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Stephen Coleman (1752-1834) married Lucy White in 1773, moved from Virginia to West Virginia about 1775, served in the Revolutionary War, and moved to Watauga, Tennessee before 1781. Descendants lived in Virginia, West Virginia, Tennessee, Arkansas, Georgia, North Carolina and elsewhere.
The author looks for her father's family in Virginia. They may have belonged to a mysterious group known as the Melungeons.
In Hillbilly elegy, J.D. Vance described how his family moved from poverty to an upwardly mobile clan while navigating the collective demons of the past. The book has come to define Appalachia for much of the nation. This collection of essays is a retort, at turns rigorous, critical, angry, and hopeful, to the long shadow cast over the region and its imagining. But it also moves beyond Vance's book to allow Appalachians to tell their own diverse and complex stories of a place that is at once culturally rich and economically distressed, unique and typically American. -- adapted from back cover
As the twentieth century drew to an end and the millennium approached, a new ethnic category was invented in the South. The Melungeons were born thrashing and squawling into the American consciousness. They were a tri-racial clan hidden away in the hills and hollers of Lower Appalachia with a genetic predisposition to six fingers and Mediterranean diseases and an unsavory reputation for moonshining, counterfeiting and secret cults. DNA studies showed they were probably descended from Portuguese colonists and had connections with Jews, Muslims, Africans, Native Americans and Romani (Gypsies). Were they the country's oldest indigenous people? They soon got on the radar of the Bureau of Indian Affairs' Office of Recognition, which fought the nascent identity movement tooth and nail. This collection by two researchers involved in the explosive controversy tells the story of the Melungeon Movement in a coherent, chronological fashion for the first time. Fourteen original illlustrations, ranging from Granny Dollar, the last Cherokee Indian in Northeast Alabama, to Luis Gomez, builder of the oldest standing Jewish residence in the United States, add interest to the portrayal of this mysterious and exotic ethnic community.
A collection of poems centered around life in Appalachia addresses topics ranging from the marginalization of the region's people to the environmental degradation it has endured throughout history.
Walking toward the Sunset is a historical examination of the Melungeons, a mixed-race group predominantly in southern Appalachia. Author Wayne Winkler reviews theories about the Melungeons, compares the Melungeons with other mixed-race groups, and incorporates the latest scientific research to present a comprehensive portrait.In his telling portrait, Winkler examines the history of the Melungeons and the ongoing controversy surrounding their mysterious origins. Employing historical records, news reports over almost two centuries, and personal interviews, Winkler tells the fascinating story of a people who did not fit the rigid racial categories of American society. Along the way, Winkler recounts the legal and social restrictions suffered by Melungeons and other mixed-race groups, particularly Virginia's 1924 Racial Integrity Act, and he reviews the negative effects of nineteenth- and twentieth-century magazine and journal articles on these reclusive people. Walking toward the Sunset documents the changes in public and private attitudes toward the Melungeons, the current debates over "Melungeon" identity, and the recent genetic studies that have attempted to shed light on the subject. But most importantly, Winkler relates the lives of families who were outsiders in their own communities, who were shunned and shamed, but who created a better life for their children, descendants who are now reclaiming the heritage that was hidden from them for generations.
Appalachia resides in the American imagination at the intersections of race and class in a very particular way, in the tension between deep historic investments in seeing the region as “pure white stock” and as deeply impoverished and backward. Meredith McCarroll’s Unwhite analyzes the fraught location of Appalachians within the southern and American imaginaries, building on studies of race in literary and cinematic characterizations of the American South. Not only do we know what “rednecks” and “white trash” are, McCarroll argues, we rely on the continued use of such categories in fashioning our broader sense of self and other. Further, we continue to depend upon the existence of the region of Appalachia as a cultural construct. As a consequence, Appalachia has long been represented in the collective cultural history as the lowest, the poorest, the most ignorant, and the most laughable community. McCarroll complicates this understanding by asserting that white privilege remains intact while Appalachia is othered through reliance on recognizable nonwhite cinematic stereotypes. Unwhite demonstrates how typical characterizations of Appalachian people serve as foils to set off and define the “whiteness” of the non-Appalachian southerners. In this dynamic, Appalachian characters become the racial other. Analyzing the representation of the people of Appalachia in films such as Deliverance, Cold Mountain, Medium Cool, Norma Rae, Cape Fear, The Killing Season, and Winter’s Bone through the critical lens of race and specifically whiteness, McCarroll offers a reshaping of the understanding of the relationship between racial and regional identities.
In the early 1940s, $10 bought a bus ticket from Appalachia to a better job and promise of prosperity in the flatlands of northeast Ohio. A mountaineer with a strong back and will to work could find a job within twenty-four hours of arrival. But the cost of a bus ticket was more than a week's wages in a lumber camp, and the mountaineer paid dearly in loss of kin, culture, homeplace, and freedom. Numerous scholarly works have addressed this migration that brought more than one million mountaineers to Ohio alone. But Mountain People in a Flat Land is the first popular history of Appalachian migration to one community -- Ashtabula County, an industrial center in the fabled "best location in the nation." These migrants share their stories of life in Appalachia before coming north. There are tales of making moonshine, colorful family members, home remedies harvested from the wild, and life in coal company towns and lumber camps. The mountaineers explain why, despite the beauty of the mountains and the deep kinship roots, they had to leave Appalachia. Stories of their hardships, cultural clashes, assimilation, and ultimate successes in the flatland provide a moving look at an often stereotyped people.
Dorie's story begins with her childhood on an isolated mountain farm, where we see first-hand how her parents combined back-breaking labor with intense personal pride to produce everything their family needed--from food and clothing to tools and toys--from the land. Lumber companies began to invade the mountains, and Dorie's family took advantage of the financial opportunities offered by the lumber industry, not realizing that in giving up their lands they were also letting go of a way of life. Along with their machinery, the lumber companies brought in many young men, one of whom, Fred Cope, became Dorie's husband. After the lumber companies stripped the mountains of their timber, outsiders set the area aside as a national park, requiring Dorie, now married with a family of her own, to move outside of her beloved mountains.