Pancake’s stories are a testament to the notion that the real Appalachia is a fiction born from a need to make sense of a region that, having been depopulated of indigenous people, was then repopulated by settlers who were in turn used as pawns in a mighty extractive industry that left the region scarred, barren, a perpetual social problem to be raised when politically convenient but never solved.

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Pancake’s stories are a testament to the notion that the real Appalachia is a fiction born from a need to make sense of a region that, having been depopulated of indigenous people, was then repopulated by settlers who were in turn used as pawns in a mighty extractive industry that left the region scarred, barren, a perpetual social problem to be raised when politically convenient but never solved.
Or, not really a famous writer, not, I mean, someone whose stories were made into movies or so-called prestige television, not someone who appeared on talk shows or whose tweets went viral as a matter of course, but still a writer famous enough to be asked to give talks at writers' conferences like the one I was attending when I heard this talk.
Those captivated by Willa Cather’s distinctive literary style may be aware that the “mature” style of her novels—allusive yet precise, plain yet richly evocative—represents a gradual shift from the more ornate and sometimes overdone writing of her early stories and poems.
The people who run the art world are aware that if a true and great artist were to be recognized during their lifetime, they would have immense power. So the artists who are promoted are the lap dogs, the ones they can control.
Our appearance is tied to our ability to earn a living. Aside from the well documented role our ethnicity/race/gender play in appearance, it is attractiveness that continues to be a controlling tool of a patriarchal, and colonial, but aging civilization.

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