An installment in John T. Edge's Points South column, Local Fare. When I began reading and thinking about Dixie Vodka, I didn’t want to gallop toward a conclusion. I aimed to plod, to listen, to map the paper trail of… by John T. Edge | Jun, 2018

A short story from the Fall 2018 issue. He saw no need to damn a place just on the face of it; he figured there must be a flower blooming somewhere in West Memphis, though he had seen no sign… by David Wesley Williams | Sep, 2018

A feature essay from the Fall 2018 issue. Why was my great-great-grandfather always referred to as “Robert Singleton, the Civil War veteran who lost his leg at Murfreesboro, then went on to become Clerk of the County Court” rather than… by Danielle Chapman | Sep, 2018

 A Letter from the Editor, Fall 2018. I was struck by a phrase written by Jelani Cobb for the New Yorker, which characterized our former president as “a man who grasps history as the living context of our lives.” This… by Eliza Borné | Sep, 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… by Lee Conell | Sep, 2018

A Southern Journey from the Summer 2018 issue.  Pulled by the pale, stout horses, we listened as he told us the history of the paniolo culture in Hawaii. I sat on the wagon’s bench behind my father as he talked.… by Holly Haworth | Jun, 2018

A Points South story from the Fall 2018 issue “I just have this fear every day that somewhere there’s another load going to the landfill of the only known copy of something that helped change American music,” Darden told me.… by Will Bostwick | Sep, 2018

A feature essay from the Fall 2018 issue. I first devoured Robert Gipe’s books and plays because I wanted to understand Appalachia. I was searching for deeper insights than the victim-blaming bootstrap narrative espoused in J. D. Vance’s best-selling book,… by Beth Macy | Sep, 2018

Reading Florida.  You see one thing when you look at the state from a distance, but if you come closer, dig deeper, you always find something else. This probably has something to do with Disney World, but it also relates… by Sarah Viren | Jun, 2018

Jeff Rich

Jeff Rich is a photographer based in Iowa City. His work focuses on water issues ranging from recreation and sustainability to exploitation and abuse. Jeff currently teaches photography at the University of Iowa. He curates the OA’s weekly photo series, Eyes on the South.

September 29, 2013

The photographs in Betty Press’s series Mississippi: The Place I Live  showcase the work she’s made in the Southern state. Her images capture, with sensitivity and gravity, the beauty, history, and humanity of the region.

September 29, 2015

Maude Schuyler Clay is known for her work depicting the Mississippi Delta, but she is also a talented portrait photographer. Inspired by Lee Friedlander, Garry Winogrand, and Diane Arbus, Clay seeks to make photographs that emulate, in color, the craft and subtlety these artists cultivated in black and white.

September 21, 2015

The tintypes in Frank Hamrick’s series Sometimes Rivers Flow Backwards are inspired by the photographer’s home life. Using a nineteenth-century process, Hamrick is interested in the deliberate methods of antique technology, as compared with the split-second nature of digital photography.

September 14, 2015

Malcolm Lightner’s series Mile O’ Mud documents swamp buggy racing in Naples, Florida, a tradition for which custom-built swamp buggies race through the mud and muck of Florida swampland. A fourth-generation Floridian, Lightner has deep ties to Naples and to this style of racing; his great-uncle R.L. formalized the tradition into a legitimate sport in 1949.

September 08, 2015

In Steady Is the Tide, John Lusk Hathaway documents scenes that reflect humankind’s relationship to nature and water. The series is inspired by a line in Ron Rash’s book Nothing Gold Can Stay: “Water has its own archaeology, not a layering but a leveling, and thus is truer to our sense of the past, because what is memory but near and far events spread and smoothed beneath the present’s surface.”

August 03, 2013

Through photography, Tamara Reynolds casts images that are committed to overcoming Southern stereotypes—the ideas that all Southerners are religious fanatics, hillbillies, and racists. Her images paint a South that is rich in culture.

August 31, 2015

Employing the same infrared technology used by hunters, Lee Deigaard tracks animals through the woods in order to capture images of them in their element. Of the process, she says, “I learn only what the animals choose to announce.”

August 24, 2015

In the ten years that have passed since Hurricane Katrina, David G. Spielman has documented New Orleans’s ever-changing landscape in haunting black-and-white haunting images that chronicle endurance, neglect, and recovery.

August 10, 2015

Daniel Kraus’s series Do Not Grow Weary examines the lives of evangelical pastors in rural Florida. In a profession that demands constant attention to congregants, they struggle to balance their personal and professional lives.

August 03, 2015

In The Florida Heartland, Brian McSwain captures the backroads of a six-county region in south-central Florida, focusing on scenes and objects that are broken or abandoned: a deserted juice stand; a fractured statue; a tilted, net-less basketball goal.