The job of regional literature is twofold: to explore and confront the culture from within, and to help define that culture for outsiders. Taken together, the two centuries of Ozarks literature collected in this ambitious anthology do just that. The fiction, nonfiction, poetry, and drama presented in The Literature of the Ozarks take on stereotypes of backwoods ignorance, debunk the pastoral myth, expand on the meaning of wilderness, and position the Ozarks—the most extensive highlands between the Appalachians and the Rockies—as a crossroads of human experience with meaningful ties to national literary movements.Among the variety presented here are an Osage priest who celebrated the Ozarks wilderness, an early explorer from New York who found both the vulgar and the sublime lurking in the backwoods, a native-born farm wife who captured her hopes and tragedies in poetry for more than fifty years, several African American writers who protested attacks on their communities, a Pulitzer Prize–winning poet who contemplated the cultural strengths and shortcomings of his native place, and an art history professor who created a fictional town and a postmodern parody of the region’s stereotypes.The Literature of the Ozarks establishes a canon as nuanced and varied as the region’s writers themselves.

Counterculture flourished nationwide in the 1960s and 1970s, and while the hippies of Haight–Ashbury occupied the public eye, further off the beaten path in the Arkansas Ozarks a faction of back to the landers were quietly creating their own counterculture haven. In Hipbillies, Jared Phillips collects oral histories and delves into archival resources to provide a fresh scholarly discussion of this group, which was defined by anticonsumerism and a desire for self-sufficiency outside of modern industry.While there were indeed clashes between long haired hippies and cantankerous locals, Phillips shows how the region has always been a refuge for those seeking a life off the beaten path, and as such, is perhaps one of the last bastions for the dream of self-sufficiency in American life. Hipbillies presents a region steeped in tradition coming to terms with the modern world.

Sarah Neidhardt grew up in the woods. When she was an infant, her parents left behind comfortable, urbane lives to take part in the back-to-the-land movement. They moved their young family to an isolated piece of land deep in the Arkansas Ozarks where they built a cabin, grew crops, and strove for eight years to live self-sufficiently.In this vivid memoir Neidhardt explores her childhood in wider familial and social contexts. Drawing upon a trove of family letters and other archival material, she follows her parents’ journey from privilege to food stamps—from their formative youths, to their embrace of pioneer homemaking and rural poverty, to their sudden and wrenching return to conventional society—and explores the back-to-the-land movement of the 1970s as it was, and as she lived it.A story of strangers in a strange land, of class, marriage, and family in a changing world, Twenty Acres: A Seventies Childhood in the Woods is part childhood idyll, part cautionary tale. Sarah Neidhardt reveals the treasures and tolls of unconventional, pastoral lives, and her insightful reflections offer a fresh perspective on what it means to aspire to pre-industrial lifestyles in a modern world.

Men of No Reputation is the first account to explore the life of Robert Boatright, one of America’s most gifted, but forgotten, confidence men. Boatright’s story provides a rare window into the secret world of Missouri’s criminal past, which influenced the methods of confidence men across the country.Boatright took the preexisting big-store confidence scheme and perfected it. With the assistance of a talented coterie of confederates known as the Buckfoot Gang, this “dean of modern confidence men” fleeced the gentry of the Midwest on fixed athletic contests in the turn-of-the-century Ozarks” Working in concert with a local bank and an influential Democratic boss, Boatright seemed untouchable. A series of missteps, however, led to a string of court cases across the country that brought his criminal enterprise to an end. And yet, the con continued. Boatright’s successor, John C. Mabray, and his cronies, many of whom had been in the Buckfoot Gang, preyed upon victims across North America in one of the largest Midwestern criminal syndicates in history before they were brought to heel. Like the works of Sinclair Lewis, Boatright’s story exposes a rift in the wholesome Midwestern stereotype and furthers our understanding of nineteenth- and twentieth-century American society.

Broadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm.Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his home in the Ozarks.

Broadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm.Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his home in the Ozarks.

The job of regional literature is twofold: to explore and confront the culture from within, and to help define that culture for outsiders. Taken together, the two centuries of Ozarks literature collected in this ambitious anthology do just that. The fiction, nonfiction, poetry, and drama presented in The Literature of the Ozarks take on stereotypes of backwoods ignorance, debunk the pastoral myth, expand on the meaning of wilderness, and position the Ozarks—the most extensive highlands between the Appalachians and the Rockies—as a crossroads of human experience with meaningful ties to national literary movements.Among the variety presented here are an Osage priest who celebrated the Ozarks wilderness, an early explorer from New York who found both the vulgar and the sublime lurking in the backwoods, a native-born farm wife who captured her hopes and tragedies in poetry for more than fifty years, several African American writers who protested attacks on their communities, a Pulitzer Prize–winning poet who contemplated the cultural strengths and shortcomings of his native place, and an art history professor who created a fictional town and a postmodern parody of the region’s stereotypes.The Literature of the Ozarks establishes a canon as nuanced and varied as the region’s writers themselves.

Counterculture flourished nationwide in the 1960s and 1970s, and while the hippies of Haight–Ashbury occupied the public eye, further off the beaten path in the Arkansas Ozarks a faction of back to the landers were quietly creating their own counterculture haven. In Hipbillies, Jared Phillips collects oral histories and delves into archival resources to provide a fresh scholarly discussion of this group, which was defined by anticonsumerism and a desire for self-sufficiency outside of modern industry.While there were indeed clashes between long haired hippies and cantankerous locals, Phillips shows how the region has always been a refuge for those seeking a life off the beaten path, and as such, is perhaps one of the last bastions for the dream of self-sufficiency in American life. Hipbillies presents a region steeped in tradition coming to terms with the modern world.

Sarah Neidhardt grew up in the woods. When she was an infant, her parents left behind comfortable, urbane lives to take part in the back-to-the-land movement. They moved their young family to an isolated piece of land deep in the Arkansas Ozarks where they built a cabin, grew crops, and strove for eight years to live self-sufficiently.In this vivid memoir Neidhardt explores her childhood in wider familial and social contexts. Drawing upon a trove of family letters and other archival material, she follows her parents’ journey from privilege to food stamps—from their formative youths, to their embrace of pioneer homemaking and rural poverty, to their sudden and wrenching return to conventional society—and explores the back-to-the-land movement of the 1970s as it was, and as she lived it.A story of strangers in a strange land, of class, marriage, and family in a changing world, Twenty Acres: A Seventies Childhood in the Woods is part childhood idyll, part cautionary tale. Sarah Neidhardt reveals the treasures and tolls of unconventional, pastoral lives, and her insightful reflections offer a fresh perspective on what it means to aspire to pre-industrial lifestyles in a modern world.

Men of No Reputation is the first account to explore the life of Robert Boatright, one of America’s most gifted, but forgotten, confidence men. Boatright’s story provides a rare window into the secret world of Missouri’s criminal past, which influenced the methods of confidence men across the country.Boatright took the preexisting big-store confidence scheme and perfected it. With the assistance of a talented coterie of confederates known as the Buckfoot Gang, this “dean of modern confidence men” fleeced the gentry of the Midwest on fixed athletic contests in the turn-of-the-century Ozarks” Working in concert with a local bank and an influential Democratic boss, Boatright seemed untouchable. A series of missteps, however, led to a string of court cases across the country that brought his criminal enterprise to an end. And yet, the con continued. Boatright’s successor, John C. Mabray, and his cronies, many of whom had been in the Buckfoot Gang, preyed upon victims across North America in one of the largest Midwestern criminal syndicates in history before they were brought to heel. Like the works of Sinclair Lewis, Boatright’s story exposes a rift in the wholesome Midwestern stereotype and furthers our understanding of nineteenth- and twentieth-century American society.

Broadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm.Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his home in the Ozarks.

Broadcasting the Ozarks explores the vibrant country music scene that emerged in Springfield, Missouri, in the 1930s and thrived for half a century. Central to this history is the Ozark Jubilee (1955–60), the first regularly broadcast live country music show on network television. Dubbed the “king of the televised barn dances,” the show introduced the Ozarks region to viewers across America and put Springfield in the running with Nashville for dominance of the country music industry—with the Jubilee’s producer, Si Siman, at the helm.Siman’s life story is almost as remarkable as the show he produced. He was booking Tommy Dorsey, Ella Fitzgerald, and Glenn Miller during the mid-1930s while still a high school student and produced nationally syndicated country music radio shows in the decades that followed. Siman was a promotional genius with an ear for talent, a persuasive gift for gab, and the energy and persistence to make things happen for many future Country Music Hall of Famers, including Chet Atkins, Porter Wagoner, the Browns, and Brenda Lee. Following the Jubilee’s five-year run, Siman had a hand in some of the greatest hits of the twentieth century as a music publisher, collaborating with such songwriters as rockabilly legend and fellow Springfieldian Ronnie Self, who wrote Brenda Lee’s signature hit, “I’m Sorry,” and Wayne Carson, who wrote Willie Nelson’s “Always on My Mind.” Although Siman had numerous opportunities to find success in bigger cities, he chose to do it all from his home in the Ozarks.