This research seeks to compare and contrast fictional Appalachian writings by Lee Smith and Mildred Haun to contemporary historical sources in an attempt to trace the development of Appalachian music between the mid-nineteenth century and the late twentieth century. The thesis examines two novels by Lee Smith (The Devil’s Dream and Oral History) and the collection The Hawk’s Done Gone by Mildred Haun, which includes a short novel and several short stories. Contemporary primary sources and scholarly secondary sources were used to compare the fictional works’ depictions of Appalachian music to their historical counterparts. Also included within the thesis is a discussion of Smith and Haun’s personal and research backgrounds and their connections to Appalachian music. Overall, the study found Smith and Haun’s works accurate and based in historical fact, in part due to both writers’ use of historical research and interviews to inform their fiction.

Documented as serving in the midwife capacity from the 1880s to the 1930s, the “granny-woman,” often was the only line of defense regarding childbirth support practices for many childbearing age women living in the region during the late nineteenth and early twentieth centuries. The early twentieth century saw the granny-women discredited and subject to elimination as a result of a purposeful campaign conducted by the male-dominated medical profession. Using knowledge of herbal remedies, the granny-woman played an integral part in the survival of the inhabitants of the region, especially related to childbirth. These centuries-old, herbal-based ministrations have been explored to aid in dispelling the erroneous conclusions related to the vital community role fulfilled by the Southern Appalachian granny-woman. Possessing knowledge of herbal-based childbirth prevention measures, the Southern Appalachian granny-woman rarely provided specifics related to the use of these measures by the women living in the region during that era.