For more than fifty years mountain-born Earl Palmer traveled the Southern Appalachians with his camera, recording his personal vision of the mountain people and their heritage. Over these year he created, in several thousand photographs, a distinctive body of work that affirms a traditional image of Appalachia—a region of great natural beauty inhabited by a self-sufficient people whose lives are notable for simplicity and harmony. For this book, Jean Haskell Speer has selected more than 120 representative photographs from Palmer's collection and has written a biographical and critical commentary based on extensive interviews with the photographer. Palmer's photographs, Speer argues, are significant cultural statements that depict not so much a geographical region as a particular idea of Appalachia.

After keeping school for six years at the forks of Troublesome Creek in the Kentucky hills, James Still moved to a century-old log house between the waters of Wolfpen Creek and Dead Mare Branch, on Little Carr Creek, and became "the man in the bushes" to his curious neighbors. Still joined the life of the scattered community. He raised his own food, preserved fruits and vegetables for the winter, and kept two stands of bees for honey. A neighbor remarked of Still, "He's left a good job, and come over in here and sot down." Still did sit down and write -- the classic novel River of Earth and many poems and short stories that have found their way into national publications. From the beginning, Still jotted down expressions, customs, and happenings unique to the region. After half a century those jottings filled twenty-one notebooks. Now they have been brought together in The Wolfpen Notebooks, together with an interview with Still, a glossary, a comprehensive bibliography of his work by William Terrell Cornett, and examples of Still's use of the "sayings" in poetry and prose. The "sayings" represent an aspect of the Appalachian experience not previously recorded and of a time largely past.

The Dictionary of Southern Appalachian English is a revised and expanded edition of the Weatherford Award–winning Dictionary of Smoky Mountain English, published in 2005 and known in Appalachian studies circles as the most comprehensive reference work dedicated to Appalachian vernacular and linguistic practice. Editors Michael B. Montgomery and Jennifer K. N. Heinmiller document the variety of English used in parts of eight states, ranging from West Virginia to Georgia—an expansion of the first edition's geography, which was limited primarily to North Carolina and Tennessee—and include over 10,000 entries drawn from over 2,200 sources. The entries include approximately 35,000 citations to provide the reader with historical context, meaning, and usage. Around 1,600 of those examples are from letters written by Civil War soldiers and their family members, and another 4,000 are taken from regional oral history recordings. Decades in the making, the Dictionary of Southern Appalachian English surpasses the original by thousands of entries. There is no work of this magnitude available that so completely illustrates the rich language of the Smoky Mountains and Southern Appalachia.

An anthology of Appalachia writings.

This text argues that the hillbilly - in his various guises - has been viewed by mainstream Americans simultaneously as a violent degenerate who threatens the modern order and as a keeper of traditional values and thus symbolic of a nostalgic past free of the problems of contemporary life.

In 1948, Moss Kendrix, a former New Deal public relations officer, founded a highly successful, Washington, D.C.-based public relations firm, the flagship client of which was the Coca-Cola Company. As the first black pitchman for Coca-Cola, Kendrix found his way into the rarefied world of white corporate America. His personal phone book also included the names of countless black celebrities, such as bandleader Duke Ellington, singer-actress Pearl Bailey, and boxer Joe Louis, with whom he had built relationships in the course of developing marketing campaigns for his numerous federal and corporate clients. Kendrix, along with Ebony publisher John H. Johnson and Life photographer Gordon Parks, recognized that, in the image-saturated world of postwar America, media in all its forms held greater significance for defining American citizenship than ever before. For these imagemakers, the visual representation of African Americans as good citizens was good business. In Represented, Brenna Wynn Greer explores how black entrepreneurs produced magazines, photographs, and advertising that forged a close association between blackness and Americanness. In particular, they popularized conceptions of African Americans as enthusiastic consumers, a status essential to postwar citizenship claims. But their media creations were complicated: subject to marketplace dictates, they often relied on gender, class, and family stereotypes. Demand for such representations came not only from corporate and government clients to fuel mass consumerism and attract support for national efforts, such as the fight against fascism, but also from African Americans who sought depictions of blackness to counter racist ideas that undermined their rights and their national belonging as citizens. The story of how black capitalists made the market work for racial progress on their way to making money reminds us that the path to civil rights involved commercial endeavors as well as social and political activism.