A Points South essay from the Summer 2019 issue Much of what they’d tell me next was legend—tall tales, rumors, exaggerations. Perry Martin adopted an orphan girl he found on the riverside, raised her up as his own, paid her… by Boyce Upholt | Jun, 2019

A Points South essay from the Summer 2019 issue I have wanted to visit this house for years. Like many North Carolina kids, I grew up with the broad strokes of Thomas Wolfe’s story, the prolific, small-town genius who became… by Stephanie Powell Watts | Jun, 2019

A Southern Journey from the Summer 2019 issue.  He began the letter by asking Larry to cremate him and scatter his ashes next to his second wife’s ashes at Johnson Beach in Perdido Key, Florida, “approximately 75 yards from end… by Britta Lokting | Jun, 2019

A Southern Journey from the Summer 2019 issue.  Lenny did all he could to hang around it over the next couple of years, cleaning lines, fetching balls, brushing the clay to maintain a smooth surface. Eventually, after cocktail hour ended… by Shaun Assael | Jun, 2019

Mike Frolich’s artistic legacy in the Saturn Bar One of my many justifications for keeping the devil was Frolich’s claim that his paintings were created in part for the children of the Ninth Ward, more of whom run through our… by Anne Gisleson | Jun, 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

 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

A featured short story from the Summer 2019 issue. Mother had no shortage of repulsive qualities, but the most disturbing was her laugh. Otherworldly. Piercing. A stranger would fall on the ice or a double-crossing cop would get his comeuppance… by Graham Gordy | Jun, 2019

Trenton Doyle Hancock and Maurice Carlos Ruffin

Trenton Doyle Hancock is a Houston-based artist known for creating his own fantastical narrative known as The Moundverse. Hancock’s drawings, paintings, sculptures, and installations have been the subject of numerous solo museum exhibitions. His work is currently featured in Contemporary Focus: Trenton Doyle Hancock at The Menil Collection (through May 19) and will be the subject of Mind of the Mound: Critical Mass at MASS MoCA (opening March 9).

Maurice Carlos Ruffin has been a recipient of an Iowa Review Award in fiction and a winner of the William Faulkner–William Wisdom Creative Writing Competition for Novel-in-Progress. A native of New Orleans, Ruffin is a graduate of the University of New Orleans Creative Writing Workshop and a member of the Peauxdunque Writers Alliance. He is the author of We Cast a Shadow from One World Random House.

March 04, 2019

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 reality called “The Moundverse,” where beastly, beautiful Mounds are often attacked by skeletal, sadistic Vegans. There’s a goddess figure named Undom Endgle, who represents the power of Black women as “bringers of color and light,” and TorpedoBoy, a heroic figure in razor-covered cleats. Hancock employs a constantly shifting aesthetic that suggests he can create literally anything.