Compelled by a dearth of biographical material about novelist Cormac McCarthy, a fellow writer travels to Tennessee to try to sketch a portrait of this reclusive, beguiling author.
Goodbye, Tom Petty. Revisit this chatty, informal, fun interview with the rock legend from Oxford American’s 2000 Southern music issue.
The mayor of Jackson, Mississippi was transforming his city through cooperative economics, to create a model for a new, more equitable society for black Americans. His rallying crying: “Free the land!” His plan: get black progressives into elected office, and empower through independence. Then he died. The plan did not die with him.
Fifty years after New Yorker writer John McPhee published his slender study Oranges, one writer traces McPhee’s story down to Florida to assess the state of American citrus and the peculiar nature of this enduring book.
A “willingness to flout the laws of space and time” help painter Ralph Cowan form relationships with the kind of people who will pay for a portrait of themselves with a lion, at the mast of a ship, or gliding through a Venetian dreamscape.
What an unsolved double murder in Kentucky reveals about America’s military-industrial complex.
New Orleans’s complicated history with the Mardi Gras flambeaux — the (usually black) torch carriers who, for years, lit the way for the festival’s (usually white) parades.
The story of Eh Kaw Htoo, a Karen refugee from Myanmar — a man who “extolled the redneck’s work ethic” — helping to build a community of 150 Karens who sustain one another by living frugally and sharing the bounty of the land in the rural community of Comer, Georgia.
When an American writer visits Tokyo to see a Mississippi Blues musician perform, she tries to figure out why Japan has a particular fondness for American Blues, the ways cultures metabolize each other, the place of Black America in Japan, and the complex forces that draw foreign people, and their music, together.
Unlike many of her white Southern literary contemporaries, the writer Lillian Smith ignored easy magnolia-scented tropes in her work in order to confront the divided, racially charged heart of the American South.