An installment in our weekly series, The By and By.
To him, my life as an eager, emerging writer was entertaining—inspiring maybe—and our excursions were his break from mind-numbing corporate life. For me, it was fun to test my knowledge of the dining scene and be celebrated for it.
A Points South essay from the Spring 2019 issue
I hesitated at the sight of the banner so close to my home and was suddenly wary. Weary. I saw the flag and without thinking thought it code: Patriot. MAGA. Make everything white again. Even with all I know about the history of Black people in this country, I’ve never been afraid of the flag. On this day, however, I felt how I feel when I see the Confederate flag: Unsafe.
In Ponce City Market: The Rise, Fall, and Rebirth of Atlanta’s Largest Building, Blake Burton documents the transformation of the Sears, Roebuck & Company building in Atlanta into the newly restored Ponce City Market. Burton presents “behind-the-scenes views of one of the largest adaptive reuse projects in the country.” What began as “casual exploration soon morphed into a passionate desire to document the historic transformation of an architectural treasure.”
A Points South story from the Summer 2018 issueOne summer during an electrical storm, Mama Rubie turned off the power in her house and we huddled on the stairs until the weather calmed. One day this will be yours, she said, as we sat on the staircase. I imagine your father will give this house to you when I’m gone. I nodded although I didn’t understand.
A Points South profile from the Summer 2018 issue
There was no telling how long the stoplight at the base of the 8th Street hill would stay green when Grant Taylor began bombing toward it. He was in a low crouch, muscling his skateboard against the blacktop, popping ollies and carving tight S curves down the center stripe of one of midtown Atlanta’s steepest streets. With each push of his left leg, exponentially more asphalt roared past him.
Notes on the manuscript containing James Dickey’s essay “The Kingdom of the Other.”
Dickey was terrified of living an unexamined life, and he employed this technique, the imagining of the Other—the beings and places which were remote from his own biographical self—as a necessity to fuel creation, both in his writing and personal life.
Denis Johnson and revision.
A couple of years later, I told someone about this, that the hitchhiker in “Emergency” is a real guy with the same name, that I’d watched this remarkable video of Johnson reading the story, and she second-guessed the whole thing. What if, she wondered, the interruption, the anecdote, the letter that Johnson reads is just another version of the story? It all fits together that way, that years later the narrator would be a novelist, that the character he’d almost forgotten was real would walk up and say hello. It feels a little like a final revision.