Bestselling author, journalist, playwright, and activist Silas House has focused nearly all of his work on Appalachia. His acclaimed and diverse body of work includes the novels Clay's Quilt, A Parchment of Leaves, The Coal Tattoo, Eli the Good, and Southernmost. Well known for its lyrical style, diverse and sympathetic characters, and political engagement, House's work is overdue for deeper critical study. In this groundbreaking book, editor and coauthor Sylvia Bailey Shurbutt brings together established and rising scholars to discuss House and his writings through a critical lens. Various chapters address different aspects of House's fiction and nonfiction, including the ways in which he deconstructs regional stereotypes, how he explores issues of diversity, his environmental activism, and his approach to LGBTQ issues. The collection begins with a foreword by Denise Giardina and concludes with a chapter by celebrated poet Maurice Manning exploring the lyricism that distinguishes House's work. Featuring an interview with House that further illuminates his philosophy and art, this timely volume offers an important critical appraisal of his oeuvre to date and illustrates why he is one of the most significant voices in Appalachian and American literature today.

To celebrate the tenth anniversary of alternative country music magazine "No Depression," this anthology contains 25 of the magazine's best and most representative feature articles on venerated artists and songwriters of genuine American roots music.

Like the house built by Ann Peters’s father on a hill in eastern Wisconsin, House Hold offers many views: cornfields and glacial lakes, fast food parking lots and rural highways, Manhattan apartments and Brooklyn brownstones. Peters revisits the modern split-level where she grew up in Wisconsin, remembering her architect father. Against the background of this formative space, she charts her roaming story through two decades of New York City apartments, before traveling to a cabin in the mountains of Colorado and finally purchasing an old farmhouse in upstate New York. More than a memoir of remembered landscapes, House Hold is also an expansive contemplation of America, a meditation on place and property, and an exploration of how literature shapes our thinking about the places we live. A gifted prose stylist, Peters seamlessly combines her love of buildings with her love of books. She wanders through the rooms of her past but also through what Henry James called “the house of fiction,” interweaving personal narrative with musings on James, Willa Cather, William Dean Howells, Paule Marshall, William Maxwell, and others. Peters reflects on the romance of pastoral retreat, the hazards of nostalgia, America’s history of expansion and land ownership, and the conflicted desires to put down roots and to hit the road. Throughout House Hold, she asks how places make us who we are.

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.

In this heartwarming classic, a gentle linen weaver named Silas Marner is wrongly accused of theft actually committed by his best friend. Silas exiles himself to a rustic village, where he finds spiritual rebirth through his unselfish love of an abandoned child. Includes a new Afterword. Revised reissue.

Love was in the air. People everywhere were being matched by a magic mirror, and falling in love. Silas watched his family grow larger from all the marriages and children. He wondered when his time would come, but a part of his mind couldn’t let go of a memory from long ago, of a beautiful girl. He called her his woodland sprite, but where had she gone, and would he ever see her again? May struggled against the unwanted advances of the man her mother wanted her to marry. She did not love him. Her memories were full of the vision of a boy she loved from afar, but her family had left that place long ago. She never expected to see him again, especially not in the reflection of the magic mirror. She knew she loved him, but following her heart meant leaving her family and returning to the home they left behind. Could their love be strong enough to withstand the wrath of her mother and become more than just a memory?

Long before the official establishment of the Commonwealth, intrepid pioneers ventured west of the Allegheny Mountains into an expansive, alluring wilderness that they began to call Kentucky. After blazing trails, clearing plots, and surviving innumerable challenges, a few adventurers found time to pen celebratory tributes to their new homeland. In the two centuries that followed, many of the world’s finest writers, both native Kentuckians and visitors, have paid homage to the Bluegrass State with the written word. In The Kentucky Anthology, acclaimed author and literary historian Wade Hall has assembled an unprecedented and comprehensive compilation of writings pertaining to Kentucky and its land, people, and culture. Hall’s introductions to each author frame both popular and lesser-known selections in a historical context. He examines the major cultural and political developments in the history of the Commonwealth, finding both parallels and marked distinctions between Kentucky and the rest of the United States. While honoring the heritage of Kentucky in all its glory, Hall does not blithely turn away from the state’s most troubling episodes and institutions such as racism, slavery, and war. Hall also builds the argument, bolstered by the strength and significance of the collected writings, that Kentucky’s best writers compare favorably with the finest in the world. Many of the authors presented here remain universally renowned and beloved, while others have faded into the tides of time, waiting for rediscovery. Together, they guide the reader on a literary tour of Kentucky, from the mines to the rivers and from the deepest hollows to the highest peaks. The Kentucky Anthology traces the interests and aspirations, the achievements and failures and the comedies and tragedies that have filled the lives of generations of Kentuckians. These diaries, letters, speeches, essays, poems, and stories bring history brilliantly to life. Jesse Stuart once wrote, “If these United States can be called a body, Kentucky can be called its heart.” The Kentucky Anthology captures the rhythm and spirit of that heart in the words of its most remarkable chroniclers.

Bates's famous loveable rogue, Uncle Silas, has a unique range of work to his name. For the first time, all of these stories are gathered together in one collection, allowing readers to experience Silas from multiple perspectives. Some tales offer sly, affectionate glimpses of the narrator's great-uncle Silas – the rural oldster of the earthy, boozy, incorrigible school. But there is also an active tenderness as seen in 'The Revelation,' where the narrator watches old Silas being given a bath by his surly, long-time housekeeper – and realises that their relationship is intensely romantic. In 'The Lily', in a voice at once dreamy, devilish, innocent, mysterious and triumphant, 93-year-old Silas recalls his more youthful days of poaching and wooing. Elsewhere, in 'A Funny Thing' Silas chortles over tall tales of his Casanova days, trying to out-lie his dandyish, equally ancient brother-in-law, Cosmo. There are nostalgic vignettes of roof-thatching, pig-wrestling, and grave-digging. Bates claims some of the stories to be "so near to reality that they needed only the slightest recolouring on my part", citing 'The Wedding,' 'The Revelation,' 'Silas the Good,' and 'The Death of Uncle Silas'. It is in these examples that we see how he was inspired by that “apocryphal legend” borne of “every country child who keeps his ears cocked when men are talking." Silas shrewdly and gently opens the eyes of his young listener to the adult world. V.S. Pritchett acknowledged Bates's gift in the short story genre, finding that he avoided farce with Silas through the use of the "passive, wondering audience" of the boy and the fidelity of style to the "techniques of rural story-telling...Uncle Silas is in fact the scandalizing village memory at work."

When seventeen-year-old Silas Umber's father disappears, Silas is sure it is connected to the powerful artifact he discovers, combined with his father's hidden hometown history, which compels Silas to pursue the path leading to his destiny and ultimately, to the discovery of his father, dead or alive.

Vol. 1- 1836- contain "A list of whale ships, belonging to the United States."