Appalachians have always honored craft. Showoff quilts, complicated whittlings, "face jugs," intricate woven coverlets, and the work of famous basketmakers constituted the art of early Appalachia, the life and color of its remote mountain households. By the 1920s, however, the craft tradition was quickly vanishing. This lively, highly personal book recounts the "missionary" effort that preserved the traditional Appalachian craft culture and traces the organization, politics, and economics of later handcraft revival organizations in Southern Appalachia.
Deeply involved in many of the events he describes, Garry Barker has worked in the Appalachian crafts world since the early 1960s. He draws on memories of the leading craftspeople of a bygone era, LBJ's War on Poverty, mushrooming markets for craft products, and the rise of academic crafts training. The Handcraft Revival in Southern Appalachia represents the thoughtful winnowing of Barker's decades of serendipitous experience and disciplined observation, casual conversation and formal interviews, research and collecting, teaching and writing.
The book is the only history of the Appalachian craft movement between 1930 and 1990. As such it will become an essential resource for craftspeople, scholars, and all interested in the Southern Appalachian region. In addition, it constitutes a crucial chapter in the newly emerging history of American craft.
Appalachian Echoes
Thomas E. Douglass, series fiction editor
“Very real and tremendously moving. . . . Not only an obvious brief for the unfortunate but a well told and honest story.” —New York Times
“Hubert Skidmore, a native West Virginian, wrote as a witness from inside the belly of the beast. His gift is for pitch-perfect dialogue, a varied cast of characters, and the calling up of emotion, of anger, fear, dread, and love. To encounter this novel at last is a sort of resurrection, both for its persecuted author and the Depression poor whose lives it evokes.” —Denise Giardina, author of The Unquiet Earth and Storming Heaven
The building of a tunnel at Gauley Bridge, West Virginia, beginning in 1930 has been called the worst industrial disaster in American history: more died there than in the Triangle Shirtwaist Factory fire and the Sunshine and Farmington mine disasters combined. And when native West Virginian Hubert Skidmore tried to tell the real story in his 1941 novel, Union Carbide and Carbon Corporation apparently convinced publisher Doubleday, Doran & Co. to pull the book from publication after only a few hundred copies had appeared.
Now the Appalachian Echoes series makes Hawk’s Nest available to a new generation of readers. This is the riveting tale of starving men and women making their way from all over the Depression-era United States to the hope and promise of jobs and a new life. What they find in West Virginia is “tunnelitis,” or silicosis, a disease which killed at least seven hundred workers—probably many more—a large number of them African American, virtually all of them poor. Skidmore’s roman à clef provides a narrative with emotional drive, interwoven with individual stories that capture the hopes and the desperation of the Depression: the Reips who come from the farm with their pots and pans and hard-working children, the immigrants Pete and Anna, kind waitress Lessie Lee, and “hobos” Jim Martin, “Long” Legg, and Owl Jones, the last of whom, as an African American, receives the worst treatment. This important story of conscience encompasses labor history, Appalachian studies, and literary finesse.
Hubert Skidmore (1909–1946) was the author of five other novels: I Will Lift Up Mine Eyes (1936), Heaven Came So Near (1938), River Rising (1939), Hill Doctor (1950), and Hill Lawyer (1942). He died in a house fire at the age of thirty-seven.
“Turn on, tune in, drop out,” Timothy Leary advised young people in the 1960s. And many did, creating a counterculture built on drugs, rock music, sexual liberation, and communal living. The hippies preached free love, promoted flower power, and cautioned against trusting anyone over thirty. Eschewing money, materialism, and politics, they repudiated the mainstream values of the times. Along the way, these counterculturists created a lasting legacy and inspired long-lasting social changes.
The Hippies and American Values uses an innovative approach to exploring the tenets of the counterculture movement. Rather than relying on interviews conducted years after the fact, Timothy Miller uses “underground” newspapers published at the time to provide a full and in-depth exploration. This reliance on primary sources brings an immediacy and vibrancy rarely seen in other studies of the period.
Miller focuses primarily on the cultural revolutionaries rather than on the political radicals of the New Left. It examines the hippies’ ethics of dope, sex, rock, community, and cultural opposition and surveys their effects on current American values. Filled with illustrations from alternative publications, along with posters, cartoons, and photographs, The Hippies and American Values provides a graphic look at America in the 1960s.
This second edition features a new introduction and a thoroughly updated, well-documented text. Highly readable and engaging, this volume brings deep insight to the counterculture movement and the ways it changed America. The first edition became a widely used course-adoption favorite, and scholars and students of the 1960s will welcome the second edition of this thought-provoking book.
The harmonies of the Fisk Jubilee Singers, the measured brush strokes of painter Lloyd Branson, the intricate basket weaving of Maggie Murphy, the influence of the Agrarian literary movement, and the theater barnstorming of actor-manager Sol Smith—such are the sounds, images, and expressions of Tennessee’s arts legacy.
Through its interlocking themes of tradition and innovation, A History of Tennessee Arts: Creating Traditions, Expanding Horizons traces the story of the arts in Tennessee from its formal, more academic side to its vernacular expressions of culture, self, and community. Both the formal and the vernacular contribute to an understanding of what the arts mean to Tennesseans and, in turn, what Tennesseans have to offer the culture of the state, the region, and the nation. A history of the arts in the Volunteer State becomes, then, an evolving barometer of not only where we have been as a culture, but also how we have matured as a society.
This richly illustrated book, cosponsored by the Tennessee Arts Commission and the Tennessee Historical Society, covers the varieties of art in Tennessee in five parts. The visual arts and architecture section includes chapters on vernacular and high style architecture, sculpture, painting and photography, while the section on craft arts celebrates folk arts such as woodcraft, silversmithing, pottery, and textiles. The section on Tennessee’s rich literary history includes such writers as James Agee, Robert Penn Warren, and Evelyn Scott, while the performing arts are represented by a wealth of storytellers along with two centuries of stage history. Finally, Tennessee is home to—and originator of—much of the music that we know as distinctively American. Contributors to the music section examine gospel, blues, rock, soul, and, of course, country music.
From prehistoric cave paintings to the “cow punk” of Jason and the Scorchers, from the elegant capitol building of William Strickland to Ballet Memphis, and from the unique cantilevered barns of East Tennessee to the chronicles of Alex Haley, the arts in Tennessee truly celebrate traditions and strive to expand our horizons.
The Editor: Carroll Van West is director of the Center for Historic Preservation at Middle Tennessee State University and senior editor of the Tennessee Historical Quarterly.
By the early 1960s, Jimmy Hoffa had a stranglehold on the presidency of the Teamsters Union. However, his nemesis, Attorney General Robert F. Kennedy, was convinced that Hoffa was a corrupt force whose heavy-handed influence over the union threatened the nation. As Attorney General, Kennedy established a “Get Hoffa Squad” that set out to unearth criminal wrongdoing by the labor leader in order to remove him from power. A number of criminal trials in the 1950s and early 1960s resulted in not-guilty verdicts for Hoffa. Matters would finally come to head in Chattanooga, Tennessee, in a climatic, but often overlooked, historical moment chronicled by Maury Nicely in this engrossing book.
After a Christmastime 1962 acquittal in Nashville of charges that Hoffa had illegally received funds from a trucking company in exchange for settling a costly strike, it was discovered that several attempts had been made to bribe jurors. Fresh charges of jury tampering in that case were quickly filed against Hoffa and five others. Moved to Chattanooga, the new trial was held before a young, relatively untested federal judge named Frank Wilson. The six-week courtroom conflict would devolve into a virtual slugfest in which the defense team felt was necessary to turn its ire against Wilson, hoping to provoke an error and cause a mistrial. As Nicely shows in vivid detail, Hoffa’s Chattanooga trial became the story of a lone, embattled judge struggling mightily to control a legal proceeding that teetered on the edge of bedlam, threatening to spin out of control. In the end, Hoffa was convicted-an extraordinary change of fortune that presaged his downfall and mysterious disappearance a decade later.
In examining how justice prevailed in the face of a battering assault on the judicial system, Hoffa in Tennessee demonstrates how a Chattanooga courtroom became a crucial tipping point in Jimmy Hoffa’s career, the beginning of the end for a man long perceived as indomitable.
From its inception in the nineteenth century, the Wesleyan/Holiness religious tradition has offered an alternative construction of gender and supported the equality of the sexes. In Holy Boldness, Susie C. Stanley provides a comprehensive analysis of spiritual autobiographies by thirty-four American Wesleyan/Holiness women preachers, published between the mid-nineteenth and mid-twentieth centuries. While a few of these women, primarily African Americans, have been added to the canon of American women’s autobiography, Stanley argues for the expansion of the canon to incorporate the majority of the women in her study. She reveals how these empowered women carried out public ministries on behalf of evangelism and social justice.
The defining doctrine of the Wesleyan/Holiness tradition is the belief in sanctification, or experiencing a state of holiness. Stanley's analysis illuminates how the concept of the sanctified self inspired women to break out of the narrow confines of the traditional “women's sphere” and engage in public ministries, from preaching at camp meetings and revivals to ministering in prisons and tenements. Moreover, as a result of the Wesleyan/Holiness emphasis on experience as a valid source of theology, many women preachers turned to autobiography as a way to share their spiritual quest and religiously motivated activities with others.
In such writings, these preachers focused on the events that shaped their spiritual growth and their calling to ministry, often giving only the barest details of their personal lives. Thus, Holy Boldness is not a collective biography of these women but rather an exploration of how sanctification influenced their evangelistic and social ministries. Using the tools of feminist theory and autobiographical analysis in addition to historical and theological interpretation, Stanley traces a trajectory of Christian women’s autobiographies and introduces many previously unknown spiritual autobiographies that will expand our understanding of Christian spirituality in nineteenth- and twentieth-century America.
The Author: Susie C. Stanley is professor of historical theology at Messiah College. She is the author of Feminist Pillar of Fire: The Life of Alma White.
Best known for Our Southern Highlanders (1913) and Camping and Woodcraft (1916), Horace Kephart’s keen interest in exploring and documenting the great outdoors would lead him not only to settle in Bryson City, North Carolina, but also to become the most significant writer about the Great Smoky Mountains in the early twentieth century.
Edited by Mae Miller Claxton and George Frizzell, Horace Kephart: Writings extends past Kephart’s two well-read works of the early 1900s and dives into his correspondence with friends across the globe, articles and columns in national magazines, unpublished manuscripts, journal entries, and fiction in order to shed some deserved light on Kephart’s classic image as a storyteller and practical guide to the Smokies. The book is divided into thematic subsections that call attention to the variety in Kephart’s writings, its nine chapters featuring Kephart’s works on camping and woodcraft, guns, southern Appalachian culture, fiction, the Cherokee, scouting, and the park and Appalachian trail. Each chapter is accompanied by an introductory essay by a notable Appalachian scholar providing context and background to the included works.
Written for scholars interested in Appalachian culture and history, followers of the modern outdoor movement, students enamored of the Great Smoky Mountains, and general readers alike, Horace Kephart: Writings gathers a plethora of little-known and rarely seen material that illustrates the diversity and richness found in Kephart’s work.
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