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?:? Folktales Mean "Coming Home Again" by Daniel M. Schores A college-age church group gathers for a weekend retreat in a Blue Ridge mountain cabin. The counselor couple in their thirties, with three young children, sits with them singing traditional folk songs and chatting about past experiences. Two of the college boys entertain the children in quietplay. Someone says to the young woman, "Tell us one or your stories, Mary." Mostofthegroup turns to faceher. "DidIevertellyouaboutmycousinJake andhishorse, OleRoany?" Shepushes her long light brown hair from her eyes, lays down her guitar, and stares into space. You can see her "getting into character." The story, a variation of one of Richard Chase's GrandfatherTales, madepersonal by reference to the imaginary cousin Jake, 30 e begins to unwind. Even the children, formerly ignoring their mother's singing and conversation, crawl to herfeet to listen intently. The tradition of folktale telling continues. Passedorallyfromgeneration togeneration untilputintoprint, southern mountain folk narratives provide a feeling ofcontinuity to both teller and listener. As Mary recites again the oft-told tale, her mind's eye visualizes a great uncle whose love of "spinning yarns' introduced her to the art. Though her children have heard her entire repertoire numerous times, the tales hold theirattention. ToMarytheyreinforceher sense ofplace, her mountain heritage, her ties with kinfolk. They permit her to recall pleasant childhood memories. To the children the story's familiarity gives them a feeling of belonging to both past and present. Irrespective ofThomas Wolfe's dictum, ou can go home again, not only in person ut in memory and spirit. To renew one's sense of place; to refresh one's sense of the past; to rekindle one's sense of pride ...there is nothing quite like the retelling of a familiar folktale. Reunions or homecomings have positive value not only for those who have moved away but also for those whoremain in the community. Both need assurance that emotional treasures are common property. Audiences for storytelling usually participate in the experience, sharing with the narrator through side comments, nods of agreement, or facial expressions of concern. Each teller is, however, allowed considerable freedom of interpretation. A glint in the eye or lilt in the voice signifies joy. Drawn-out phrases may indicate mystery. Changes in pitch and pace build to dramatic climaxes. Unfortunately , whenpublished these stories losemuch of their unique flavor. Rhythm, distinct dialects, impressive pauses, or a knowing grindo notcomeacrosswellontheprinted page. Traditional societies, more than pluralistic ones, need to continuallyjustify their institutions andpublic rituals toevery new generation. Among the functions offolk narratives is their ability to validate regional thought patterns and illustrate admired cultural values. Since older persons are the prime storytellers , their tendency is to emphasizepast life-styles and norms. Being placed center -stage as a narrator can be as fulfilling as the family reunion for Mamma or Grandpa. Taleswhichdonotkeep thepast alive are soon forgotten. LeonardRoberts, the major collector from Kentucky, has stated, "Stories are family heirlooms and can fall out ofthat heritage. They must be called for [requested], they must be used, if they are to live-and grow."1 Modest sexual behavior, appropriate to mountain society, is continually emphasized . Male and female tend to live in separate worlds. As Emma Bell Miles, herselffrom this region, points out, "Arift is set between the sexes at babyhood and widens with the passing of the years."2 Even today, husbands and wives seldom engage in serious conversation with one another. Men gather at the barn, general store, or front yard. Women chat around the kitchen table. Euphemisms disguise references to private body parts or pregnancy . Folktales are for family consumption andsoarepurgedofindelicateexpressions except for those all-male stories heard down at the auto garage or courthouse lawn. The oral narrative is an excellent vehicle for intergenerational communication. Whole families participate in preserving the oral folk tradition. From the Couch family ofeastern Kentucky, for example, Roberts collected over one hundred folk songs and sixty tales and riddles, calling on various members of this extended family formaterial.3 Casualconversations during an evening of tales allows all ages to have their say, a factor lost when modem families depend on televised entertainment. Positive treatment and respect for the elderly-another traditional value-can...

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