Winner of the Colorado Author's League Award for Creative Nonfiction A 2010 Colorado Book Awards Finalist A FEAST Ezine Best of 2009 (Nonfiction) Power in the Blood: A Family Narrative traces Linda Tate's journey to rediscover the Cherokee-Appalachian branch of her family and provides an unflinching examination of the poverty, discrimination, and family violence that marked their lives. In her search for the truth of her own past, Tate scoured archives, libraries, and courthouses throughout Kentucky, Tennessee, Alabama, Illinois, and Missouri, visited numerous cemeteries, and combed through census records, marriage records, court cases, local histories, old maps, and photographs. As she began to locate distant relatives - fifth, sixth, seventh cousins, all descended from her great-greatgrandmother Louisiana - they gathered in kitchens and living rooms, held family reunions, and swapped stories. A past that had long been buried slowly came to light as family members shared the pieces of the family's tale that had been passed along to them. Power in the Blood is a dramatic family history that reads like a novel, as Tate's compelling narrative reveals one mystery after another. Innovative and groundbreaking in its approach to research and storytelling, Power in the Blood shows that exploring a family story can enhance understanding of history, life, and culture and that honest examination of the past can lead to healing and liberation in the present.

Winner of the Colorado Author's League Award for Creative Nonfiction A 2010 Colorado Book Awards Finalist A FEAST Ezine Best of 2009 (Nonfiction) Power in the Blood: A Family Narrative traces Linda Tate's journey to rediscover the Cherokee-Appalachian branch of her family and provides an unflinching examination of the poverty, discrimination, and family violence that marked their lives. In her search for the truth of her own past, Tate scoured archives, libraries, and courthouses throughout Kentucky, Tennessee, Alabama, Illinois, and Missouri, visited numerous cemeteries, and combed through census records, marriage records, court cases, local histories, old maps, and photographs. As she began to locate distant relatives - fifth, sixth, seventh cousins, all descended from her great-greatgrandmother Louisiana - they gathered in kitchens and living rooms, held family reunions, and swapped stories. A past that had long been buried slowly came to light as family members shared the pieces of the family's tale that had been passed along to them. Power in the Blood is a dramatic family history that reads like a novel, as Tate's compelling narrative reveals one mystery after another. Innovative and groundbreaking in its approach to research and storytelling, Power in the Blood shows that exploring a family story can enhance understanding of history, life, and culture and that honest examination of the past can lead to healing and liberation in the present.

How does a girl from Grundy, Virginia, become a successful writer? The interviews and profiles in Conversations with Lee Smith tell the story of one woman's discovery of her coal-mining hometown as a potential "literary place.""

In this first book of interviews with Smith, she revels in character and sense of place as cornerstones to her art. "What interests me most in writing are the characters," she says. "I have a lot of trouble thinking of plots, but I love to create the people. I think a person that you create is coming out of some aspect of yourself."

Smith's career spans three decades-beginning in 1968 with the publication of "The Last Day the Dog Bushes Bloomed"-and includes ten novels, three collections of stories, one novella, and numerous essays, nearly all of which, since 1980, have focused on her native Appalachia.

It is through conversation with others that Lee Smith (b. 1944) lives and breathes. Social to the core, defined by her love of talk, her penchant for a story, Smith-like her most memorable storytelling characters, from Granny Younger to Ivy Rowe-comes alive through her own voice. Reading a conversation with Smith is like sitting on the porch with your first cousin, all the old stories tumbling out in a rush.

In interviews, Smith tells why we hear echoes of the novelist's life in Crystal Spangler, the main character in Black Mountain Breakdown (1980), who is literally immobilized by her passivity. While Smith's own story in no way resembles the particulars of Crystal's, Smith reveals in these interviews her own struggle with the assigned gender roles of her region.

Forthright and direct, Smith traces the arc of her career as she talks. In research she conducted for her breakthrough novel "Oral History" (1983), Smith discovered that the power of her voice lay at home. In "Fair and Tender Ladies" (1988), Smith created the remarkable Ivy Rowe at a time when she herself personally needed a strong role model. Smith then moved on to "The Devil's Dream" (1992), a multigenerational tale of the evolution from traditional mountain music to commercialized country music. Just as Smith herself found her voice as a writer when she went home to her mountain roots, so too Katie Cocker-the Dolly Parton-type star of the novel-reconnects with her mountain heritage.

As she talks about these novels and her other works of fiction, Smith beckons us to come close and listen and joins her characters as a strong Appalachian woman in her own right.

Since 1980 the South has experienced a tremendous resurgence in fiction by women--black and white, rich and poor, from the Deep South and from Appalachia. This revival marks a critical stage in the development of southern literature, for it offers a revisionary, multicultural, feminist, yet still traditionally southern perspective. A Southern Weave of Women is one of the first sustained treatments of the generation of women writers who came of age in the post-World War II South as well as one of the first to situate southern literature fully within a multicultural context. Linda Tate considers the ways in which the women writers of the present generation reflect, expand, transform, and redefine long-standing notions of regional culture and womanhood. Focusing on women who suggest the regional, class, and ethnic diversity of contemporary southern writing, Tate discusses such writers as Jill McCorkle, Shay Youngblood, Ellen Douglas, Dori Sanders, Rita Mae Brown, Lee Smith, Alice Walker, Bobbie Ann Mason, Linda Beatrice Brown, and Kaye Gibbons. As these women carve out new definitions of southern womanhood, Tate contends, they also look for ways to retain what is valuable about past conceptions while seeking to revise and expand the traditional roles. In doing so, they reconsider their relationships to home, family, and other southern women; to issues of race and class in the South; to women's obscured role in the region's past; and to the southern land itself. Situating the works of these writers within a larger social context, Tate examines their misinterpretation by male filmmakers and lauds the corrective role that small and independent presses have played in providing a vehicle through which myopic male visions of southern women might be countered.