Drawing on two decades of teaching a college-level course on southern history as viewed through autobiography and memoir, John C. Inscoe has crafted a series of essays exploring the southern experience as reflected in the life stories of those who lived it. Constantly attuned to the pedagogical value of these narratives, Inscoe argues that they offer exceptional means of teaching young people because the authors focus so fully on their confrontations--as children, adolescents, and young adults--with aspects of southern life that they found to be troublesome, perplexing, or challenging.

Maya Angelou, Rick Bragg, Jimmy Carter, Bessie and Sadie Delany, Willie Morris, Pauli Murray, Lillian Smith, and Thomas Wolfe are among the more prominent of the many writers, both famous and obscure, that Inscoe draws on to construct a composite portrait of the South at its most complex and diverse. The power of place; struggles with racial, ethnic, and class identities; the strength and strains of family; educational opportunities both embraced and thwarted--all of these are themes that infuse the works in this most intimate and humanistic of historical genres.

Full of powerful and poignant stories, anecdotes, and testimonials, "Writing the South through the Self" explores the emotional and psychological dimensions of what it has meant to be southern and offers us new ways of understanding the forces that have shaped southern identity in such multifaceted ways.

Georgians, like all Americans, experienced the Civil War in a variety of ways. Through selected articles drawn from the New Georgia Encyclopedia (www.georgiaencyclopedia.org), this collection chronicles the diversity of Georgia's Civil War experience and reflects the most current scholarship in terms of how the Civil War has come to be studied, documented, and analyzed.

The Atlanta campaign and Sherman's March to the Sea changed the course of the war in 1864, in terms both of the upheaval and destruction inflicted on the state and the life span of the Confederacy. While the dramatic events of 1864 are fully documented, this companion gives equal coverage to the many other aspects of the war--naval encounters and guerrilla war-fare, prisons and hospitals, factories and plantations, politics and policies-- all of which provided critical support to the Confederacy's war effort. The book also explores home-front conditions in depth, with an emphasis on emancipation, dissent, Unionism, and the experience and activity of African Americans and women.

Historians today are far more conscious of how memory--as public commemoration, individual reminiscence, historic preservation, and literary and cinematic depictions--has shaped the war's multiple meanings. Nowhere is this legacy more varied or more pronounced than in Georgia, and a substantial part of this companion explores the many ways in which Georgians have interpreted the war experience for themselves and others over the past 150 years. At the outset of the sesquicentennial these new historical perspectives allow us to appreciate the Civil War as a complex and multifaceted experience for Georgians and for all southerners.

A Project of the New Georgia Encyclopedia; Published in Association with the Georgia Humanities Council and the University System of Georgia/GALILEO.

One of the most controversial historians of the American South, Ulrich Bonnell Phillips, has been the object of intense scholarly interest for nearly seventy-five years. His contributions to our knowledge of the social and economic aspects of slavery--along with his well-known racial and class biases--have been discussed extensively. This anthology represents the best work on Phillips published between 1913 and 1986.

The senior editor's introduction examines Phillips' role in the transition to the new social and economic approach that characterizes contemporary historiography. Twenty-six essays and excerpts by recognized authorities assess various aspects of Phillips's writings and career, including his background and training, regional and racial prejudices, methodology, and the historical genres in which he worked. A brief interpretive introduction prefaces each chapter. A chronological listing of the critical literature on Phillips completes the volume. Reflecting the vast scope of Phillips's contributions and his pervasive influence in the field, this collection is pertinent to studies in southern history, historiography, Afro-American history, and the history of race relations.

While Hollywood deserves its reputation for much-maligned portrayals of southern highlanders on screen, the film industry also deserves credit for a long-standing tradition of more serious and meaningful depictions of Appalachia's people. Surveying some two dozen films and the literary and historical sources from which they were adapted, John C. Inscoe argues that in the American imagination Appalachia has long represented far more than deprived and depraved hillbillies. Rather, the films he highlights serve as effective conduits into the region's past, some grounded firmly in documented realities and life stories, others only loosely so. In either case, they deserve more credit than they have received for creating sympathetic and often complex characters who interact within families, households, and communities amidst a wide array of historical contingencies. They provide credible and informative narratives that respect the specifics of the times and places in which they are set. Having used many of these movies as teaching tools in college classrooms, Inscoe demonstrates the cumulative effect of analyzing them in terms of shared themes and topics to convey far more generous insights into Appalachia and its history than one would have expected to emerge from southern California's "dream factory.

These essays look at southern social customs within a single city in the nineteenth and early twentieth centuries. In particular, the volume focuses on paternalism between masters and slaves, husbands and wives, elites and the masses, and industrialists and workers. How Augusta's millworkers, homemakers, and others resisted, exploited, or endured the constraints of paternalism reveals the complex interplay between race, class, and gender. One essay looks at the subordinating effects of paternalism on women in the Old South-slave, free black, and white-and the coping strategies available to each group. Another focuses on the Knights of Labor union in Augusta. With their trappings of chivalry, the Knights are viewed as a response by Augusta's white male millworkers to the emasculating "maternalism" to which they were subjected by their own wives and daughters and those of mill owners and managers. Millworkers are also the topic of a study of mission work in their communities, a study that gauges the extent to which religious outreach by elites was a means of social control rather than an outpouring of genuine concern for worker welfare. Other essays discuss Augusta's "aristocracy of color," who had to endure the same effronteries of segregation as the city's poorest blacks; the role of interracial cooperation in the founding of the Colored Methodist Episcopal Church as a denomination, and of Augusta's historic Trinity CME Church; and William Jefferson White, an African American minister, newspaper editor, and founder of Morehouse College. The varied and creative responses to paternalism discussed here open new ways to view relationships based on power and negotiated between men and women, blacks and whites, and the prosperous and the poor.

Drawing on two decades of teaching a college-level course on southern history as viewed through autobiography and memoir, John C. Inscoe has crafted a series of essays exploring the southern experience as reflected in the life stories of those who lived it. Constantly attuned to the pedagogical value of these narratives, Inscoe argues that they offer exceptional means of teaching young people because the authors focus so fully on their confrontations--as children, adolescents, and young adults--with aspects of southern life that they found to be troublesome, perplexing, or challenging.

Maya Angelou, Rick Bragg, Jimmy Carter, Bessie and Sadie Delany, Willie Morris, Pauli Murray, Lillian Smith, and Thomas Wolfe are among the more prominent of the many writers, both famous and obscure, that Inscoe draws on to construct a composite portrait of the South at its most complex and diverse. The power of place; struggles with racial, ethnic, and class identities; the strength and strains of family; educational opportunities both embraced and thwarted--all of these are themes that infuse the works in this most intimate and humanistic of historical genres.

Full of powerful and poignant stories, anecdotes, and testimonials, "Writing the South through the Self" explores the emotional and psychological dimensions of what it has meant to be southern and offers us new ways of understanding the forces that have shaped southern identity in such multifaceted ways.

Among the most pervasive of stereotypes imposed upon southern highlanders is that they were white, opposed slavery, and supported the Union before and during the Civil War, but the historical record suggests far different realities. John C. Inscoe has spent much of his scholarly career exploring the social, economic and political significance of slavery and slaveholding in the mountain South and the complex nature of the region's wartime loyalties, and the brutal guerrilla warfare and home front traumas that stemmed from those divisions. The essays here embrace both facts and fictions related to those issues, often conveyed through intimate vignettes that focus on individuals, families, and communities, keeping the human dimension at the forefront of his insights and analysis. Drawing on the memories, memoirs, and other testimony of slaves and free blacks, slaveholders and abolitionists, guerrilla warriors, invading armies, and the highland civilians they encountered, Inscoe considers this multiplicity of perspectives and what is revealed about highlanders' dual and overlapping identities as both a part of, and distinct from, the South as a whole. He devotes attention to how the truths derived from these contemporary voices were exploited, distorted, reshaped, reinforced, or ignored by later generations of novelists, journalists, filmmakers, dramatists, and even historians with differing agendas over the course of the late nineteenth and twentieth centuries. His cast of characters includes John Henry, Frederick Law Olmsted and John Brown, Andrew Johnson and Zebulon Vance, and those who later interpreted their stories -- John Fox and John Ehle, Thomas Wolfe and Charles Frazier, Emma Bell Miles and Harry Caudill, Carter Woodson and W. J. Cash, Horace Kephart and John C. Campbell, even William Faulkner and Flannery O'Connor. Their work and that of many others have contributed much to either our understanding -- or misunderstanding -- of nineteenth century Appalachia and its place in the American imagination.

African Americans have had a profound impact on the economy, culture, and social landscape of southern Appalachia but only after a surge of study in the last two decades have their contributions been recognized by white culture. Appalachians and Race brings together 18 essays on the black experience in the mountain South in the nineteenth century. These essays provide a broad and diverse sampling of the best work on race relations in this region. The contributors consider a variety of topics: black migration into and out of the region, educational and religious missions directed at African Americans, the musical influences of interracial contacts, the political activism of blacks during reconstruction and beyond, the racial attitudes of white highlanders, and much more. Drawing from the particulars of southern mountain experiences, this collection brings together important studies of the dynamics of race not only within the region, but throughout the South and the nation over the course of the turbulent nineteenth century.

Enemies of the Country profiles men and women of the Confederate states who, in addition to the wartime burdens endured by most Southerners, had to cope with being a detested minority. With one exception, the Unionists discussed here are white, but they otherwise represented a wide spectrum of the Southern citizenry. Together the portraits underscore how varied Unionist identities and motives were, and how fluid the circumstances of Unionist allegiance could be.

Antebellum Southern Appalachia has long been seen as a classless and essentially slaveless region - one so alienated and isolated from other parts of the South that, with the onset of the Civil War, highlanders opposed both secession and Confederate war efforts. In a multifaceted challenge to these basic assumptions about Appalachian society in the mid-nineteenth century, John Inscoe reveals new variations on the diverse motives and rationales that drove Southerners, particularly in the Upper South, out of the Union. Mountain Masters vividly portrays the wealth, family connections, commercial activities, and governmental power of the slaveholding elite that controlled the social, economic, and political development of western North Carolina. In examining the role played by slavery in shaping the political consciousness of mountain residents, the book also provides fresh insights into the nature of southern class interaction, community structure, and master-slave relationships.

While Hollywood deserves its reputation for much-maligned portrayals of southern highlanders on screen, the film industry also deserves credit for a long-standing tradition of more serious and meaningful depictions of Appalachia's people. Surveying some two dozen films and the literary and historical sources from which they were adapted, John C. Inscoe argues that in the American imagination Appalachia has long represented far more than deprived and depraved hillbillies. Rather, the films he highlights serve as effective conduits into the region's past, some grounded firmly in documented realities and life stories, others only loosely so. In either case, they deserve more credit than they have received for creating sympathetic and often complex characters who interact within families, households, and communities amidst a wide array of historical contingencies. They provide credible and informative narratives that respect the specifics of the times and places in which they are set. Having used many of these movies as teaching tools in college classrooms, Inscoe demonstrates the cumulative effect of analyzing them in terms of shared themes and topics to convey far more generous insights into Appalachia and its history than one would have expected to emerge from southern California's ""dream factory.

This collection is the first comprehensive, cohesive volume to unite Appalachian history with its culture. Richard A. Straw and H. Tyler Blethen's High Mountains Rising provides a clear, systematic, and engaging overview of the Appalachian timeline, its people, and the most significant aspects of life in the region. Bringing together many of the most prestigious scholars in Appalachian studies, this volume has been designed for general and classroom use, and includes suggestions for further reading. Appalachian history with its culture. Richard A. Straw and H. Tyler Blethen's High Mountains Rising provides a clear, systematic, and engaging overview of the Appalachian timeline, its people, and the most significant aspects of life in the region. The first half of the fourteen essays deal with historical issues including Native Americans, pioneer settlement, slavery, the Civil War and Reconstruction, industrialization, the Great Depression, migration, and finally, modernization. The remaining essays take a more cultural focus, addressing stereotypes, music, folklife, language, literature, and religion. Bringing together many of the most prestigious scholars in Appalachian studies, this volume has been designed for general and classroom use, and includes suggestions for further reading.

This volume of the Journal of Appalachian Studies Association includes contributions by John C. Inscoe; John Alexander Williams; Richard B. Drake; Richard Blaustein; H. Tyler Blethen and Curtis W. Wood; David B. White; Milton Ready; Paul Salstrom; Benita J. Howell; John L. Bell; Henry J. Weaver; David Sutton; Glen Edward Taul; Edgar H. Thompson; Loyal Jones; Louis H. Palmer; Michael Montgomery; and Roberta T. Herrin.