A superb blend of good story-telling and sound scholarship this book provides a fascinating record of what “country New Yorkers” have had to say and sing about themselves as they made their way through three centuries. You'll find stories and songs about pioneers,” Injun fighters,” canallers, outlaws, “uncanny critters,” lumberjacks, farmers lovers, murderers, and tricksters. You’ll even be reminded that piracy and whaling are part of New York’s many-faceted tradition. One chapter examines the origins of New York’s strange place-names. Another is devoted to an engrossing account of New York’s proverbs and folk wisdom.

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Life working along the banks of the Erie Canal is preserved in the songs of America's rich musical history. Thomas Allen's "Low Bridge, Everybody Down" has achieved iconic status in the American songbook, but its true story has never been told until now. Erie songs such as "The E-ri-e Is a-Risin'" would transform into "The C&O Is a-Risin'" as the song culture spread among a network of other canals, including the Chesapeake and Ohio and the Pennsylvania Main Line. As motors replaced mules and railroads emerged, the canal song tradition continued on Broadway stages and in folk music recordings. Author Bill Hullfish takes readers on a musical journey along New York's historic Erie Canal.

The completion of the Erie Canal in 1825 was a monumental achievement. Linking the Great Lakes to the Atlantic Ocean, it transformed New York City into a hub of international trade, drove the rise of industrial cities in once sparsely populated areas, and accelerated the westward expansion of the United States. Yet few of the laborers who toiled along the canal shared in the prosperity it brought. Mark S. Ferrara tells the stories of the ordinary people who lived, worked, and died along the banks of the canal, emphasizing the forgotten role of the poor and working class in this epochal transformation. The Raging Erie chronicles the fates of the Native Americans whose land was appropriated for the canal, the European immigrants who bored its route through the wilderness, and the orphan children who drove draft animals that pulled boats around the clock. Ferrara also shows how the canal served as a conduit for the movement of new ideas and religions, a corridor for enslaved people seeking freedom via the Underground Railroad, and a spur for social reform movements that emerged in response to the poverty and suffering along its path. Brimming with vivid characters drawn from the underbelly of antebellum life, The Raging Erie explores the social dislocation and untold hardships at the heart of a major engineering feat, shedding light on the lives of the canallers who toiled on behalf of American expansion.

Folklorists and lovers of folk songs will delight in this collection of the lyrics of songs sung by settlers of western New York in the middle of the nineteenth century. The manuscript on which this book is based is the most important collection of traditional song-texts, British and American in origin, to survive from its period. Discovered in the 1930s in the attic of Harry S. Douglass in Arcade, New York, it was written by Julia S. and Volney O. Stevens, who transcribed nearly ninety of the songs with which their father, Artemas Stevens, so often entertained them. The Stevens family had come to Wyoming County, New York, from New England in 1836, bringing with them traditional songs and ballads. The Stevens-Douglass manuscript contains the texts of 89 songs. In A Pioneer Songster, these are organized first by their origins (36 are from the British Isles; 53 were composed in America) and then according to themes and subjects, including love, history, politics, the pioneering life, politics, murder and shipwrecks, minstrel songs, spirituals, Indian legends, temperance, and satire. The book features a general introduction and shorter introductions to each themed section. In addition, each song is accompanied by an informative headnote detailing its history, meaning, and significance. A Pioneer Songster has been edited for the enjoyment of the general reader, but in their annotation, the editors have aimed at assisting students and scholars of folklore, musicology, and American history. While preserving the manuscript's original punctuation and spelling, they have succeeded in creating a resource that will be of interest to all who care for the American folk tradition and the history of New York State.

A comprehensive exploration of the Middle Eastern roots of Western narrative tradition. Against the methodological backdrop of historical and comparative folk narrative research, 101 Middle Eastern Tales and Their Impact on Western Oral Tradition surveys the history, dissemination, and characteristics of over one hundred narratives transmitted to Western tradition from or by the Middle Eastern Muslim literatures (i.e., authored written works in Arabic, Persian, and Ottoman Turkish). For a tale to be included, Ulrich Marzolph considered two criteria: that the tale originates from or at least was transmitted by a Middle Eastern source, and that it was recorded from a Western narrator's oral performance in the course of the nineteenth or twentieth century. The rationale behind these restrictive definitions is predicated on Marzolph's main concern with the long-lasting effect that some of the "Oriental" narratives exercised in Western popular tradition—those tales that have withstood the test of time. Marzolph focuses on the originally "Oriental" tales that became part and parcel of modern Western oral tradition. Since antiquity, the "Orient" constitutes the quintessential Other vis-à-vis the European cultures. While delineation against this Other served to define and reassure the Self, the "Orient" also constituted a constant source of fascination, attraction, and inspiration. Through oral retellings, numerous tales from Muslim tradition became an integral part of European oral and written tradition in the form of learned treatises, medieval sermons, late medieval fabliaux, early modern chapbooks, contemporary magazines, and more. In present times, when national narcissisms often acquire the status of strongholds delineating the Us against the Other, it is imperative to distinguish, document, visualize, and discuss the extent to which the West is not only indebted to the Muslim world but also shares common features with Muslim narrative tradition. 101 Middle Eastern Tales and Their Impact on Western Oral Tradition is an important contribution to this debate and a vital work for scholars, students, and readers of folklore and fairy tales.

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