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 Points South essay from the South Carolina Music Issue. A problem solver, Jones would ultimately get his drums from his mother’s record collection, as her Charles Wright and Isaac Hayes albums began migrating into his room. “There wasn’t enough… by Dave Tompkins | 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

A liner note essay from our South Carolina Music Issue We all know that Southern music needs to be heard and celebrated. However, visibility (exposure) cannot be pitted against our chance at a healthy life. The Oxford American’s ask of… by Anjali of Diaspoura | Nov, 2019

A graphic story from the Fall 2019 issue.  Like many cities, Little Rock is a place of ghosts. The dead hover and haunt, though their stories often go untold. This story is a work of fiction inspired by some of… by Van Jensen & Nate Powell | Sep, 2019

A feature short story from the Fall 2019 issue. The godmother is like an ancestor who never really left. Someone who’s here even when they’re not. The godmother is what happens when somebody asks your name and you suddenly can’t… by Selena Anderson | Sep, 2019

A new episode of Points South is now playing!Subscribe today and never miss an episode. Episode Four features the OA editors discussing the upcoming South Carolina Music Issue and sharing their favorite stories and behind-the-scenes moments. Plus: A preview of the issue’s… by Sara A. Lewis | 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

March 28, 2019

How to describe our hero... Musician? Artist? Furniture maker? Visionary hermit? All-of-the-above? Yes, all-of-the-above. That would be it. Hidden away in a secretive corner of a haunted-looking house in the fading Delta cotton town of Rosedale, Mississippi, Mr. Moore seems equal parts R. Crumb, Daniel Johnston and Boo Radley—with a dose of PT Barnum thrown in.

March 13, 2018

A video supplement to “The Question of Dinner” by John T. Edge, published in the Spring 2018 issue.

“At the end of a meal, people expect to leave having had a good time. At the end of these dinners, the matrix is different.”

January 07, 2019

A video supplement to “Folk Witness” by John T. Edge, published in the Fall 2018 issue.

“Joints and shacks offer witness to the environments where design and operation incongruities . . . often bespeak honesty. The creative responses of that grocery store manager and that breakfast joint operator confirm that humans are at the helm in such spaces, singular and complicated souls capable of responding to circumstance and necessity with brilliance.”

—John T. Edge, “Folk Witness”

August 14, 2018

A video supplement to “Dixie Vodka” by John T. Edge, published in the Summer 2018 issue.

“General Beauregard Dixie Vodka Set to March Across South” announced a September 25, 2013, press release. One hundred and fifty years prior, when P. G. T. Beauregard marched toward Charleston, he fought to preserve the economic system that shackled black Southerners and made possible extraordinary white Lowcountry wealth. This press release raised the question: Why march now?

—John T. Edge, “Dixie Vodka”

January 14, 2019

A lyric essay supplement to our 2018 North Carolina Music Issue—plus H. C. McEntire covers Led Zeppelin.

God is right there, in the brier. Turn the rows, change the tires, bow the heads, feed the mouths. Only the rhythm will yield the harvest. Go on, now. Shoot the hog between the eyes. It’s easiest that way.

Serve them all.

April 21, 2019

A video supplement to “Oaxaca Wreck” by John T. Edge, published in the Spring 2019 issue.

“When I moved to Mississippi in 1995, I became a quick regular at Bottletree Bakery, just off the square, across from the church that my family would subsequently join. At that low counter, with a thick china mug in hand, I ate scones pocked with crystallized nuggets of ginger and pored over grad school texts. I befriended the charming misfits and dreamers who poured refills and stared at their shoes and beamed guileless smiles. And then I quit the place. Because I got jaded. Because I got busy.”

—John T. Edge, “Oaxaca Wreck”

September 20, 2019

An exclusive premiere from Rachel Grimes’s new album, The Way Forth.

During the emotional process of moving her parents into nursing homes some years back, Grimes and her brother became the executors of a scattershot archive of family photos, papers, and ephemera. The elisions and erasures of the past gathered poignantly in Grimes’s mind on the repeated drives along the Kentucky River between her farm and her father’s home. Rural Kentucky is endlessly evocative to Grimes, and the bucolic is a rhizome that threads throughout her work.

July 15, 2019

A video supplement to “Social Engineering” by John T. Edge, published in the Summer 2019 issue.

“Written in tight script on one of those green-and-white guest check pads, her words account a surrealist barnyard: ‘gecko elastic, cookie armpit, giraffe crotch, zebra elastic.’ I had noticed Rachael working on the far end of the bar, pulling costumes from cubbies and then carefully refolding and restacking each one. But I hadn’t realized that she was doing triage, making note of which of the thirty or so costumes they stock needed repair.”

—John T. Edge, “Social Engineering”

October 01, 2019

A video supplement to “My Mother’s Catfish Stew” by John T. Edge, published in the fall 2019 issue.

“She was a genius, I’ve come to recognize, at recasting defeats as glorious spectacles. Faced with small-town ignorance, fearful of what small-town boredom might wrest from her, she did her best to divert and subvert. Looking back, I see my best self in her flagrancy. And I glimpse what my worst self might have nurtured, had the darker times in Clinton defined my life.”

—John T. Edge, “My Mother’s Catfish Stew”

November 03, 2016

A video supplement to “The Harris Hegemony” by John T. Edge, published in the Fall 2016 issue.

“I wish I could tell you that I saw a burning bush or God spoke to me. But the truth is I became increasingly aware of the negative unintended consequences that came from the industrialization, commoditization, and centralization of agriculture.”

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