A feature from the Spring 2019 issue.  Hancock’s art, which includes paintings, fabricated toys, a theatrical performance, and a graphic novel, defies categorization and pulses with an almost religious intensity. Much of his work has followed the denizens of his alternate… by Trenton Doyle Hancock and Maurice Carlos Ruffin | Mar, 2019

 A Letter from the Editor, Summer 2019. At the Oxford American, we receive many pitches for stories in the category of “pilgrimages,” or “literary road trips,” or “retracing X’s steps.” I understand the appeal: the traveler can see with her… by Eliza Borné | Jun, 2019

On the architecture of white supremacy Let us look again, now, at this beautiful house, read it this time as a series of universally legible signs for white supremacy. You arrive on horseback and wait outside a gate—the first of… by C. Morgan Babst | Mar, 2019

An installment in John T. Edge’s Points South column, Local Fare. Calamity and travel arrest time. They beg focus and feed insights. Tourism has taken on some of the functions that religion once served. Here in America, we have ritualized restaurant… by John T. Edge | Mar, 2019

A Points South essay from the Spring 2019 issue Like many other locals, I had never valued the glades. I had never learned to see past the scraggly trees and the rocky fields. A chance Google search one day told… by Rachel Louise Martin | Mar, 2019

A featured short story from the Spring 2019 issue. I understood that he had a crush on me, because there is no service that deserves a greater-than-one-hundred-percent gratuity, but the money seemed harmless when it came out of his wallet,… by Kevin Wilson | Mar, 2019

A Points South essay from the Spring 2019 issue I hesitated at the sight of the banner so close to my home and was suddenly wary. Weary. I saw the flag and without thinking thought it code: Patriot. MAGA. Make… by Karen Good Marable | Mar, 2019

An Omnivore essay from the Spring 2019 issue.  Due to his health, Leon Redbone can no longer be interviewed. In a way, he’s become a version of the old-time musicians he so admired, about whom little is known: You can… by Megan Pugh | Mar, 2019

Lee Conell

Lee Conell is the author of the story collection Subcortical, which was awarded the 2018 Story Prize Spotlight Award. Her fiction has appeared in the Kenyon Review, Glimmer Train, and elsewhere. The recipient of fellowships from the Tennessee Arts Commission, the Sewanee Writers’ Conference, the National Endowment for the Arts, and the Japan-U.S. Friendship Commission, she currently teaches at Vanderbilt University.

September 04, 2018

A featured short story from the Fall 2018 issue.

Our distant ancestor Harriett Moss made a living painting portraits of dead children. But before her career began in earnest, she sketched only cows. It was her husband, Thomas Moss, who painted from corpses, memorializing deceased sons and daughters for their families. People often said Thomas had the constitution for the work because he and Harriett had not been able to have children of their own. While Thomas traveled the countryside—following up with commissions, measuring cadavers that he would reanimate in two dimensions—Harriett was left alone at their farmhouse.