Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
Devin Lunsford’s All the Place You’ve Got documents the changing landscape along Corridor X, a newly completed interstate project that connects Birmingham to Memphis through a once-remote part of northwest Alabama populated by desolate towns and shuttered coal mines.
An installment in our weekly series, The By and By.
One of the strangest and rarest books in Hannah’s catalog, Power and Light is worth the trouble of seeking out, not only because it is the only tangible artifact of the author’s adventures in Hollywood, but also for its humor and formal uncertainty—a “novella for the screen” is an accurate description.
In The Pines Chuck Hemard photographs remnants of the longleaf pinelands to reflect on the significance of loss and beauty in our past, present, and future. Hemard offers a glimpse of what was once “an extraordinary biodiverse ecosystem, rivaling that of tropical rain forests” while also exploring the tension between human settlement, environmental progress, and the beauty of nature.
Jessica Ingram’s Road Through Midnight: A Civil Rights Memorial explores forgotten sites of the civil rights era. The project “is the result of a deep questioning of American racial history and ideas of collective memory, of how we mark historic sites—or don’t mark them.”
An installment in our weekly story series, The By and By.Freshwater mussels live mostly buried. Their shell edges are parted like a surprised gasp, exposing two apertures. One intakes and the other releases water, which is how mussels eat, breathe, and even gather sperm to meet their eggs. Those apertures actually look like Georgia O’Keefe paintings—flower, female anatomy—elegant ovals decorated with variously shaped and colored papillae. Apertures, papillae, curve of a shell.
An essay from the Seventh Southern Music Issue, 2005.
I walked back from the mall through a hammering twilight cloudburst clutching a wet paper bag. As laughing rednecks veered through puddles and blasted arcs of oily water over me, I thought grimly, “This better be worth it.” At home, I peeled the sodden paper off the plastic wrapper of Johnny Winter And: Live, peeled off my wet clothes, and collapsed naked on the bed to listen to the album.
This song is a new model—built on a standard frame, maybe, but showing an understanding of how the blues legacy both enables the expression of chaotic emotions and streamlines them, tuning them up for maximum performance within a structure that demands precision as much as openness.
A profile from the Oxford American’s 25th issue, 1999.
Christenberry is not simply a visual artist who reveres writers, especially Southern ones, his artistic vocabulary is directly shaped by them. His largest theme, like that of many novelists, is time, and he has a poet’s sureness of imagery and tone. He is perhaps the South’s most literary artist.
A story from our Summer 2013 issue.
Tip\'tip\ n, vt, tipped; tipped; tipping; tips- a: a small piece or part, an end <Jimmy Addison’s body looks ghost white without his clothes on and his shoulders shake each time he thrusts in and out. He lasts longer than I expected and when I know I won’t come my mind drifts. My bedroom is cluttered with late-afternoon shadows, the August-Alabama heat a wet wall. Through the half-closed shutters clouds billow up over the horizon.