A poem from the Fall 2018 issue. The girl born at the edge                   of a copper-colored river returns, prefers her wrists                          … by Sandy Longhorn | Sep, 2018

An installment in John T. Edge’s Points South column, Local Fare. Time at Helen’s raises questions, small and large. Other than great barbecue, and my respect and affection for the woman who owns the restaurant, what calls me to Brownsville?… by John T. Edge | Sep, 2018

A Points South essay from the North Carolina Music Issue. As deeply in love as I was with blaring guitars, exploding amps, and metallic raving, I’d also been listening to James Taylor’s more intimate style of music since his first… by Will Blythe | Nov, 2018

Notes on the songs from our 20th Southern Music Issue Sampler featuring North Carolina. The profiles, eulogies, and essays herein boast of remarkable achievements of North Carolina’s musicians across eras and genres: from unassailable legends (High Point’s John Coltrane, Tryon’s… by Oxford American | Nov, 2018

Sarah Winchester and the legacy of living with guns  It’s difficult to understate how the repeating rifle revolutionized killing, of both animals and man, as it brought the world from the single-shot muzzle-loaded rifle to a gun that could hold multiple… by Sara A. Lewis | Sep, 2018

A feature essay from the Fall 2018 issue. One morning in the summer of 1996, Damian Hart was standing naked on a pier in the Aegean Sea. The sun was bearing down on Mount Athos, one of several craggy peninsulas… by Nick Tabor | Sep, 2018

A poem from the Fall 2018 issue. None of this surprises you now, does it? I’m not sure I can know that, I responded to myself. Or I think I did. I should have.  A friend told me to embrace my disorientation here, to attend to… by Curtis Bauer | Sep, 2018

A feature essay from the Fall 2018 issue. Prine radiates a sense of well-being, along with a sort of amused nonchalance toward potential disaster. This is a good thing, because the Coupe, as it turns out, has no passenger-side safety… by Tom Piazza | Oct, 2018

June 16, 2016

At seventeen, Joseph Wright left his working-class neighborhood of redbrick row homes and Italian restaurants in South Philly to spend a crisp spring and boiling summer in the woods of western Virginia.

April 04, 2016

At a moment when national dialogue about the Confederate Flag is prevalent, Michael Mergen’s piece Confederate Heroes, Confederate Dead considers how the South—especially Virginia—memorializes the Confederacy.

June 30, 2015

When Ben Metcalf’s first novel, Against the Country, was published in January of this year, it drew scant attention from the world we designate “literary,” and none from the marketplace of what we call ideas. But another look reveals that Metcalf seems guilty beyond a reasonable doubt of sentences written with intent—sentences of extraordinary interest and beauty, originality and art, drama and delight.

May 19, 2015

Source and Confluence, by Scott Jost, explores the origins and tributaries of the Chesapeake Bay watershed. Through his images of floods and rapids, scenic overlooks and weedy river banks, Jost searches for signs of balance between human interests and natural systems.

May 12, 2015

An interview with the photographer from 1999.

I suppose one definition of propaganda (or pornography?) might be: art that denies the mysterious.

April 30, 2015

For the past month, The William King Museum in Abingdon, Virginia, has presented Transience a group photography exhibition showcasing the work of Trish Gibson, Joshua Harr, and Amber Law, three students from East Tennessee State University. Exhibited collectively, the trio’s work examines the fleeting nature of personal experience and how local environments change over time.

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