: what first looks like shared experience between white and black characters—military service, economic hardship and labor, bodily vulnerability—ultimately reveals the persistence of racial division rather than its erasure.

I’d say the Page 99 Test works quite well here. A browser landing on this page would not encounter every author or genre the book examines, but they would encounter both the literary texture of Grit Lit and one of the central claims of my argument: that Grit Lit writers construct a productive poor white identity through encounters with difference. Those encounters with race, class, masculinity, disability, and region are painful and often violent, but they become the materials through which these texts define themselves. Attempts to imagine solidarity across difference—and the equally frequent failure of those attempts—are not simply dead ends; they are part of the genre’s larger process of self-fashioning.

Learn more about The Bad Poor at the LSU Press website.

--Marshal Zeringue