Songs Of Bloody Harlan

In the 1960's, after graduation from Berea, Lee Pennington went to Harlan County to teach poetry to Kentucky Community College students. Under his tutelage, they published four books of poetry, Spirit Hollow, Thirteen, The Long Way Home and Tomorrow's People. It was this last book that got him in trouble, as the students were honest and frank about their locale, religion and relationships, and local authorities took offense. So much so that a price was put on Pennington's head and he had to leave with armed guards to protect him. This, of course, made national news and he was asked to speak all over the United States. It was not the students or the population of Harlan County who hated Pennington, but the establishment, the executives, the law-enforcers and managers who disapproved of his freedom and honesty. As Jean W. Ross writes in the DLB Yearbook, "the students' work was in part critical of strip-mining, traditional religious teaching, and the hypocrisy of authority." She writes of Lee's subsequent book on the subject, Songs of Bloody Harlan, , published first in North American Mentor (Summer 1971), and in book form in 1975, is Pennington's toughly realistic but ultimately loving tribute to the region that had driven him out in 1967. He wrote of the poetry's genesis, "For two years following my experience in Harlan County, I didn't say anything. But a poet doesn't have that choice either. . . . Songs of Bloody Harlan is my comment." (Jean W. Ross, Dictionary of Literary Biography Yearbook 1982, p. 335) Pennington's book, Songs of Bloody Harlan was one of his early publications, with a small edition of 100 printed, in 1975. Its popularity grew until it became very valuable, with a high price of $2,500 listed for one available on Amazon in 2018. This edition fulfills many people's desire to own a copy of this rare book, and it deserves reprinting so that all may partake of the experience Pennington lived, with all of it beauty, love and agony.

This book is a historical and cultural interpretation of a symbolic place in the United States, Harlan County, Kentucky, from pioneer times to the beginning of the third millennium, based on a painstaking and creative montage of more than 150 oral narratives and a wide array of secondary and archival matter.

The Depression brought unprecedented changes for American workers and organized labor. As the economy plummeted, employers cut wages and laid off workers, while simultaneously attempting to wrest more work from those who remained employed. In mills, mines, and factories workers organized and resisted, striking for higher wages, improved working conditions, and the right to bargain collectively. As workers walked the picket line or sat down on the shop floor, they could be heard singing. This book examines the songs they sang at three different strikes- the Gastonia, North Carolina, textile mill strike (1929), Harlan County, Kentucky, coal mining strike (1931-32), and Flint, Michigan, automobile sit-down strike (1936-37). Whether in the Carolina Piedmont, the Kentucky hills, or the streets of Michigan, the workers' songs were decidedly class-conscious. All show the workers' understanding of the necessity of solidarity and collective action. In Flint the strikers sang: The trouble in our homestead Was brought about this way When a dashing corporation Had the audacity to say You must all renounce your union And forswear your liberties, And we'll offer you a chance To live and die in slavery. As a shared experience, the singing of songs not only sent the message of collective action but also provided the very means by which the message was communicated and promoted. Singing was a communal experience, whether on picket lines, at union rallies, or on shop floors. By providing the psychological space for striking workers to speak their minds, singing nurtured a sense of community and class consciousness. When strikers retold the events of their strike, as they did in songs, they spread and preserved their common history and further strengthened the bonds among themselves. In the strike songs the roles of gender were pronounced and vivid. Wives and mothers sang out of their concerns for home, family, and children. Men sang in the name of worker loyalty and brotherhood, championing male solidarity and comaraderie. Informed by the new social history, this critical examination of strike songs from three different industries in three different regions gives voice to a group too often deemed as inarticulate. This study, the only book-length examination of this subject, tells history "from the bottom up" and furthers an understanding of worker culture during the tumultuous Depression years.

Provides lyrics, music, and chord notation for work and protest songs and discusses each tune's significance in the labor movement

Lists over 5,200 titles of books published by American poets between 1973 and 1983.

Meet Aunt Molly Jackson (1880-1960), one of American folklore's most fascinating characters. A coal miner's daughter, she grew up in eastern Kentucky, married a miner, and became a midwife, labor activist, and songwriter. Fusing hard experience with rich Appalachian musical tradition, her songs became weapons of struggle. In 1931, at age fifty, she was "discovered" and brought north, sponsored and befriended by an illustrious circle of left-wing intellectuals and musicians, including Theodore Dreiser, Alan Lomax, and Charles Seeger and his son Pete. Along with Sarah Ogan Gunning, Jim Garland (two of Aunt Molly's half-siblings), Woody Guthrie, Leadbelly, and other folk musicians, she served as a cultural broker, linking the rural working poor to big-city left-wing activism. Shelly Romalis draws upon interviews and archival materials to construct this portrait of an Appalachian woman who remained radical, raucous, proud, poetic, offensive, self-involved, and in spirit the "real" pistol packin' mama of the song. "Mr. Coal operator call me anything you please, blue, green, or red, I aim to see to it that these Kentucky coalminers will not dig your coal while their little children are crying and dying for milk and bread." -- Aunt Molly Jackson

Prophet Singer: The Voice and Vision of Woody Guthrie examines the cultural and political significance of lyrics by beloved songwriter and activist Woodrow Wilson “Woody” Guthrie. The text traces how Guthrie documented the history of America's poor and disadvantaged through lyrics about topics as diverse as the Dust Bowl and the poll tax. Divided into chapters covering specific historical topics such as race relations and lynchings, famous outlaws, the Great Depression, and unions, the book takes an in-depth look at how Guthrie manipulated his lyrics to explore pressing issues and to bring greater political and economic awareness to the common people. Incorporating the best of both historical and literary perspectives, Mark Allan Jackson references primary sources including interviews, recordings, drawings, and writings. He includes a variety of materials from the Smithsonian Institution, the Library of Congress, and the Woody Guthrie Archives. Many of these have never before been widely available. The result provides new insights into one of America's most intriguing icons. Prophet Singer offers an analysis of the creative impulse behind and ideals expressed in Guthrie's song lyrics. Details from the artist's personal life as well as his interactions with political and artistic movements from the first half of the twentieth century afford readers the opportunity to understand how Guthrie's deepest beliefs influenced and found voice in the lyrics that are now known and loved by millions.