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John Anthony Caruso's The Appalachian Frontier, first published in 1959, captures the drama and sweep of a nation at the beginning of its westward expansion. Bringing to life the region's history from its earliest seventeenth-century scouting parties to the admission of Tennessee to the Union in 1796, Caruso describes the exchange of ideas, values, and cultural traits that marked Appalachia as a unique frontier. Looking at the rich and mountainous land between the Ohio and Tennessee Rivers, The Appalachian Frontier follows the story of the Long Hunters in Kentucky; the struggles of the Regulators in North Carolina; the founding of the Watauga, Transylvania, Franklin, and Cumberland settlements; the siege of Boonesboro; and the patterns and challenges of frontier life. While narrating the gripping stories of such figures as Daniel Boone, George Rogers Clark, and Chief Logan, Caruso combines social, political, and economic history into a comprehensive overview of the early mountain South. In his new introduction, John C. Inscoe examines how this work exemplified the so-called consensus school of history that arose in the United States during the cold war. Unabashedly celebratory in his analysis of American nation building, Caruso shows how the development of Appalachia fit into the grander scheme of the evolution of the country. While there is much in The Appalachian Frontier that contemporary historians would regard as one-sided and romanticized, Inscoe points out that "those of us immersed so deeply in the study of the region and its people sometimes tend to forget that the white settlement of the mountain south in the eighteenth century was not merely the chronological foundation of the Appalachian experience. As Caruso so vividly demonstrates, it is also represented a vital--even defining--stage in the American progression across the continent." The Author: John Anthony Caruso was a professor of history at West Virginia University. He died in 1997. John C. Inscoe is professor of history at the University of Georgia. He is editor of Appalachians and Race: The Mountain South from Slavery to Segregation and author of Mountain Masters: Slavery and the Sectional Crisis in Western North Carolina.
Tourism is the world's largest industry, and ecotourism is rapidly emerging as its fastest growing segment. As interest in nature travel increases, so does concern for conservation of the environment and the well-being of local peoples and cultures. Appalachia seems an ideal destination for ecotourists, with its rugged mountains, uniquely diverse forests, wild rivers, and lively arts culture. And ecotourism promises much for the region: protecting the environment while bringing income to disadvantaged communities. But can these promises be kept? Ecotourism in Appalachia examines both the potential and the threats that tourism holds for Central Appalachia. The authors draw lessons from destinations that have suffered from the "tourist trap syndrome," including Nepal and Hawaii. They conclude that only carefully regulated and locally controlled tourism can play a positive role in Appalachia's economic development.
NEW YORK TIMES BESTSELLER "A riveting book."—The Wall Street Journal "Essential reading."—David Brooks, New York Times From a former marine and Yale Law School graduate, a powerful account of growing up in a poor Rust Belt town that offers a broader, probing look at the struggles of America’s white working class Hillbilly Elegy is a passionate and personal analysis of a culture in crisis—that of white working-class Americans. The decline of this group, a demographic of our country that has been slowly disintegrating over forty years, has been reported on with growing frequency and alarm, but has never before been written about as searingly from the inside. J. D. Vance tells the true story of what a social, regional, and class decline feels like when you were born with it hung around your neck. The Vance family story begins hopefully in postwar America. J. D.’s grandparents were “dirt poor and in love,” and moved north from Kentucky’s Appalachia region to Ohio in the hopes of escaping the dreadful poverty around them. They raised a middle-class family, and eventually their grandchild (the author) would graduate from Yale Law School, a conventional marker of their success in achieving generational upward mobility. But as the family saga of Hillbilly Elegy plays out, we learn that this is only the short, superficial version. Vance’s grandparents, aunt, uncle, sister, and, most of all, his mother, struggled profoundly with the demands of their new middle-class life, and were never able to fully escape the legacy of abuse, alcoholism, poverty, and trauma so characteristic of their part of America. Vance piercingly shows how he himself still carries around the demons of their chaotic family history. A deeply moving memoir with its share of humor and vividly colorful figures, Hillbilly Elegy is the story of how upward mobility really feels. And it is an urgent and troubling meditation on the loss of the American dream for a large segment of this country.
Throughout the Upland South, the banjo has become an emblem of white mountain folk, who are generally credited with creating the short-thumb-string banjo, developing its downstroking playing styles and repertory, and spreading its influence to the national consciousness. In this groundbreaking study, however, Cecelia Conway demonstrates that these European Americans borrowed the banjo from African Americans and adapted it to their own musical culture. Like many aspects of the African-American tradition, the influence of black banjo music has been largely unrecorded and nearly forgotten--until now. Drawing in part on interviews with elderly African-American banjo players from the Piedmont--among the last American representatives of an African banjo-playing tradition that spans several centuries--Conway reaches beyond the written records to reveal the similarity of pre-blues black banjo lyric patterns, improvisational playing styles, and the accompanying singing and dance movements to traditional West African music performances. The author then shows how Africans had, by the mid-eighteenth century, transformed the lyrical music of the gourd banjo as they dealt with the experience of slavery in America. By the mid-nineteenth century, white southern musicians were learning the banjo playing styles of their African-American mentors and had soon created or popularized a five-string, wooden-rim banjo. Some of these white banjo players remained in the mountain hollows, but others dispersed banjo music to distant musicians and the American public through popular minstrel shows. By the turn of the century, traditional black and white musicians still shared banjo playing, and Conway shows that this exchange gave rise to a distinct and complex new genre--the banjo song. Soon, however, black banjo players put down their banjos, set their songs with increasingly assertive commentary to the guitar, and left the banjo and its story to white musicians. But the banjo still echoed at the crossroads between the West African griots, the traveling country guitar bluesmen, the banjo players of the old-time southern string bands, and eventually the bluegrass bands. The Author: Cecelia Conway is associate professor of English at Appalachian State University. She is a folklorist who teaches twentieth-century literature, including cultural perspectives, southern literature, and film.
Interweaving social, political, environmental, economic, and popular history, John Alexander Williams chronicles four and a half centuries of the Appalachian past. Along the way, he explores Appalachia's long-contested boundaries and the numerous, often contradictory images that have shaped perceptions of the region as both the essence of America and a place apart. Williams begins his story in the colonial era and describes the half-century of bloody warfare as migrants from Europe and their American-born offspring fought and eventually displaced Appalachia's Native American inhabitants. He depicts the evolution of a backwoods farm-and-forest society, its divided and unhappy fate during the Civil War, and the emergence of a new industrial order as railroads, towns, and extractive industries penetrated deeper and deeper into the mountains. Finally, he considers Appalachia's fate in the twentieth century, when it became the first American region to suffer widespread deindustrialization, and examines the partial renewal created by federal intervention and a small but significant wave of in-migration. Throughout the book, a wide range of Appalachian voices enlivens the analysis and reminds us of the importance of storytelling in the ways the people of Appalachia define themselves and their region.
Much criticism has been directed at negative stereotypes of Appalachia perpetuated by movies, television shows, and news media. Books, on the other hand, often draw enthusiastic praise for their celebration of the simplicity and authenticity of the Appalachian region. Dear Appalachia: Readers, Identity, and Popular Fiction since 1878 employs the innovative new strategy of examining fan mail, reviews, and readers’ geographic affiliations to understand how readers have imagined the region and what purposes these imagined geographies have served for them. As Emily Satterwhite traces the changing visions of Appalachia across the decades, from the Gilded Age (1865–1895) to the present, she finds that every generation has produced an audience hungry for a romantic version of Appalachia. According to Satterwhite, best-selling fiction has portrayed Appalachia as a distinctive place apart from the mainstream United States, has offered cosmopolitan white readers a sense of identity and community, and has engendered feelings of national and cultural pride. Thanks in part to readers’ faith in authors as authentic representatives of the regions they write about, Satterwhite argues, regional fiction often plays a role in creating and affirming regional identity. By mapping the geographic locations of fans, Dear Appalachia demonstrates that mobile white readers in particular, including regional elites, have idealized Appalachia as rooted, static, and protected from commercial society in order to reassure themselves that there remains an “authentic” America untouched by global currents. Investigating texts such as John Fox Jr.’s The Trail of the Lonesome Pine (1908), Harriette Arnow’s The Dollmaker (1954), James Dickey’s Deliverance (1970), and Charles Frazier’s Cold Mountain (1997), Dear Appalachia moves beyond traditional studies of regional fiction to document the functions of these narratives in the lives of readers, revealing not only what people have thought about Appalachia, but why.
African Americans have had a profound impact on the economy, culture, and social landscape of southern Appalachia but only after a surge of study in the last two decades have their contributions been recognized by white culture. Appalachians and Race brings together 18 essays on the black experience in the mountain South in the nineteenth century. These essays provide a broad and diverse sampling of the best work on race relations in this region. The contributors consider a variety of topics: black migration into and out of the region, educational and religious missions directed at African Americans, the musical influences of interracial contacts, the political activism of blacks during reconstruction and beyond, the racial attitudes of white highlanders, and much more. Drawing from the particulars of southern mountain experiences, this collection brings together important studies of the dynamics of race not only within the region, but throughout the South and the nation over the course of the turbulent nineteenth century.
A Handbook to Appalachia provides a clear, concise first step toward understanding the expanding field of Appalachian studies, from the history of the area to its sometimes conflicted image, from its music and folklore to its outstanding literature. Also includes information on African Americans, Asheville, (North Carolina), ballads, baskets, bluegrass music, blues music, Cherokee Indians, Cincinnati (Ohio), Churches, Civil War, coal, cultural diversity, death, folk culture, food, Georgia, health, immigration, industry, Irish, Kentucky, Midwest, migration, Melungeons, Native Americans, North Carolina, out-migration, politics, population, poverty, Radford University, schools, Scotch-Irish, Scotland, South Carolina, storytelling, strip mining, Tennessee, Ulster Scots, Virginia, West Virginia, Women, etc.