...the influence of the South

by Joshua Heston

The Arkansas Ozarks are different from the Missouri Ozarks and I’m racking that difference up to “social and directional influences.”

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That’s a fancy way of saying something really simple: The Arkansas Ozarks are in the Deep South. Up here in Missouri, there's some ambiguity about where our mountains even lie. The Midwest? The South? The gateway to the West? For the Missouri Ozarks, nobody seems to be all that sure.

But down in Arkansas?

The answer is easy to come by. The Boston Mountains, Springfield Plateau, and the Ouachita Mountains are the Deep South's westernmost mountain ranges, a rugged land of beauty and hardship, a last remnant of Native American culture, a place of deep hollers and longstanding hillbilly families, where the Santa Fe Trail from Fort Smith points the way of the setting sun.

It’s a Deep South culture with Antebellum, Cajun, Spanish and Native American influences... and a deep sense of identity. Gracious old cities like Fayetteville and Little Rock serve as counterpoints to the folk music valley of Mountain View (land of Jimmy Driftwood and the Ozark Folk Center) and the uniquely southern gothic city of Eureka Springs.

It’s a land of a proud people, extraordinary mountains and unique Ozarks culture. It's also home to some of the best food you're going to find anywhere; a menu heavy with okra gumbo, crawfish, rice, tomatoes with zucchini, fried chicken... and some of the best fruit pies around.

I’m getting hungry.

— from January 2, 2011, State of the Ozarks Weekly Issue 164

plate 1. Sunset Ozark Trail. Photo by Joshua Heston, October 29, 2011.

Ozark Collage

plate 2. An Ozark Fall. Artwork by Joshua Heston, August 20, 2009.

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Bright Glowed My Hills:

“All life was not dull work for James Columbus Booth. He was a musician. He had no musical training, but somewhere in his Irish and Scotch ancestry there must have been a harp or bagpipe player because Lum could truly make his old fiddle sing. He kept the instrument in a bleached, white muslin flour sack carefully laid in the bureau drawer. Inside the fiddle, he kept a set of rattles from a rattlesnake, ‘to help the tone,’ he explained.”

— Doug Mahnkey, Bright Glowed My Hills, School of the Ozarks Press, Point Lookout, Missouri 1968

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