Four people find themselves trapped in an eastern Tennessee cave during the Civil War era. Included in the cast of characters are a pacifist Quaker schoolmaster, a sinister planter, and two runaway slaves.
Looking beyond the Highway is an examination of road history and roadside attractions specific to the South. Focused in part on numerous aspects of thematerial culture landscape of the Dixie Highway, the essays consider the politics of roadbuilding, roadside entertainment, the buildings and businesses one might encounter along the road, and regional adaptations to the needs and desires of northern tourists. Following the Dixie Highway from southern Illinois to Florida with sidetrips down other southern roads, the essays cover a wide variety of subjects, many of which will resonate with anyone who has ever lived in or vacationed in the South: Harrison Mayes's “Get Right With God” signs; the park-and-pray craze of outdoor drive-in church services; the rise and demise of brick highways; the fierce political battle over the route of the Dixie Highway; beach music and the evolution of motel architecture in Myrtle Beach; Florida's early tourist towers; and the commercial development of Tennessee caves as tourist attractions. Covering a landscape that includes Tennessee, Georgia, North Carolina, Florida, Mississippi, Indiana, Virginia, Arkansas, Ohio, Kentucky, Alabama, and Illinois, the anthology shows that there was and still is a distinctive southern culture and how roads have influenced that culture. As lively as they are diverse, thearticles provide a solid background for understanding roadside ephemera that have disappeared or are quickly disappearing. Ranging from the serious to the light-hearted and including descriptions of American road and roadside icons to kitsch, the book will appeal to anyone with an interest in road history and roadside architecture.
A near-obsessive pursuit of ghost stories and odd superstitions cranks up this serious study of Appalachian tales of the supernatural and their origin in both old-world customs and real historical events. An effort to preserve and record one aspect of a dying way of life, the book relies on interviews and historic documents to search for the facts behind local lore of murder, witchcraft, and weird hauntings. Several campfire-worthy ghost stories are recounted in their entirety—including "The Swinging Gate of Fern Lake Hollow"—and an unexpectedly large number of stories about aliens and UFOs provide an interesting comparison of three-century-old mysteries and those stirred up in comparatively recent times
For generations, enterprising people in the southern Appalachians have turned the region's extensive network of caves into a strange, fascinating genre of tourist attraction. Visitors pay admission to take a tour deep underground, learning a little about history and geology while puzzling over lit-up rock formations said to resemble anything from Niagara Falls to the Capitol dome. Then off go the lights, enveloping the travelers in total darkness--until the guide flips them back on and welcomes folks back into the safety of the inevitable gift shop. Show caves, as Douglas Reichert Powell explains in Endless Caverns, are at once predictable and astonishing, ancient and modern, eerie and sentimental. Their story sparks memories of a fleeting cool moment deep underground during a hot summer vacation, capturing in microcosm the history and culture of a region where a deeply rooted sense of place collides with constant change. Reichert Powell takes readers along on his journey through the past and present of Appalachia's show caves, highlighting the characters who have owned and operated them, the ways the attractions have developed and changed over the years, and the odd intrigue that still leads people to buy their ticket and head underground. Tourist tastes may shift as interstates whisk travelers past the backroads and on to trendier destinations, but the show cave--like Appalachia itself--endures.
In this collection, contributors reflect on scholarly, artistic, activist, educational, and practical endeavor known as Appalachian Studies. Following an introduction to the field, the writers discuss how Appalachian Studies illustrates the ways interdisciplinary studies emerge, organize, and institutionalize themselves, and how they engage with intellectual, political, and economic forces both locally and around the world. Essayists argue for Appalachian Studies' integration with kindred fields like African American studies, women's studies, and Southern studies, and they urge those involved in the field to globalize the perspective of Appalachian Studies; to commit to continued applied, participatory action, and community-based research; to embrace more fully the field's capacity for bringing about social justice; to advocate for a more accurate understanding of Appalachia and its people; and to understand and overcome the obstacles interdisciplinary studies face in the social and institutional construction of knowledge. Contributors: Chris Baker, Chad Berry, Donald Edward Davis, Amanda Fickey, Chris Green, Erica Abrams Locklear, Phillip J. Obermiller, Douglas Reichert Powell, Michael Samers, Shaunna L. Scott, and Barbara Ellen Smith.
First popularized by newspaper coverage of the Underground Railroad in the 1840s, the underground serves as a metaphor for subversive activity that remains central to our political vocabulary. In Going Underground, Lara Langer Cohen excavates the long history of this now familiar idea while seeking out versions of the underground that were left behind along the way. Outlining how the underground’s figurative sense first took shape through the associations of literal subterranean spaces with racialized Blackness, she examines a vibrant world of nineteenth-century US subterranean literature that includes Black radical manifestos, anarchist periodicals, sensationalist exposés of the urban underworld, manuals for sex magic, and the initiation rites of secret societies. Cohen finds that the undergrounds in this literature offer sites of political possibility that exceed the familiar framework of resistance, suggesting that nineteenth-century undergrounds can inspire new modes of world-making and world-breaking for a time when this world feels increasingly untenable.
In this groundbreaking work of cultural history, Alice Fahs explores a little-known and fascinating side of the Civil War--the outpouring of popular literature inspired by the conflict. From 1861 to 1865, authors and publishers in both the North and the South produced a remarkable variety of war-related compositions, including poems, songs, children's stories, romances, novels, histories, and even humorous pieces. Fahs mines these rich but long-neglected resources to recover the diversity of the war's political and social meanings. Instead of narrowly portraying the Civil War as a clash between two great, white armies, popular literature offered a wide range of representations of the conflict and helped shape new modes of imagining the relationships of diverse individuals to the nation. Works that explored the war's devastating impact on white women's lives, for example, proclaimed the importance of their experiences on the home front, while popular writings that celebrated black manhood and heroism in the wake of emancipation helped readers begin to envision new roles for blacks in American life. Recovering a lost world of popular literature, The Imagined Civil War adds immeasurably to our understanding of American life and letters at a pivotal point in our history.