When the novel, The Leftovers came out several years ago, it was an immediate success. (Oprah gave it a significant boost in sales and the fact that America was in the midst of a kind of apocalyptic  fervor at the time certainly helped.) The heart of this novel concerns a mysterious “rapture” that has snatched thousands of people from their “earthly existence.” Not only are those who are left behind bewildered; they are also puzzled since there seems to be no logic ... no “common denominator. “ Christians, Buddhists, atheists, Russians, Chinese, children (even a fetus), the elderly, alcoholics, nuns and convicted murders — all simply vanish in an instant. Where did they go?

A little over one year ago, Mark Powell published The Dark Corner, a novel that was set in the northwest part of Georgia and dealt with the intrigue and corruption attending the current development of “the river culture” that has sprung up along the Chattooga River. It is a remarkable novel (that reads like a sequel to James Dickey’s Deliverance) and prompted author Ron Rash to call Powell “the best Appalachian novelist of his generation.”

In case you haven’t noticed, let me call your attention to a disturbing fact regarding current Appalachian literature: some critics have been describing the new crop of Appalachian writers as latter-day Jeremiads who are predicting the coming of a kind of literary apocalypse in Appalachia. Lately, I have been running into references to “Appalachian noir,” a classification that is certainly valid given the current trend toward dark humor and the absence of traditional themes. 

After running into numerous critical references to this little novel, which has won a series of international awards and has been published in nineteen countries and made into a popular film, curiosity got the best of me, so I ordered a copy from Amazon ($4.80). When it arrived, I was especially pleased by the cover, and as soon as I could crank up my Keurig coffeemaker I was ready for an amazing journey.

Each time Stephen King is interviewed, he finds himself responding to the same question: “Where do you get your ideas?” Usually, the question is prompted by the questioner implying that an author who writes about serial killers and psychotics must be as twisted and devious as the subjects that he writes about. King always responds with some variation of the following: His ideas come from Fox News and CNN; the New York Times and Time magazine.  

I have always been something of a fanatic about graphic novels and my collection includes Maus (which depicts the holocaust — with cats as Nazis and mice as Jews — and the two-volume set of Marjane Satrapi’s Persepolis, which is a memoir of the author’s childhood growing up during the Islamic Revolution. I also have a badly-worn copy of Alan Moore’s In Hell which is one of the most remarkable books I have ever encountered. I also have several boxes full of “undergrounds,” which are the true forerunners of the modern graphic novel. Many of them are graphic American “histories” by artists like Jack Jackson (Jaxon) and R. Crumb. Admittedly, I rarely run into people who share my appreciation for these guys.

Since I happen to love folklore and storytelling, I have always felt blessed to be a resident of Jackson County. Sitting on my front porch, I can see Black Rock, where a local law officer vanished 80 years ago while on a fox hunt. He has not been found to this day. I can see the Pinnacle, which in my childhood was supposed to be Judaculla, the slant-eyed giant of Cherokee folklore who is sleeping now. You can still make out his profile from the parking lot of the new library. 

If you love epic tales that celebrate the American West; if you treasure novels like Trail of the Lonesome Dove, Edna Ferber’s So Big (Giant) and McCarthy’s Cities on the Plain, you might want to saddle up for Peace Like a River. Everything that quickens your heartbeat is here: manhunts, vicious killers, snowstorms, relentless law men, lovable outlaws, tall tales, all wrapped in a bit of Mark Twain’s “heading for the territories.”

I have always been drawn to authors who can seize your attention in the first paragraph and like a pit bull, refuse to let you go. Ron Rash can do that (Serena). So can Philipp Meyer (The Son). These guys are so good, they can set the hook and play you the way a seasoned fisherman handles a trout, (Whoa, that is a mixed metaphor, I guess!) for 40 pages, forcing you to abandon chores and your social life, intent on riding out what the critics call “a riveting narrative.” Well, here is another one. Let me summarize the beginning of The Kept by James Scott.

In recent years, I have developed a growing discomfort with the Internet. Services like Facebook, Amazon, Linked-in have become increasingly ... well, personal. They want to know how I am doing, mentally and physically (at times they sound like a nosy, well-meaning relative), and I am constantly being asked to take “quickie” surveys or to rate everything from Netflix movies to Amazon products. I am beginning to wonder at what point does their concern become intrusive.