NASA astronaut Ronald McNair is the cover star of the 21st Annual Southern Music Issue & Sampler featuring South Carolina! by Oxford American | Nov, 2019

A graphic story from the Fall 2019 issue.  Like many cities, Little Rock is a place of ghosts. The dead hover and haunt, though their stories often go untold. This story is a work of fiction inspired by some of… by Van Jensen & Nate Powell | Sep, 2019

A Points South essay from the Fall 2019 issue This approach, of stitching different strands of colored yarn through canvas so many times that the individual strings join in a subtle and collective harmony, leads to an image made of… by William Browning | Sep, 2019

A selection of short stories in the Fall 2019 issue He had witnessed her appearance a few minutes earlier. Instantly he had known, from the way her pieces sifted together, that she was a ghost, though he had never seen… by Kevin Brockmeier | Sep, 2019

The pieces of Johnny Greene, an Omnivore essay from the Fall 2019 issue. Johnny used place as a recurrent theme, along with displacement. As a journalist, he was fascinated by communities, by groups of people and the environments which shaped… by James K. Williamson | Sep, 2019

 A Letter from the Editor, Fall 2019. As a nonprofit, independent publication, the OA exists in an undefined space between literary journal and glossy general-interest magazine. We can embrace the best of both traditions as we see fit: publishing multi-page… by Eliza Borné | Sep, 2019

A feature short story from the Fall 2019 issue. The godmother is like an ancestor who never really left. Someone who’s here even when they’re not. The godmother is what happens when somebody asks your name and you suddenly can’t… by Selena Anderson | Sep, 2019

A new episode of Points South is now playing!Subscribe today and never miss an episode. Episode Four features the OA editors discussing the upcoming South Carolina Music Issue and sharing their favorite stories and behind-the-scenes moments. Plus: A preview of the issue’s… by Sara A. Lewis | Nov, 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

An installment in our weekly series, The By and By. 

Here is what I know: becoming a parent made me a better writer; being a better writer made me a better parent. Now, as the number of children in my household doubles, I expect this positive relationship between the life-crafts of parenting and writing to extend and increase proportionally over time. I also expect severe financial stress. Lastly, I expect it’ll probably all work out somehow.

A poem from the Summer 2019 issue.

Fieldstones covered with velvet in emerald mark the heads of graves

a deeper depression in the ground means there was a casket that deteriorated causing the 
earth to cave in

shallower dents in the earth mean only linen shrouds wrapped the bodies

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 house than the Saturn Bar. Kids need a relationship with their devils as much as adults do. Instead of renouncing or banishing them, children should know their features and particular hues, their habitats and gestures. Keeping them in steady sight, they’re easier to manage.

 

An installment in our weekly series, The By and By. 

They had announced in August of that year that it would be their final outing and Toronto was the final stop on it. I must consider what or who it was they felt they were really saying farewell to on that frigid evening thirty-seven years ago.

In his series Sippi, Ty White documents the scenes off the rural backroads that make the Mississippi Delta distinct.

A Southern Journey from the Summer 2019 issue. 

Today we think of the fight for educational equality as being a national story, one involving a progressive Supreme Court, a reluctant president, and a recalcitrant governor in Arkansas, but the struggle was fueled by black parents and teachers and students across the country. It depended upon women like Laura and teachers like Carl and patriarchs like Isaac who labored across generations to reset their children’s future.

No person living today knows exactly what an 1850s minstrel banjo sounded like; the music that was made on such instruments predates the invention of recorded sound. But we know that the banjo was brought to America by Africans, and that white players, including Thomas F. Briggs—author of the first banjo instruction book, an invaluable resource for historians and musicians—learned from black banjoists. When Giddens composes for or performs on her banjo, she channels both the history and the mystery of early American banjo music: what has been passed down as well as what has been lost.

A Southern Journey from the Summer 2019 issue. 

I am angry. I am sad. I cry. I shout. I don’t understand. I am good about not expressing any of it with the van, especially when I have my daughters with me. I’m a model driver—no, please, you first! But when I’m alone I listen to the sound of a head exploding and, by some magic of sympathetic resonance, I experience the relief of it for myself. I know what it feels like when the pressure valve works, briefly.

On Nochoway documents the efforts of photographer Anna Norton’s family to restore two hundred fifty acres of mismanaged woodlands to a sustainable ecosystem through controlled burning and the reintroduction of native species.

A video supplement to “Social Engineering” by John T. Edge, published in the Summer 2019 issue.

“Written in tight script on one of those green-and-white guest check pads, her words account a surrealist barnyard: ‘gecko elastic, cookie armpit, giraffe crotch, zebra elastic.’ I had noticed Rachael working on the far end of the bar, pulling costumes from cubbies and then carefully refolding and restacking each one. But I hadn’t realized that she was doing triage, making note of which of the thirty or so costumes they stock needed repair.”

—John T. Edge, “Social Engineering”

Thomas Jefferson, Pharrell, and more notes on the state of Virginia 

Now, when strangers ask me where I’m from, I say, “Virginia Beach. We gave the world Pharrell. You’re welcome.” Pharrell was the black cosmopolitan force that proved my home wasn’t country. He was a living rebuke of what Thomas Jefferson wrote in Notes on the State of Virginia, his only book, in which he says you would “never . . . find that a black had uttered a thought above the level of plain narration; never see even an elementary trait of painting or sculpture.”

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 one of the most revered writers of his generation. I lived in North Carolina for most of my life, but I never took the opportunity to visit. Not enough money, not enough time, too much to do: that’s an old story, I know, and a true one. It is also true that we seldom value the places where we live, not enough anyway.