Note, Dec. 15, 2017: I edited this review just now to correct a minor typo.
As kids, most Americans are exposed, at one time or another, to a retelling of the tale of Jack and the Beanstalk. Some Americans are vaguely aware that this is a very old story, going back several centuries at least. But most modern people really know very little about the rich oral tradition of folk tales (in the world in general, or specifically those from northern Europe, from which that story comes), and in particular have no idea that this same Jack is actually the hero of several stories originating in the same milieu.
In cultures that were/are largely preliterate or aliterate, and in the absence of mass media and computers, the human impulse to entertain with and be entertained by stories found its expression in oral tales, handed down, memorized over generations, traveling with the movement of clans and tribes, sometimes transmitted from group to group, perhaps changing slightly or developing variants as they're retold by many different voices. Where reading a story can be a solitary act, sharing the experience of an oral tale is a social act; and the contents of the tales are a repository of history and tradition, a shared cultural heritage that contributes to shaping a common identity (and often, a quarry of source material for literary storytelling as well). European immigrants to America, of course, brought their folktales with them. The Jack Tales, in particular, came over with the British settlers in very early colonial times.
As English-descended settlers found their way into the fastnesses of the Appalachian mountains, they brought their oral storytelling with them. Over the ensuing centuries, elsewhere in the U.S., most of the tales about Jack were simply forgotten. But the coves and hamlets of Appalachia tended to be physically, culturally and socially isolated in the 18th and 19th centuries, and even well into the 20th century; and there they survived much longer, to become part of the area's characteristic folk culture. Folklorist Richard Chase recorded the tales in this collection (the audio recordings are, I believe, in the possession of the Smithsonian Institution) between 1935 and 1943, mainly in the Beech Mountain area of North Carolina and in Wise County, Virgina, and mainly from storyteller R. M. Ward and other descendants of one Council Harmon (1803-1896), who was known as a master recounter of the tales. The book is transcribed from these recordings, but with some harmonizing of different versions and verbal adaptation for an audience of younger readers (any changes are noted) and enriched by Berkeley Williams' wonderful drawings.
To read (or listen to), these stories is to enter a world where there are multi-headed, human-eating giants; where shape-shifting malevolent witches exist; where magic is a reality, and really strange things can happen. The tales themselves are old (so old that the grey-bearded man with one eye who figures in some of them is thought by some scholars to have originally been Odin!), but the material culture they depict has adapted to its Appalachian surroundings, even while the earlier socio-cultural details persist. For instance, Jack sometimes encounters a ruling king --but he'll live in a big cabin, and if you stop by at mealtime, his woman will fix you some vittles. :-) The style of the storytelling is shaped by the demands of the oral medium. We get a sense of Jack's personality --a bit lazy, but essentially good-hearted, brave and resourceful, lucky and a bit of a trickster at times, and smarter than his brothers Will and Tom usually credit him with being-- but characterizations in general aren't as sharp as they'd be in literary fiction, and there's no introspection or elaborate description. Narrative is plot-driven, and moves at a good clip, with something always happening to avoid listener boredom. Common folkloric patterns like events that happen in series of threes, and widespread folk beliefs (such as the powerful properties of silver as a weapon against supernatural evil) are very much in evidence in several stories.
Counting "Jack and the Bean Tree," there are 18 tales here. My own favorites are "Sop Doll" and "Jack in the Giant's Newground;" but I enjoyed all of them. Helpful added features here are the fascinating 17-page Appendix by another folklorist, Herbert Halpert, which delves into the studies of the tradition by serious folklore scholars, with detailed analysis of the parallels of elements in each story with other folklore. There's also a useful two-page glossary of distinctive Appalachian expressions found here.
My wife Barb was born and raised in Appalachia, but in a household where folk tales weren't part of life; and in her generation and the ones after it, the cultural homogenization of "mainstream" American life and the pressures of modernity have taken a toll on Appalachian oral tradition and cultural memory. :-( It's ironic that I, as an interloper from the Midwest -I sometimes say that "I got here as quickly as I could!"-- have taken more interest in these tales (though Barb liked them when I read them to her), and that I had to discover them through a book. But I've tried to do my bit to keep the oral tradition alive; I've told some of the stories to my daughters and grandkids, and other younger family members on Barb's side, and I've had the privilege of relating one Jack tale to a church youth group at a Halloween lock-in. And the tales are alive and well in the ongoing repertoire of a number of living Appalachian storytellers, in the mold of the late Ray Hicks (whose re-telling of one of these yarns, on VHS video available from Appalshop --maybe on DVD nowadays-- is well worth a listen!).