The first book of its kind, Doubly Erased is a comprehensive study of the rich tradition of LGBTQ themes and characters in Appalachian novels, memoirs, poetry, drama, and film. Appalachia has long been seen as homogenous and tradition-bound. Allison E. Carey helps to remedy this misunderstanding, arguing that it has led to LGBTQ Appalachian authors being doubly erased—routinely overlooked both within United States literature because they are Appalachian and within the Appalachian literary tradition because they are queer. In exploring motifs of visibility, silence, storytelling, home, food, and more, Carey brings the full significance and range of LGBTQ Appalachian literature into relief. Dorothy Allison's Bastard Out of Carolina and Alison Bechdel's Fun Home are considered alongside works by Maggie Anderson, doris davenport, Jeff Mann, Lisa Alther, Julia Watts, Fenton Johnson, and Silas House, as well as filmmaker Beth Stephens. While primarily focused on 1976 to 2020, Doubly Erased also looks back to the region's literary "elders," thoughtfully mapping the place of sexuality in the lives and works of George Scarbrough, Byron Herbert Reece, and James Still.

They thought they had escaped. They were wrong. After fleeing the Branch with Sam, Cas, and Nick, Anna is learning how to survive in hiding, following Sam's rules: Don't draw attention to yourself. Always carry a weapon. Know your surroundings. Watch your back. When memories from Anna's old life begin to resurface--and a figure from her childhood reappears--Anna's loyalties are tested. Is it a Branch set-up, or could it be the reunion Anna has hoped for? Ultimately, the answers hinge on one question: What was the real reason her memories were erased in the first place? Jennifer Rush delivers a thrilling sequel to Altered in a novel packed with mysteries, lies, and surprises that are sure to keep readers guessing until the last page is turned.

The New York Times bestselling memoir about identity, love and understanding. Now a major motion picture starring Nicole Kidman, Russell Crowe, and Lucas Hedges, directed by Joel Edgerton. "Every sentence of the story will stir your soul" (O Magazine). The son of a Baptist pastor and deeply embedded in church life in small town Arkansas, as a young man Garrard Conley was terrified and conflicted about his sexuality. When Garrard was a nineteen-year-old college student, he was outed to his parents, and was forced to make a life-changing decision: either agree to attend a church-supported conversion therapy program that promised to “cure” him of homosexuality; or risk losing family, friends, and the God he had prayed to every day of his life. Through an institutionalized Twelve-Step Program heavy on Bible study, he was supposed to emerge heterosexual, ex-gay, cleansed of impure urges and stronger in his faith in God for his brush with sin. Instead, even when faced with a harrowing and brutal journey, Garrard found the strength and understanding to break out in search of his true self and forgiveness. By confronting his buried past and the burden of a life lived in shadow, Garrard traces the complex relationships among family, faith, and community. At times heart-breaking, at times triumphant, this memoir is a testament to love that survives despite all odds.

Based on five years of investigative reporting and research into forensic psychology and criminology, Erased presents an original profile of a widespread and previously unrecognized type of murder: not a “hot-blooded,” spur-of-the-moment crime of passion, as domestic homicide is commonly viewed, but a cold-blooded, carefully planned and methodically executed form of “erasure.” These crimes are often committed by men with no criminal record or history of violence whatsoever, men leading functional and often successful lives until the moment they kill the women, and sometimes children, they claimed to love. A surprising number go on to kill a second or even third wife or girlfriend, often in exactly the same way. In more than fifty chilling case studies, Marilee Strong examines the strange and complex psychology that drives these killers—from the murder a century ago that inspired the novel An American Tragedy to Scott Peterson, Mark Hacking, Jeffrey MacDonald, Ira Einhorn, Charles Stuart, Robert Durst, Michael White, Barton Corbin, and many others. Erased also looks at how these men manipulate the legal system and exploit loopholes in missing persons procedures and death investigation, exposing how easy it can be to get away with murder.

Looks can be deceiving, and in a society where one's status and access to opportunity are largely attendant on physical appearance, the issue of how difference is constructed and interpreted, embraced or effaced, is of tremendous import. Lisa Walker examines this issue with a focus on the questions of what it means to look like a lesbian, and what it means to be a lesbian but not to look like one. She analyzes the historical production of the lesbian body as marked, and studies how lesbians have used the frequent analogy between racial difference and sexual orientation to craft, emphasize, or deny physical difference. In particular, she explores the implications of a predominantly visible model of sexual identity for the feminine lesbian, who is both marked and unmarked, desired and disavowed. Walker's textual analysis cuts across a variety of genres, including modernist fiction such as The Well of Loneliness and Wide Sargasso Sea, pulp fiction of the Harlem Renaissance, the 1950s and the 1960s, post-modern literature as Michelle Cliff's Abeng, and queer theory. In the book's final chapter, "How to Recognize a Lesbian," Walker argues that strategies of visibility are at times deconstructed, at times reinscribed within contemporary lesbian-feminist theory.

Structured in three parts, this book focuses on immediate contexts, key texts, and wider contexts enabling development from background issues through the actual literary texts to criticism and afterlives.