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

There's A Whole Lotta Shakin' Goin On: A Timeline of Louisiana Music

Music Row has witnessed a curious trend towards France—once responsible for freedom fries and stigmatized for its liberal socialism—as an emerging, prominent country signifier.

Aaron Norberg’s project Open Field shows us landscapes in the midst of transition. Whether they are being clear-cut, filled with more earth, or reclaimed by nature, these landscapes are all managed and ultimately shaped by man.

An installment of Big Chief Tablet.

Joe Bageant’s book Deer Hunting with Jesus, a rural Virginia native’s emic look—and deft analysis—of the political mindset, faithfully Republican as it is, of working-class America, came out in 2007. Back in those days this country was in the late-afternoon—not quite twilight, mind you—of George W. Bush’s eight years in office, and had still another year of unbridled prosperity ahead before the economic tidal shift we now call the Great Recession. Shoot, cousin, things are a whole lot different now.
I usually get “this minimalist prose” or “simplistic prose.” If they’re so simple, you try doing it! I’ve worked my ass off to make those stories feel conversational. I’ve put a lot of work into creating something that’s practical—like a table, practical and to be used.
He began writing a sketch of an idea for a novel, to try something different. He wanted the novel to be a fictionalized account of a very rough period of his life in the early nineties, and he knew the title would be Slam Dancing In The Pews, the name of a forgotten song he once wrote for a forgotten band called Virgil Kane. A songwriter at heart, Hood started interspersing song lyrics in between chapters of the book, but predictably, the songs quickly became more central. He decided to abandon the book altogether.

The project Ecotones by Gary Pilcher takes the ecological transition zones of coastal Georgia as its subject matter. Most of his images depict a screen of light and color that overlay the subtle details of a landscape underneath.

So it was a summer night in Manhattan, and the City Winery, an upscale sit-down club that seats no more than three hundred, was hardly full. Moore sang the first verse from backstage, as if his tenor, now fragile and weathered but still unmistakably, shockingly powerful, was the legend, not Moore himself. When he finally did take the stage, the seventy-six-year-old took his time snatching the show back from his voice, from the idea of another era, a time long past.

In performance, Edgar looks like the child of his stories. He cocks his head and raises his eyes slowly, like a boy caught delivering a Valentine. His hands he keeps close, sometimes turning his wrists outwards at the hips, sometimes tying his long, pale fingers together and pressing them to his huddled body.