Adam Neese’s project "A Known World" documents the settings of his childhood expeditions. At first glance these scenes of a suburban childhood seem rather mundane, until we recall our own childhood imagination.
“Yes, and I gather from your comments there are a couple of other things you don’t know, Marjorie. For example, you probably didn’t know that Suzanne was the only contestant in Georgia pageant history to sweep every category except congeniality, and that is not something the women in my family aspire to anyway. Or that when she walked down the runway in her swimsuit, five contestants quit on the spot.”
Out of overwhelming curiosity, we wanted to discover the most talented and thrilling up-and-coming artists in the South. So we enlisted a range of Southern experts (gallery owners, curators, critics, artists) to help us find them. We couldn't fit all one hundred amazing artists in the issue, so here are the rest of the results, artists 41-100 (plus our amazing cover photographer coming in at 40.5).
Out of overwhelming curiosity, we wanted to discover the most talented and thrilling up-and-coming artists in the South. So we enlisted a range of Southern experts (gallery owners, curators, critics, artists) to help us find them. To make things manageable, we limited our interest (for the time being) to those who paint, photograph, and draw. Here is a sneak preview of the results.
Coincidentally, “lookism” is now entrenched in the cultural lexicon. The economist Daniel S. Hamermesh’s recent book, Beauty Pays: Why Attractive People Are More Successful, examines what he’s dubbed “pulchronomics”: the socioeconomic advantages of good-looking people in business and other power-contest environments (like, ahem, marriage). Hamermesh cites data that reflect what tend to be real economic advantages (say, earning around ninety thousand dollars more over a lifetime than plainer people), but asserts that the difference is enough to declare that being beautiful just about constitutes a charitable act, in so far as...
A few years ago, in Los Angeles’ primordial past, herds of taco trucks roamed the land, bringing carne asada and lengua to construction workers, late-night club-dwellers, and hotties with headshots. Their success led to an evolutionary bloom in the trucks, spawning mobile versions of everything from cupcakes to "sushi burritos". Not long ago, real live Southern food joined the ecosystem.
The intent of our poll is to stir reflection, discussion—did somebody just say “dissent”?—and reading. By counting the votes of 134 esteemed writers and scholars (and a few oddball editors, publishers, etc.) in a quest to find out what these discerning people consider to be the best works of Southern literature, we hope our poll accomplishes those worthy intentions. For judges, we sought out people who seemed thoughtful and well versed in Southern literature. Here is some information about them.
Here it is—the list you've been waiting for! Every work of nonfiction outside the top five that received at least one vote from our judges. (The number of votes each book received is indicated in parentheses after the author’s name.)
Despite the fact that he’s published eight novels and four story collections (his first novel, GERONIMO REX, was a National Book Award nominee and his last collection, HIGH LONESOME, a Pulitzer Prize finalist), Barry Hannah remains a cult figure: You’ve either never heard of him, or you can rattle off long passages of his prose and work up a sweat debating whether or not he’s a successor to Faulkner.
In the penultimate chapter of ABSALOM, ABSALOM!, the masterpiece that was selected in THE OA poll as “Best Southern Novel of All Time,” William Faulkner writes of the Harvard dormitory shared by Quentin Compson and his Canadian roommate, Shrevlin McCannon, “There would be no deep breathing tonight.” Ninety-five years later and a thousand miles south, the prediction holds, for here in the prep-school classroom the student who wishes not to be called upon must not breathe.