A Points South essay from the North Carolina Music Issue. Shortly after publishing the biography John Coltrane: His Life and Music, Lewis Porter received a letter from a man who identified himself as a Coltrane. Only not, presumably, one related… by Benjamin Hedin | Nov, 2018

A poem from the North Carolina Music Issue. When it snows, the entire post shuts down like there is no war going on. Perhaps the higher-ups decide to let those left behind, for the moment, savor the chance to shape snowmen with their children or lie… by Zachary Lunn | Nov, 2018

A poem from the North Carolina Music Issue. My burnt body hangs crisscross over Carolina beach dunes below where family gathers children’s ringing sand splash toys tangled in teenage lust the skin consciousness potential of everyone eyeing one another in sunbursted bottoms there… by Benjamín Naka-Hasebe Kingsley | Nov, 2018

A feature essay from the North Carolina Music Issue.  Rapsody now dons the mantle for a long tradition of black women, particularly those from the South, forcing Americans to look in the mirror of our professed ideals and to face… by L. Lamar Wilson | Nov, 2018

A Points South essay from our North Carolina Music Issue.  After twenty-four years of educational experimentation and financial struggle, Black Mountain College closed in 1956. Today it is remembered primarily for its tremendous impact on the visual arts. Among the… by John Thomason | Nov, 2018

A Points South essay from the North Carolina Music Issue.  Even with all the influences on his style and songs—Fred Miller, Blind Boy Fuller, Lightnin’ Hopkins, Blind Lemon Jefferson, Sonny Terry, and Brownie McGhee, to name some—Henry had a large… by Tom Rankin | Nov, 2018

A Points South essay from the North Carolina Music issue. My hometown is just over an hour from Myrtle Beach, and so it was not unusual for people to make the pilgrimage to the Pad or the Spanish Galleon or… by Jill McCorkle | Nov, 2018

Track 20 – “Mill Mother’s Lament” by Ella May Wiggins; Performed by Shannon Whitworth Ella had grown up in the Smoky Mountains, first on farms and then in lumber camps, where she and her mother took in laundry while singing… by Wiley Cash | 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

William Boyle

William Boyle is from Brooklyn, New York. He is the author of GravesendDeath Don't Have No MercyTout est brisé (Everything is Broken), and The Lonely Witness. He lives in Oxford, Mississippi.

December 20, 2018

An installment in our weekly series, The By and By. 

The Jim Ridley line that I wrote about in a previous column, his beautiful notion that “you can find your voice by loving things”—that’s absolutely true. What’s also true is that you can build your history by loving things.

October 25, 2018

An installment in our weekly series, The By and By. 

As I listened, going first through What Would the Community Think again and then switching to Moon Pix, I felt the loneliness leave me. I watched it dance in front of me, saw it swimming against the light from the music.

September 06, 2018

An installment in our weekly series, The By and By. 

I felt many days like I was no one and like nothing mattered and that I couldn’t write myself out of it. I wanted to be someone or something that I couldn’t be. Now I was a guy from Brooklyn in Mississippi. When I sat down to write Gravesend, all of that came into play. I thought of the way we bring the place we’re from with us, no matter where we are. I could’ve called the book Gravesend and not had a single scene set in my neighborhood. I carried the streets with me.

July 19, 2018

An installment in our weekly series, The By and By. 

Even when Ridley pans a movie, he does it with heart. His takedown of Luc Besson’s The Messenger is written as “a short story that imagines a film executive in purgatory summoning Carl Theodore Dreyer [director of the ethereal and perfect The Passion of Joan of Arc] to his office.” Haruch says this is “a doff of the cap, of sorts, to Godard’s notion that one should make a movie to criticize a movie.”

May 31, 2018

An installment in our weekly series, The By and By. 

For me, toothpicks—like Zippo lighters and typewriters and vinyl records—have always signified classic coolness. My grandfather, a Brooklyn car mechanic and TV fix-it guy, chewed them compulsively and I fell in love with toothpicks because of him.

April 12, 2018

An installment in our weekly series, The By and By. 

For me, obsession with art is also about survival. I’m after the next thing, the next moment that will give shape or purpose to existence. It’s always been important for me to fill my days like this, to give definition to who I am and who I will be by engulfing myself in what I’m watching and listening to and reading. Getting lost in art that moves me just makes things make sense.

February 22, 2018

An installment in our weekly series, The By and By. 

Songs: Ohia is the name under which musician Jason Molina—Ohio-born and bred, with deep West Virginia roots—performed and released his first records. Didn’t It Rain was his sixth studio album but my first exposure to him. It’s an album that I folded into immediately, that buckled my blood. I’d never heard something that sounded exactly like how I felt.