A feature essay from the North Carolina Music issue. I don’t know if Kenny Mann has ever been in therapy, but I do know that he is exceedingly honest and possesses an uncommon sense of self-awareness. He willingly raises and… by Abigail Covington | Mar, 2019

A feature story from the North Carolina Music Issue.  The Wrays had an old-world, Keatsian melancholy. It bloomed in the kitchen of their 6th Street home in Portsmouth, Virginia, where, from about 1951 to ’55, they recorded songs on a… by John O'Connor | Nov, 2018

Track 11 – “You Don’t Come See Me Anymore” by Malcolm Holcombe This is the second time I’ve heard him play in the past few months and it’s always the same: nobody knows who Malcolm Holcombe is, except those who… by Mark Powell | 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. 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

Katherine Yungmee Kim

Katherine Yungmee Kim, a writer and journalist based in Los Angeles, California, was raised in New Jersey and South Korea. She studied English literature at Vassar College, Pomona College, and the University of California–Berkeley before receiving her M.F.A. in fiction from the Writing Division at Columbia University’s School of the Arts. She has been an editor at the Cambodia Daily, the Pacific News Service, and Alternet; a reporter for the Yonhap News Agency; and a contributing editor to the KoreAm Journal. Kim is also the editor of two publications on immigrant youth communities, Izote Vos: A Collection of Salvadoran American Writing and Visual Art and Quietly Torn: A Literary Journal by Young Iu Mien American Women. Her writing has also appeared in such publications as the Far Eastern Economic Review, the San Francisco Chronicle, New York Newsday, and the Chicago Tribune. She is the recipient of the Time Out Grant from Vassar College in 2013, a New America Media Education Fellowship in 2011, and a Columbia University School of the Arts Chair’s Fiction Fellowship in 2002. Most recently, she has been chronicling the history of Koreatown and Korean Americans in Los Angeles; she is the author of Los Angeles’s Koreatown (Arcadia Publishing, 2011) and the creator of a community photo/oral history project, K-Town Is Our Town. Currently, Kim is the communications editor at the Koreatown Youth and Community Center, the nation’s oldest and largest Korean American nonprofit organization.
March 29, 2018

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

Severance, Katherine Yungmee Kim’s ongoing exploration of one of the world’s most dangerous geopolitical borders, is a visual “novel” that incorporates text and archival and family photographs to trace a personal and political history of the Korean peninsula’s Demilitarized Zone.