With the success of podcasts like Serial and This American Life's S-Town, the calamity of J.D. Vance's Hillbilly Elegy, and the dawning of "Trump's America" as a regional branding, Appalachia has once again found itself laid bare on the national stage. As the romanticization of Appalachia as poor, packing, and white persists, the question becomes: how can Appalachian peoples access these negative images as tools of resistance, reformation, and community making? How does an American gothic find home in Appalachian narratives? This project explores clashes between national othering and local othering in Appalachian identity making as a tangible production of an Appalachian grotesque, a grotesque constructed through the subversion of the modern American gothic as a critical model for exploring Appalachian identity, particularly nationally othered and queered identities. The scope of this project ranges from contemporary, such as the popular memoir Hillbilly Elegy (2016) and the record breaking podcast S-Town (2016), as well as Robert Gipe's debut novel, Trampoline (2015), and their historical counterparts: the 1967 documentary Holy Ghost People and the 1976 documentary Harlan County, U.S.A. Through the lens of contemporary gothic readings of identity that come to form the grotesque, a framework for deconstructing notions of Appalachian fatalism begins to emerge. By specifically looking at ideas of violence, whether economic, cultural, or physical, and theories of erasure through the lens of land distribution and acquisition in Appalachia and its effect on self and community identity built up in the anchoring texts, defining and cultivating an Appalachian grotesque allows for a quantifying of Appalachian persistence within a history of critical thought, for better or for worse, as a way of both critiquing and fortifying the identity of Appalachia. / Master of Arts / The narrative of Appalachia, as white, poor, uneducated, barefoot, etc. that defines conceptions of the grotesque in contemporary media, such as more classic movies like 1972’s Deliverance, the tale of four ‘city boys’ from Atlanta during a bloody trip through the mountains, most famous for its “Dueling Banjos” scene, or more recent movies such as 2017’s Logan Lucky, a heist movie centered around two brothers’ plot to rob a NASCAR race in North Carolina, interacts with concepts of American masculinity and femininity through two prominent categories: hunger and disgust. Through the literary positioning of the body as a site in which hunger and disgust interact/react, as well as the subsequent relationship between sex and desire as defining features of a productive, and reproductive body, southern gothic tropes are encapsulated and reimagined through a grotesque Appalachian lens. It is through this cyclical process of hunger and disgust, and sex, desire, and production, in the social, political, and economic spheres that an Appalachian notion of the grotesque is formed.