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.

July 15, 2013

"The title comes from the name of the river that runs through the city, and alongside my grandfather’s farm and brother’s house. It is also the name of the Native American burial mounds that reside on the edge of my family’s property."

November 09, 2014

"This collection represents a small sample of the people and places I've discovered during my weekly photo walks in North Carolina. I dedicate time each week to capturing visual moments and documenting their place in history. I am fascinated by the connection between human influence on nature and the way time serves as a transformative agent."

October 26, 2014

"I am drawn to complex scenes in the American landscape that abound with visual confusion and bring my sense of order to it by picturing my interpretation of the emotional vibration and color of American life."

October 19, 2014

"This series is a narrative investigation of the man-woman and culture-nature dichotomies. While these comparisons are more metaphorical than literal, they lend themselves to the understanding of how objectification, gender, and oppression translate between systems of being."

October 12, 2014

Devil’s Promenade is a project about our home region that blends folklore and local history with our present day photographs of Ozark people, the land, and interpretive images based on the living mythology of the Light."

September 28, 2014

"More often, the events allude to a specific reminiscence from my childhood. A car-sized drainage ditch runs parallel to Cherokee Avenue in Columbus, Georgia, and I remember more than once, an automobile would carry its driver tumbling down into the concrete pit."

September 21, 2014

"To love a place from a distance is to embellish it with memory, desire, and myth. Why Don't You Come Home is a fantasy, a lyric, and a document of one of several returns to the place where I grew up. It is part of an ongoing exploration of a South that is both familiar and strange, both real and imagined."

July 06, 2014

"Durham's struggles are part of an American trend that keeps our country from living up to its potential.... The human spirit persists as new communities are born of violence and strangers band together for support and change."

April 30, 2014
Behind the scenes of horse racing.
April 15, 2014

With his series Postcards, Florida-based artist Warren Thompson looks at roadside curiosities throughout the South. His work uses a combination of text and color that forms a distinctly Southern narrative of religion and leisure.