# data[].attributes.description
When Stage-Coach Days in the Bluegrass was first published in 1935 by the Standard Press in Louisville, the New York Times reviewer described "this charming work" as "an interesting example of that very useful class of books, local histories, which so rarely get the attention they deserve."Along with his focus on the development of stage-coach travel, Coleman covers details such as pioneer roads, taverns, travelers' experiences, mail carriers, and the coming of the railroad. This fascinating look at an age gone by is truly a work of regional culture.

# data[].attributes.description
Since the end of World War II, the South has experienced a greater awareness of growth and of its accompanying tensions than other regions of the United States. The rapid change that climaxed with the war in Vietnam, the Cold War, civil rights demonstrations, and Watergate has forced the traditional South to come to terms with social upheaval. As the essays collected in Southern Writers at Century's End point out, southern writing: since 1975 reflects the confusion and violence that have characterized late-twentieth-century public culture.These essays consider the work of twenty-one of the foremost southern writers whose most important fiction has appeared in the last quarter of this century. As the region's contemporary writers have begun to gain a wide audience, critics have begun to distinguish what Hugh Holman has called "the fresh, the vital, and the new" in southern literary culture. Southern Writers at Century's End is the first volume to take an extensive look at the current generation of southern writers.Authors considered include: James Lee Burke, Fred Chappell, Robert Drake, Andre Dubus, Clyde Edgerton, Richard Ford, Kaye Gibbons, John Grisham, Barry Hannah, Mary Hood, Josephine Humphreys, Randall Kenan, Richard Marius, Bobbie Ann Mason, Cormac McCarthy, Tim McLaurin, T.R. Pearson, Lee Smith, Anne Tyle,r Alice Walker, and James Wilcox.

# data[].attributes.description
A unique chronicle of the war from the perspective of a sensitive twenty-four-year-old sergeant who wrote for the Army's in-house paper, Yank, the Army Weekly and a tale of the South Pacific that will not soon be forgotten. Correspondent Mack Morriss reluctantly left his diary in the Honolulu Yank office in July 1943. "Here is contained an account of the past eight and one-half months," he wrote in his last entry, "a period which I shall never forget." The next morning he was on a plane headed back to the South Pacific and the New Georgia battleground.Morriss was working out of the press camp at Spa, Belgium, in January 1945, when he learned that the diary he had kept in the South Pacific had arrived in a plain brown wrapper at the New York office. He was so happy "to know that this impossible thing had happened," he wrote to his wife, that he helped two friends "murder a quart of scotch." What was preserved and appears in print here for the first time is a unique chronicle of the war in the South Pacific from the perspective of a sensitive twenty-four-year-old sergeant.This is an intensely personal account, reporting the war from the ridge known as the Sea Horse on Guadalcanal, from the bars and dance halls of Auckland to a B-17 flying through the moonlit night to bomb Japanese installations on Bougainville. Morriss thought deeply and wrote movingly about everything connected with the war: the sordiness and heroism, the competence and ineptitude of leaders, the strange mixture of constant complaint and steady courage of ordinary GIs, friendships formed under combat stress, and, above all, what he perceived to be his own indecisiveness and weaknesses.Ronnie Day introduces Morriss's diary and illuminates the work with extensive notes based on private papers, government documents, travel in the Solomon Islands, and the recollections of men mentioned in the diary.

# data[].attributes.description
South from Hell-fer-Sartin, a short creek flowing into the Middle Fork of the Kentucky River, lies one of the of the most isolated regions in Kentucky. There, on the north slope of the Pine Mountain range in Leslie and Perry countiesprobably the last stronghold of white, English-language folk tales in North AmericaLeonard W. Roberts recorded this rich collection more than three decades ago.To a people who, at that time, watched dancing hearth fires more often than television, the adventures of Jack in the land of witches and giants, monsters and beautiful princesses, provided first-class entertainment. Here are such old favorites as "Sleeping Beauty" and "The Golden Arm," retold in the idiom of the Kentucky mountains. Here are hauntingly beautiful cantes fables and earthy Irishman jokes. Here are encounters with Indians and marvelous hunting escapades.Roberts introduces his collection, first published in 1955, with a sympathetic description of the mountain way of life. He notes especially the bewildering and rapid changes that came to the Pine Mountain watershed in that decade as the highways and electric lines at last brought in a sophistication that preferred the soap opera to the folk tale. Although the stories Roberts recorded were still a firm part of folk tradition at the time, he believed that within a decade or two they would be forgottena prediction, sadly, by now no doubt fulfilled.Any lover of the vanishing art of tale telling will relish this rich treasury of folklore and humor. Full notes on sources, types, motifs, parallels, and possible origins of the tales make this collection valuable also for folklorists.

# data[].attributes.description
On a muggy, late August afternoon in 1936, somewhere along the banks of Greasy Creek, Life found Gracewalking the dusty mile between work and home in a brand new pair of leather kitten-heeled pumps, blond curls bouncing in the sun. Two weeks later, Lifie Jay Preston and Grace Mollette married, a union that lasted until their deaths fifty-eight years later. There was something about them, their daughter Linda would discover, a kind of radiance and love of living that would mark them in the memories of every person they encountereda song that resonates years after their passing.Songs of Life and Grace is their story, told by the daughter whose own life grew out of their loving ministries and Appalachian sensibilities. Linda Scott DeRosier, the celebrated author of Creeker: A Woman's Journey, draws on family letters and lore, interviews, and her own recollections to reach a better understanding of her parents and the families that formed them both. Along the way, she introduces an unforgettable cast of characters: the formidable Grandma Emmy; Uncle Burns, an infamous ladies' man; helpless and simple Aunt Jo; and gentle Pop Pop, who could peel an apple in one long, unbroken spiral. A stirring, honest look at Appalachia and a tribute to the unbreakable bonds of family, Songs of Life and Grace establishes DeRosier as one of the most vital and exciting new voices of the American South.

# data[].attributes.description
In 1995, Kentucky governor Brereton Jones granted parole to ten women who had been convicted of killing, conspiring to kill, or assaulting the men who had abused them for years. The media began referring to them as the "Sisters in Pain," a name they embraced. These are their stories. Linda Elisabeth Beattie and Mary Angela Shaughnessy's interviews of seven of the Sisters in Pain detail the physical, sexual, or psychological abuse they suffered at the hands of their husbands or boyfriends, battery beyond comprehension. Anyone who has ever asked, "Why don't they just leave?" will come to understand the interconnected strands of abuse that make just living through another day a personal triumph.Beattie and Shaughnessy address the pervasive nature of domestic violence in America and explore the legal ramifications of fighting back. Their interviews with the Sisters in Pain reveal the ways in which these women have picked up the pieces of their shattered lives and learned to face the future.

# data[].attributes.author
Linda Elisabeth LaPinta, Mary Angela Shaughnessy

# data[].attributes.description
Thayer Soule couldn't believe his orders. As a junior officer with no military training or indoctrination and less than ten weeks of active duty behind him, he had been assigned to be photographic officer for the First Marine Division. The Corps had never had a photographic division before, much less a field photographic unit. But Soule accepted the challenge, created the unit from scratch, established policies for photography, and led his men into combat. Soule and his unit produced films and photos of training, combat action pictures, and later, terrain studies and photographs for intelligence purposes. Though he had never heard of a photo-litho set, he was in charge of using it for map production, which would prove vital to the division. Shooting the Pacific War is based on Soule's detailed wartime journals. Soule was in the unique position to interact with men at all levels of the military, and he provides intriguing closeups of generals, admirals, sergeants, and privates -everyone he met and worked with along the way. Though he witnessed the horror of war firsthand, he also writes of the vitality and intense comradeship that he and his fellow Marines experienced. Soule recounts the heat of battle as well as the intense training before and rebuilding after each campaign. He saw New Zealand in the desperate days of 1942. His division was rebuilt in Australia following Guadalcanal. After a stint back in Quantico training more combat photographers, he went to Guam and then to the crucible of Iwo Jima. At war's end he was serving as Photographic Officer, Fleet Marine Force Pacific, at Pearl Harbor.

# data[].attributes.description
Shakespeare and the Poet's Life explores a central biographical question: why did Shakespeare choose to cease writing sonnets and court-focused long poems like The Rape of Lucrece and Venus and Adonis and continue writing plays? Author Gary Schmidgall persuasively demonstrates the value of contemplating the professional reasons Shakespeareor any poet of the timeceased being an Elizabethan court poet and focused his efforts on drama and the Globe. Students of Shakespeare and of Renaissance poetry will find Schmidgall's approach and conclusions both challenging and illuminating.

# data[].attributes.description
Despite the homogenization of American life, areas of strong regional consciousness still persist in the United States, and there is a growing interest in regionalism among the public and among academics. In response to that interest ten folklorists here describe and interpret a variety of American regional cultures in the twentieth century. Their book is the first to deal specifically with regional culture and the first to employ the perspective of folklore in the study of regional identity and consciousness.The authors range widely over the United States, from the Eastern Shore to the Pacific Northwest, from the Southern Mountains to the Great Plains. They look at a variety of cultural expressions and practiceslegends, anecdotes, songs, foodways, architecture, and crafts. Tying their work together is a common consideration of how regional culture shapes and is shaped by the consciousness of living in a special place. In exploring this dimension of regional culture the authors consider the influence of natural environment and historical experience on the development of regional culture, the role of ethnicity in regional consciousness, the tensions between insiders and outsiders that stem from a sense of regional identity, and the changes in culture in response to social and economic change.With its focus on cultural manifestations and its folkloristic perspective this book provides a fresh and needed contribution to regional studies. Written in a clear, readable style, it will appeal to general readers interested in American regions and their cultures. At the same time the research and analytical approach make it useful not only to folklorists but to cultural geographers, anthropologists, and other scholars of regional studies.

# data[].attributes.description
Harlan and Anna Hubbard, newly married in middle age, build the boat of their dreams and drift down the Ohio and Mississippi rivers. Harlan is an artist and a writer with a poet's eye for the beauty of the world. Anna is a musician and an elegant master of the arts of graceful living. For seven years (1944-1951) the Hubbards make their home on their little boat, drifting with the river, camping on the land.Together they learn how to create and sustain a self-sufficient way of life that is infinitely fulfilling. It is a "river way of life"free-flowing, endowed with the love of nature, the discovery of community, the rewards of good work, and the joy of creativity.The journal is a witness to history, embracing the gentle spirit of an America now lost to modern "progress." It is one of the most significant renderings in our literature of a deeply felt sense of place.Out of this journal grew Harlan Hubbard's enduring classic, Shantyboat, and his idyllic Shantyboat on the Bayous. His later Payne Hollow is a Thoreauvian testament to the values embodied in the homesteading life the Hubbards lived for four decades after they completed their epic river journey. Their life together has been praised by Wendell Berry as "one of the finest accomplishments of our time." The Shantyboat Journal reveals its creation.

# data[].attributes.subtitle
Moravian Brethren in Germany and North Carolina, 1727-1801

# data[].attributes.description
The eighteenth century was a time of significant change in the perception of marriage and family relations, the emphasis of reason over revelation, and the spread of political consciousness. The Unity of the Brethren, known in America as Moravians, experienced the resulting tensions firsthand as they organized their protective religious settlements in Germany. A group of the Brethren who later settled in Salem, North Carolina, experienced the stresses of cultural and generational conflict when its younger members came to think of themselves as Americans.The Moravians who first immigrated to America actively maintained their connections to those who remained in Europe and gave them the authority for deciding religious, social, and governmental issues. But, as the children born in Salem became acclimated to more freedoms, particularly in the wake of the American Revolution, a series of disputes intensified the problems of transatlantic governance. While the group's leadership usually associated Enlightenment principles with rebellion and religious skepticism, the younger Brethren were drawn to its message of individual autonomy and creative expression. Elisabeth Sommer traces the impact of this generational and cultural change among Moravians on both sides of the Atlantic and examines the resulting debate over the definition of freedom and faith.

# data[].attributes.subtitle
Bishop Sheen and the Power of Television

# data[].attributes.description
When the popularity of Milton Berle's television show began to slip, Berle quipped, "At least I'm losing my ratings to God!" He was referring to the popularity of "Life Is Worth Living" and its host, Bishop Fulton J. Sheen. The show aired from 1952 to 1957, and Sheen won an Emmy, beating competition that included Lucille Ball, Jimmy Durante, and Edward R. Murrow.What was the secret to Sheen's on-air success? Christopher Lynch examines how he reached a diverse audience by using television to synthesize traditional American Protestantism with a reassuring vision of Catholicism as patriotic and traditional. Sheen provided his viewers with a sense of stability by sentimentalizing the medieval world and holding it out as a model for contemporary society. Offering clear-cut moral direction in order to eliminate the anxiety of cultural change, he discussed topics ranging from the role of women to the perils of Communism.Sheen's rhetoric united both Protestant and Catholic audiences, reflectingand forminga vision of mainstream, postwar America. Lynch argues that Sheen's persuasive television presentations helped Catholics gain social acceptance and paved the way for religious ecumenism in America. Yet, Sheen's work also sowed the seeds for the crisis of competing ideologies in the modern American Catholic Church.

# data[].attributes.description
Seeing America explores the camera work of five women who directed their visions toward influencing social policy and cultural theory. Taken together, they visually articulated the essential ideas occupying the American consciousness in the years between the world wars.Melissa McEuen examines the work of Doris Ulmann, who made portraits of celebrated artists in urban areas and lesser-known craftspeople in rural places; Dorothea Lange, who magnified human dignity in the midst of poverty and unemployment; Marion Post Wolcott, a steadfast believer in collective strength as the antidote to social ills and the best defense against future challenges; Margaret Bourke-White, who applied avant-garde advertising techniques in her exploration of the human condition; and Berenice Abbott, a devoted observer of the continuous motion and chaotic energy that characterized the modern cityscape.Combining feminist biography with analysis of visual texts, McEuen considers the various prisms though which each woman saw and revealed America. Their documentary photographs were the result of personal visions that had been formed by experiences and emotions as well as by careful calculations and technological processes. These photographers captured the astounding variety of occupations, values, and leisure activities that shaped the nation, and their photographs illuminate the intricate workings of American culture in the 1920s and 1930s.

# data[].attributes.description
Writers love to tell stories, so when L. Elisabeth Beattie remarked that her next book ought to be a Kentucky writers' cookbook, Betty Layman Receveur replied, "Actually, all my sons ever demand of me is my pound cake." Adding a cup of this and a pinch of that, Beattie cooked up Savory Memories, a collection of twenty-two essays about particular dishes that call up warm memories in the writers.Featuring recipes and memories from writers such as Joy Bale Boone, George Ella Lyon, Ronni Ludy, Ed McClanahan, Sena Jeter Naslund, and Richard Taylor, this is both a cookbook and a compendium of sentiments. This warm and enjoyable blending of essays, illustrations, and recipes is leavened with humor and laden with nostalgia. As much as the food, these writers celebrate the personalities who lovingly prepared and provided their favorite dishes, sustaining life and helping to shape the personas of the authors themselves.A collection of highly personal recollections, Savory Memories is a veritable smorgasbord of delights.

# data[].attributes.name
Rusties and Riddles and Gee-Haw Whimmy-Diddles

# data[].attributes.description
The people of the Kentucky mountains and the southern Appalachians preserved a language alive with colorful turns of phrase and whimsical wit and for their amusement they created a rich vein of oral loresongs, tales, and games. James Still presents a varied and entertaining collection of riddles, whimsies, and verbal pranks, gathered through his long association with the mountain people of eastern Kentucky. This book includes in one volume two earlier booksWay Down Yonder on Troublesome Creek and The Wolfpen Rustiesthat have been unavailable for several years. It contains the complete text of the original editions, including Still's explanatory notes for archaic or obscure expressions. Also included are the original lively illustrations by the noted artist Janet McCaffery.

# data[].attributes.description
The rich history of river life in Kentucky permeates Janice Holt Giles's novel Run Me a River. Set in 1861, at the beginning of Kentucky's reluctant entry into the Civil War, the novel tells the story of a five-day adventure on the Green River. Aboard the Rambler, a ramshackle steamboat, Captain Bohannon Cartwright and his crew journey 184 miles and pick up two extra passengers along the way. The boatmenrescue "Sir Henry" Cole, a former Shakespearean actor, and his granddaughter Phoebe from their skiff when it overruns in a squall. As romance blossoms between Phoebe and Captain Bo, a conflict escalates between Confederate and Union forces fighting for control of the river.Janice Holt Giles (1905-1979), author of nineteen books, lived and wrote near Knifley, Kentucky, for thirty-four years. Her biography is told in Janice Holt Giles: A Writer's Life.

# data[].attributes.description
FDRthe wily political opportunist glowing with charismatic charm, a leader venerated and hated with equal vigorsuch is one common notion of a president elected to an unprecedented four terms. But in this first comprehensive study of Roosevelt's leadership of the Democratic party, Sean Savage reveals a different man. He contends that, far from being a mere opportunist, Roosevelt brought to the party a conscious agenda, a longterm strategy of creating a liberal Democracy that would be an enduring majority force in American politics.The roots of Roosevelt's plan for the party ran back to his experiences with New York politics in the 1920s. It was here, Savage argues, that Roosevelt first began to perceive that a pluralistic voting base and a liberal philosophy offered the best way for Democrats to contend with the established Republican organization. With the collapse of the economy in 1929 and the discrediting of Republican fiscal policy, Roosevelt was ready to carry his views to the national scene when elected president in 1932.Through his analysis of the New Deal, Savage shows how Roosevelt made use of these programs to develop a policy agenda for the Democratic party, to establish a liberal ideology, and, most important, to create a coalition of interest groups and voting blocs that would continue to sustain the party long after his death. A significant aspect of Roosevelt's leadership was his reform of the Democratic National Committee, which was designed to make the party's organization more open and participatory in setting electoral platforms and in raising financial support.Savage's exploration of Roosevelt's party leadership offers a new perspective on the New Deal era and on one of America's great presidents that will be valuable for historians and political scientists alike.

# data[].attributes.description
One of the most exciting developments in Romantic studies in the past decade has been the rediscovery and repositioning of women poets as vital and influential members of the Romantic literary community. This is the first volume to focus on women poets of this era and to consider how their historical reception challenges current conceptions of Romanticism. With a broad, revisionist view, the essays examine the poetry these women produced, what the poets thought about themselves and their place in the contemporary literary scene, and what the recovery of their works says about current and past theoretical frameworks.The contributors focus their attention on such poets as Felicia Hemans, Letitia Elizabeth Landon, Charlotte Smith, Anna Barbauld, Mary Lamb, and Fanny Kemble and argue for a significant rethinking of Romanticism as an intellectual and cultural phenomenon. Grounding their consideration of the poets in cultural, social, intellectual, and aesthetic concerns, the authors contest the received wisdom about Romantic poetry, its authors, its themes, and its audiences. Some of the essays examine the ways in which many of the poets sought to establish stable positions and identities for themselves, while others address the changing nature over time of the reputations of these women poets.

# data[].attributes.author
Harriet Kramer Linkin, Stephen C. Behrendt

# data[].attributes.description
Rock Art of Kentucky is the first comprehensive documentation of the fragile remnants of Kentucky's prehistoric Native American rock art sites. Found in twenty-two of Kentucky's counties, these sites pan a period of more than three thousand years. The most frequent design elements in Kentucky rock art are engravings of the footprints of birds, quadrupeds, and humans. Other design elements include anthropomorphs, mammals, birds, reptiles, fish, and abstract and geometric figures. Included in the book are stunning illustrations of the sixty confirmed sites and ten destroyed or questionable sites.In the thirty some years during which this information was collected, there has been an alarming deterioration of many of the sites. Ancient carvings have been destroyed by graffiti or have lost extensive detail because of climatic or environmental conditions, such as acid rain. Although all the Kentucky sites are officially listed on the National register of Historic Places, several no long exist or are at present inaccessible. In addition to making data available for the first time to the national and international archaeological community for further comparative and interpretive studies, Rock Art of Kentucky is also for nonspecialists interested in prehistoric Kentucky and Native American studies.

# data[].attributes.author
Fred E. Coy Jr., Thomas C. Fuller, Larry G. Meadows, James F. Swauger

# data[].attributes.description
Long recognized as one of America's foremost men of letters, Robert Penn Warren continues to dazzle us with his many-sided genius. In the haunting images of his poetry, the narrative power of his fiction, the revealing insights of his essays, we find literary achievement of the highest order.Warren's writing has merited the close attention of literary critics. In this book Neil Nakadate brings together the most important critical essays, including a new essay written for this volume, to give a comprehensive view of the range of Warren's work. A list of Warren's published works, 1929-1980, and a useful checklist of critical works on Warren's writing supplement this rich and balanced collection of essays.Contributors: A.L. Clements, Chester E. Eisinger, Norton R. Girault, Robert B. Heilman, H.P. Heseltine, James H. Justus, Richard Law, Frederick P.W. McDowell, Neil Nakadate, Ladell Payne, M. Bernetta Quinn, John Crowe Ransom, Victor Strandberg, Walter Sullivan, William Tjenos, Simone Vauthier, and Robert Penn Warren