A Writing on Writing essay from the 100th issue. Pearl taught me to be a loving teller of the truth. This is the basis for my work as a writer and as a human being. If you are a person… by Tayari Jones | Mar, 2018

A Writing on Writing essay from the 100th issue. I found myself in Jones’s writing. Kentucky. Black. Rural. Woman. I was especially taken with how she drew characters from the oral storytelling tradition and then broadened that form into her… by Crystal Wilkinson | Mar, 2018

A Points South essay from the 100th issue. In chronicling the civil rights movement, one inevitably develops an interest in how racial crimes are remembered in the community where they happened—in the way they gradually turn into folklore—and in Memphis,… by Benjamin Hedin | Mar, 2018

A feature short story from the 100th issue. When the real estate agent first drove us up the gravel driveway, I felt I’d been to this place before. I wasn’t sure at first, for I’d first been there at night.… by Randall Kenan | Mar, 2018

A Points South story from the 100th issue. In public, she wore head wraps so tight they gave her headaches. Nevertheless, at some point, the hissing caused people to stop what they were doing and squint all around, in search… by Tania James | Mar, 2018

A Points South essay from the 100th issue.  “For more than three decades this maddening story of Evers’s murder and the question of Beckwith’s guilt or innocence has been told again and again, in conflicting voices and varying contexts, with… by Alan Huffman | Mar, 2018

A Points South essay from the 100th issue. If the earth is wet enough and acidic enough, the first thing you’ll find when you start digging up a grave is a coffin-shaped halo in the ground. That’s the mark left… by Christopher Cox | Mar, 2018

A Points South story from the 100th issue. First off, let me tell you that if you hold a rat snake in your lap and cup your hand around him and let him move along through your cupped hand you… by Clyde Edgerton | Mar, 2018

A feature essay from the 100th issue. From across the broad and whitecapped Indian River, the Kennedy Space Center looks like two tiny Lego sets in the distant vegetation. The palms here are windswept, the oaks are scrubby. Pelicans bob… by Lauren Groff | Mar, 2018

 A Letter from the Editor, Spring 2018. This issue is packed with other luminaries: Nikki Giovanni, Lolis Eric Elie, and Wendell Berry express the tenderness of our closest relationships. Randall Kenan and Thomas Pierce, contemporary masters of Southern fiction, offer… by Eliza Borné | Mar, 2018

Poems from the Spring 2018 issue. One white anemone,the year’s first flower,saves the world. by Wendell Berry | Mar, 2018

Alex Steyermark and Lavinia Jones Wright

Alex Steyermark’s feature films, Prey for Rock & Roll (2003), One Last Thing…(2006), Losers Take All (2013) and documentary The 78 Project Movie (2014) have been acclaimed at dozens of U.S. and International film festivals including Sundance, Toronto, Tribeca, SXSW and BFI London, and are distributed throughout the world. He is a creator, producer and the director of the ongoing critically acclaimed music documentary web series, The 78 Project, which was an official selection at the inaugural Cannes Cross Media Corner and the British Film Institute's Power to the Pixel Cross Media Forum. He is an adjunct professor in the graduate film program at Columbia University’s School of the Arts, where he is the founder of the ASCAP/Columbia Film Scoring Workshop.

Lavinia Jones Wright is a journalist, actor, filmmaker, and musician. With director Alex Steyermark, she traveled America recording musicians on a 1930s-era 78 rpm disc-cutting machine coproducing, writing for, and appearing in The 78 Project Movie and The 78 Project web series. She currently appears on Showtime’s The Affair. A Philadelphia native, she resides in Brooklyn.

November 21, 2016

The story Bassekou Kouyaté wants to tell is simply this: it was cotton that brought the blues from Mali to America, and it was the ngoni—the West African lute that is a predecessor to the banjo—that brought the songs. Kouyaté would like to make a film about this story—one told, for a change, from an African perspective.