Breece D'J Pancake cut short a promising career when he took his own life at the age twenty-six. Published posthumously, this is a collection of stories that depict the world of Pancake's native rural West Virginia.

Breece D'J Pancake cut short a promising career when he took his own life at the age twenty-six. Published posthumously, this is a collection of stories that depict the world of Pancake's native rural West Virginia.

After twenty-six-year-old author Breece D'J Pancake took his own life in April 1979, the West Virginian's posthumously published short-story collection made a considerable impact on the world of letters. His work was praised for a controlled muscular style reminiscent of Hemingway, for its strong undercurrent of emotion, and for its evocation of the blighted lives of the mountain poor. In A Room Forever, Thomas E. Douglass offers a detailed portrait of Pancake's short life, examining the varied circumstances and emotional forces that led to the writer's suicide and exploring Pancake's influence on contemporary fiction generally and Appalachian writing in particular.Drawing on notebooks, letters, and manuscripts left by Pancake as well as numerous conversations and interviews with family, friends, and others, Douglass has recreated the key events of the young artist's life: his West Virginia childhood, his romantic losses, his education as a writer at the University of Virginia, and the acceptance of his work by the East Coast literary establishment. Through analysis of the story fragments reproduced in this volume, including The Conqueror and Shouting Victory, Douglass illustrates the recurring themes -- such as fear of failure and the inability to escape disaster -- that Pancake expressed so eloquently in his work, and he shows their origins in the writer's own personal history. Douglass examines the degree to which Pancake drew on his memories of life in Appalachia and discusses Pancake's influence on other Appalachian writers such as Pinckney Benedict. Douglass argues that Pancake's posthumous collection, The Stories of Breece D'J Pancake, brought a renewed interest in regional writing to the national literary scene. A Room Forever brings to life the artistic sensibility and inner turmoil of a legendary figure in contemporary southern letters.

A definitive edition of the haunted and haunting stories of the legendary West Virginia writer, with rare unfinished stories and fragments and revealing letters Breece D'J Pancake published only a handful of stories before he took his own life in 1979, just shy of his twenty-seventh birthday. Those stories and a small number of others found among his papers after his death comprise the remarkable posthumous collection The Stories of Breece D'J Pancake (1983), recognized at the time as "an American Dubliners" (Jayne Anne Phillips) and a collection by a "young writer of such extraordinary gifts that one is tempted to compare his debut to Hemingway's" (Joyce Carol Oates). Kurt Vonnegut called him "merely the best writer, the most sincere writer I've ever read." Today his diverse admirers include Margaret Atwood, Andre Dubus III, Tom Waits, and Lorde. The Collected Breece D'J Pancake brings together the original landmark book, several story drafts and fragments, and a selection of Pancake's letters to offer an unprecedented picture of his life and art. Among the unfinished stories are fragments from Pancake's two planned novels. The letters document his relationship with writers such as Peter Taylor, John Casey, James Alan McPherson, and Mary Lee Settle, and offer a picture of his collaborative relationship with his mother, who sent him newspaper clippings and helped him research his stories. "Pancake's stories are the only stories written in just this way," Jayne Anne Phillips writes in her introduction, "from inside the minds of protagonists coming of age in the mountains of an Appalachian world closed to others." At once beautiful and relentlessly bleak, the stories concern miners, truckers, farmers, waitresses, and others facing constricted economic and life prospects. In one way or another, his characters are stuck, hoping for a change in fortune they can neither relinquish nor quite bring themselves to believe in, the land and the past making equally strong claims on their darkening present.

An autobiography that begins with one's birth begins too late, in the middle of the story, sometimes at the end. So begins Mary Lee Settle's memoir. Her story carries within it inherited choices, old habits, old quarrels, old disguises, and the river that formed the Kanawha Valley of West Virginia and the mores of her childhood. She traces effects on her family and herself as ancient as earthquakes, mountain formations, and the crushing of swamp into coal deposits. In doing so, Settle records the expectations, talents, and tragedies of a people and a place that would serve as her deep and abiding subject in The Beulah Quintet.

An amazing journey through the thriving worlds of fantasy and gaming What could one man find if he embarked on a journey through fantasy world after fantasy world? In an enthralling blend of travelogue, pop culture analysis, and memoir, forty-year-old former D&D addict Ethan Gilsdorf crisscrosses America, the world, and other worlds—from Boston to New Zealand, and Planet Earth to the realm of Aggramar. “For anyone who has ever spent time within imaginary realms, the book will speak volumes. For those who have not, it will educate and enlighten.” —Wired.com “Gandalf’s got nothing on Ethan Gilsdorf, except for maybe the monster white beard. In his new book, Fantasy Freaks and Gaming Geeks, Gilsdorf . . . offers an epic quest for reality within a realm of magic.” —Boston Globe “Imagine this: Lord of the Rings meets Jack Kerouac’s On the Road.” —National Public Radio’s “Around and About” “What does it mean to be a geek? . . . Fantasy Freaks andGaming Geeks tackles that question with strength and dexterity. . . . part personal odyssey, part medieval mid-life crisis, and part wide-ranging survey of all things freaky and geeky . . . playful . . . funny and poignant. . . . It’s a fun ride and it poses a question that goes to the very heart of fantasy, namely: What does the urge to become someone else tell us about ourselves?” —Huffington Post

Kentucky straight is bourbon with no mixer. Kentucky Straight is Kentucky seen without nostalgic gloss. These riveting, often heartbreaking stories, take us through country that is unmapped. They are set in a nameless Appalachian community too small to be called a town, a place where wanting an education is a mark of ungodly arrogance and dowsing for water a legitimate occupation; where hunting is not a sport but a means of survival. These are stories of coal miners and backwoods medicine men, of gamblers and marijuana farmers, tales of real tragedy and unutterable strangeness that convey their sense of place so vividly that we feel its ground rise beneath our feet. Offutt has received a James Michener Grant and a Kentucky Arts Council Award.