A poem from the Summer 2019 issue. Two decades later, I read they named themselvesfor Emmett Till. The idea of the name was basically that a 14-year-old boy should be swimming in the river, not dying in it.But they spelled his name wrong.  by Sandra Beasley | Jun, 2019

A feature from the Spring 2019 issue.  Hancock’s art, which includes paintings, fabricated toys, a theatrical performance, and a graphic novel, defies categorization and pulses with an almost religious intensity. Much of his work has followed the denizens of his alternate… by Trenton Doyle Hancock and Maurice Carlos Ruffin | Mar, 2019

 A Letter from the Editor, Summer 2019. At the Oxford American, we receive many pitches for stories in the category of “pilgrimages,” or “literary road trips,” or “retracing X’s steps.” I understand the appeal: the traveler can see with her… by Eliza Borné | Jun, 2019

A Points South essay from the Summer 2019 issue As an evangelist, I have showed “Miracles” to many people by lying about what it’s actually about. Generally, I describe it as a sort of joke, a curiosity. I don’t tell… by Jacob Rosenberg | Jun, 2019

A featured short story from the Spring 2019 issue. I understood that he had a crush on me, because there is no service that deserves a greater-than-one-hundred-percent gratuity, but the money seemed harmless when it came out of his wallet,… by Kevin Wilson | Mar, 2019

A Southern Journey from the Summer 2019 issue.  In the Tampa exurbs, splashed across the side of a half-occupied strip mall, is a vast mural depicting the Victorian art critic-cum-philosopher-cum-political economist-cum-painter-cum-social reformer John Ruskin. He gazes out at an expanse of… by Matthew Sherrill | Jun, 2019

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… by Karen Good Marable | Mar, 2019

An Omnivore essay from the Spring 2019 issue.  Due to his health, Leon Redbone can no longer be interviewed. In a way, he’s become a version of the old-time musicians he so admired, about whom little is known: You can… by Megan Pugh | Mar, 2019

June 11, 2019

Thomas Jefferson, Pharrell, and more notes on the state of Virginia 

Now, when strangers ask me where I’m from, I say, “Virginia Beach. We gave the world Pharrell. You’re welcome.” Pharrell was the black cosmopolitan force that proved my home wasn’t country. He was a living rebuke of what Thomas Jefferson wrote in Notes on the State of Virginia, his only book, in which he says you would “never . . . find that a black had uttered a thought above the level of plain narration; never see even an elementary trait of painting or sculpture.”
May 29, 2018

In Lament from Epirus, Christopher C. King finds his musical and spiritual Elysium. 

I call two places my home: I call my record room my home and I call Epirus my home. Where I was born and bred and raised up, and scarcely have left from, really bears little resemblance to what it was when I was growing up, so it’s hard to call it home anymore.

February 15, 2018

The photographs in Morgan Ashcom’s What the Living Carry are situated in the fictional Southern town of Hoys Fork, a community inspired by the rural Virginia landscape of Ashcom’s childhood and by William Faulkner’s Yoknapatawpha County.

September 05, 2017

A poem from the Fall 2017 issue.

There were more rebel flags and gun shops 
in Indy than Virginia, fewer mountains, 
less green for our eyes, and our cat 
wasn’t born there, she was born here, 
under the house, and if nothing 
April 25, 2017

From 1830 to 1860, Richmond, Virginia, was the largest supplier of enslaved Africans on the east coast of the United States.

April 03, 2017

In Take Me to the River, Michael Kolster explores the Androscoggin, Schuylkill, James, and Savannah Rivers as they emerge from two centuries of industrial use and neglect.

March 20, 2017
Bittersweet on Bostwick Lane explores the landscape of the artist’s childhood in all its loss and sweetness, her own memories inspired by and intertwined with stories told by her oldest neighbor.
March 07, 2017

The Virginia State Colony for Epileptics and Feebleminded by Molly McCullly Brown is out today from Persea Books. 

February 21, 2017

I’ll See You On The Beach addresses sites that commemorate the American legacies of exploration, conquest, and the instillation of nationalism by way of stimulating displays.

March 01, 2014
Deer snorts, dog snarls—that’s all I hear. Then I see brown and white fur, clumps of it floating in water, the stream pinking with blood. Deer and dogs in water. Jake, ninety pounds of shepherd, taking the doe’s hooves and teeth. Becca and Little B, smaller but still good-sized, at the rear biting fur and flesh, getting kicked, holding on.
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