A Points South essay from the South Carolina Music Issue. Myrtle Beach has always capitalized on tourists’ desire to put a soundtrack to their vacations. Long before the days of the megachurch-style country music theaters, like the Carolina Opry and… by Sarah Bryan | Nov, 2019

A Points South essay from the South Carolina Music Issue. All of Bill’s anecdotes about Diz played to this theme: here was a man, a titan of American music, whose genius helped revolutionize jazz in the forties, opening the door… by Maxwell George | Nov, 2019

A feature essay from the South Carolina Music Issue.  The thing that they do, I hesitate to say that you have to be there, but—there is an intimacy and devilment to their live performance, a lift and crash, that has… by David Ramsey | Nov, 2019

Notes on the songs from our 21st Southern Music Issue Sampler featuring South Carolina. It is fitting that this Southern Music Issue (the Oxford American’s twenty-first) devoted to South Carolina should come in 2019, as the nation moves to better… by Oxford American | Nov, 2019

A feature essay from the South Carolina Music Issue.  Outside of his studies, Ron joined, and eventually presided over, the A&T karate club, and still made time to stay sharp on his saxophone. “People talk about born geniuses, but I… by Jon Kirby | Nov, 2019

Track 23 – “Resurrection” (Live) by Benny Starr feat. the FOUR20s   “Resurrection,” the first song on A Water Album, facilitates a kind of reconciliation between the Fitzgerald Wiggins of my youth and the man I aim to be. Seeing others… by Benny Starr | Nov, 2019

Track 5 – “Bad Case of the Blues” by Linda Martell  “Bad Case of the Blues” shouldn’t be compelling, but it is—because of Martell, the way she guides, colors, and shades the song. She infuses it with the dissonance of… by Katie Moulton | Nov, 2019

We would like to hear from you.  The magazine will begin publishing letters to the editor in the fall issue and going forward. If you would like to respond to a story published in the magazine, we welcome your letter. by Oxford American | Jun, 2019

February 01, 2018

The photographs in Meghan Kirkwood’s Four Blocks in Chalmette were taken at four intervals within a four-block area of Chalmette, Louisiana between 2008 and 2017. Located east of the lower Ninth Ward, Chalmette sustained heavy flood damage during Hurricane Katrina. The neighborhood Kirkwood photographed, dense with rental properties, has been particularly slow to recover.

February 08, 2018

Ethan Tate’s photographs of Pine Bluff, Arkansas, reflect a complicated homecoming; Tate lived in the community when he was young and wasn’t entirely happy to return as an adult. He took long drives through the Delta as a way of re-acclimating to the place.

February 20, 2018

Lucius A. Fontenot’s Mémoire de la Boue, which translates roughly to “memory of mud,” is a photographic investigation of the culture and traditions of Louisiana via depictions of the Courir de Mardi Gras and the boucherie.

February 27, 2018

Brett Schenning’s Small Towns, Big Dreams examines the effects 2008’s Great Recession had on rural American communities. Schenning is interested in what was left behind when many families who had settled in small towns “looking for a quieter way of life” were forced to move closer to urban centers and the employment possibilities they offered, and his photographs focus, in part, on that absence.

March 14, 2018

Rory Doyle’s Delta Quinceañera is “part of a larger body of work documenting Latino immigration in the rural Mississippi Delta over the last five years.” These images of a single Quinceañera, which shepherd the viewer from a Mass held in a young woman’s honor to a “dance party held in Cleveland, Mississippi’s local Army National Guard Armory,” convey the particular mix of grand, joyful celebration and deep, solemn importance that marks the transition from childhood to womanhood throughout Latin America.

March 27, 2018

In Confederates in the Attic, Revisited, Kate Elizabeth Fowler revisits the landscapes of her childhood in an effort to make sense of the South’s “complicated relationship with history, revisionism, and romanticism.”

April 10, 2018

Isabelle Baldwin’s Sleepy Time Down South depicts a quiet “life protected by the mountains,” and embraces the wash of romantic nostalgia that sometimes colors childhood when we recollect it as adults. Inspired by Louis Armstrong’s 1930s track, “When It’s Sleepy Time Down South,” her photographs are sun-drenched and peaceful.

April 24, 2018

Peyton Fulford’s Infinite Tenderness explores notions “of intimacy and identity among the LGBTQ+ community in the American South.” Her images, which often depict young people in pairs or groups, and bodies in intimate poses of flux, suggest the vulnerability inherent in “growing up and identifying oneself.”

May 08, 2018

Tianran Qin’s Billboards transforms “billboards into bodies of light to enhance their existence and critique their significance in consumer culture.” By utilizing long-term exposure, Qin floods the billboards in his images with light, essentially erasing the individual advertisements they contain and instead rendering them shining icons of consumerism.

May 22, 2018

Ben Depp’s Bayou’s End is the result of three years “flying above the bayous and wetlands of southern Louisiana in a powered paraglider,” taking aerial photographs from thousands of feet above the ground. Depp spends hours at a time in the air, waiting for just the right moment to capture the “spaces where the geometric patterns of human enterprise—canals, oil platforms, pipelines and roads—collide with nature’s organic forms.”