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The well-known Ozark folklorist gathers together bawdy tales, previously considered unprintable, that provide insight into the region's rich exotic narrative tradition.
The people who live in the Ozark country of Missouri and Arkansas were, until very recently, the most deliberately unprogressive people in the United States. Descended from pioneers who came West from the Southern Appalachians at the beginning of the nineteenth century, they made little contact with the outer world for more than a hundred years. They seem like foreigners to the average urban American, but nearly all of them come of British stock, and many families have lived in America since colonial days. Their material heirlooms are few, but like all isolated illiterates they have clung to the old songs and obsolete sayings and outworn customs of their ancestors. Sophisticated visitors sometimes regard the “hillbilly” as a simple child of nature, whose inmost thoughts and motivations may be read at a glance. Nothing could be farther from the truth. The hillman is secretive and sensitive beyond anything that the average city dweller can imagine, but he isn’t simple. His mind moves in a tremendously involved system of signs and omens and esoteric auguries. He has little interest in the mental procedure that the moderns call science, and his ways of arranging data and evaluating evidence are very different from those currently favored in the world beyond the hilltops. The Ozark hillfolk have often been described as the most superstitious people in America. It is true that some of them have retained certain ancient notions which have been discarded and forgotten in more progressive sections of the United States. It has been said that the Ozarker got his folklore from the Negro, but the fact is that Negroes were never numerous in the hill country, and there are many adults in the Ozarks today who have never even seen a Negro. Another view is that the hillman’s superstitions are largely of Indian origin, and there may be a measure of truth in this; the pioneers did mingle freely with the Indians, and some of our best Ozark families still boast of their Cherokee blood. My own feeling is that most of the hillman’s folk beliefs came with his ancestors from England or Scotland. I believe that a comparison of my material with that recorded by British antiquarians will substantiate this opinion.
Down in the Holler, first published in 1953, is a classic study of Ozark folklore. The University of Oklahoma Press is especially pleased to introduce such an invaluable and delightfully written book to a new generation of researchers and Americans entranced by the Ozarks and the folkways of the past. Until World War II the backwoodsmen living in the Ozark Mountains of southern Missouri, northern Arkansas, and eastern Oklahoma were the most deliberately "unprogressive" people in the United States. The descendants of pioneers from the southern Appalachians, they changed their way of life very little during the whole span of the nineteenth century and were able to preserve their customs and traditions in an age of industrialism. When the many attractions of the Ozarks were discovered by "outlanders," the tourists--and television--reached the hinterlands, and the old patterns of speech and life began to fade. In this perceptive book, Vance Randolph, who first visited the Ozarks country in 1899, and his collaborator, George P. Wilson, recapture the speech of the people who lived "down in the holler." Randolph, closely identified with the region for many years, hunted possums with its people and shared their table at the House of Lords (a "kind of tavern" in Joplin). Through the years his hobby became a profession, and he spent years recording the various aspects of Ozark folk speech.
"Vance Randolph was perfectly constituted for his role as the chronicler of Ozark folkways. As a self-described "hack writer," who first visited the region as a child with his middle-class parents, he was as much a figure of the margins as his chosen subjects. And his essentially romantic identification with the Ozarks--encouraged by the editors of the era--was always tempered by his scientific training and his contrarian nature. In The Ozarks, originally published in 1931, we have Randolph's first book-length portrait of the people he would spend the next half-century studying. The full range of Randolph's interests--in language, in hunting and fishing, in folksongs and play parties, in moonshining--is on view in this book that made his name; forever after he was "Mr. Ozark," the region's preeminent expert who would, in collection after collection, enlarge and deepen his debut effort. With a new introduction by Robert Cochran, The Ozarks , an image shaper in its day, a cultural artifact for decades to come, this wonderful book is as entertaining as ever." --Back cover.
11 year old Billie lives in a 'temporary home for children', one afternoon, to her surprise, she discovers that it is the middle of a war zone. When a small group of paratroopers kill everyone who lives there and then turn on each other, Billie is forced to learn to live with the violent, innocent and troubled Rafael, who decides to abandon the soldier's life and become a farmer. This haunting tale juxtaposes pastoral imagery with the terrors of war, creating a modern fable that exposes the absurdity of war.
A New York Times Book Review EDITORS' CHOICE. From the National Book Critics Circle Award-winning author of Motherless Brooklyn, comes the vividly told story of Dylan Ebdus growing up white and motherless in downtown Brooklyn in the 1970s. In a neighborhood where the entertainments include muggings along with games of stoopball, Dylan has one friend, a black teenager, also motherless, named Mingus Rude. Through the knitting and unraveling of the boys' friendship, Lethem creates an overwhelmingly rich and emotionally gripping canvas of race and class, superheros, gentrification, funk, hip-hop, graffiti tagging, loyalty, and memory. "A tour de force.... Belongs to a venerable New York literary tradition that stretches back through Go Tell It on the Mountain, A Walker in the City, and Call it Sleep." --The New York Times Magazine "One of the richest, messiest, most ambitious, most interesting novels of the year.... Lethem grabs and captures 1970s New York City, and he brings it to a story worth telling." --Time
Latha Bourne, the attractive postmistress of Stay More — a small town in the Arkansas Ozarks — didn't expect to see Every Dill again. More than ten years before, he had raped her, robbed the bank, and vanished - leaving her pregnant. Now Every has the nerve to reappear. An erotic yet wonderfully innocent tale of loss and of finding.