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Magazine
Issue 106, Fall 2019
The Magazine of the South debuts a new look! Featuring an updated cover design, new fonts, and a higher page count to accommodate more fine art and photography, the magazine has been redesigned to create a more comfortable and enjoyable experience for readers.
Highlights from the issue include Boyce Upholt’s deeply reported feature on a Louisiana tribe facing eviction due to climate change; an exclusive excerpt from Van Jensen and Nate Powell’s graphic novel, Two Dead; and a suite of poems from Nathaniel Mackey paired with collages by Tschabalala Self.
Editor’s Letter: A New Look, by Eliza Borné
Points South
William Browning visits an artist of yarn
Diane Roberts does a slow burn on rush week in Tuscaloosa
You Call That Wild, by Marianne Jay Erhardt
The Best That I Have, a story by Jami Attenberg
Maurice Carlos Ruffin is being followed
Three Ghost Variations, stories by Kevin Brockmeier
Features
PATERFAMILIAS
a story by Sarah Curry
GOODBYE TO GOOD EARTH
A Louisiana tribe’s long fight against the American tide
by Boyce Upholt
FROM DOUBLE TRIO
poems by Nathaniel Mackey
TWO DEAD
The mob and the cops face off in 1940s Little Rock
a graphic story by Van Jensen and Nate Powell
GODMOTHER TEA
a story by Selena Anderson
SACRED PLACE
Paddling to Walter Inglis Anderson’s Horn Island
by Julian Rankin
Omnivore
EVERYTHING HE WROTE WAS GOOD
The pieces of Johnny Greene
by James K. Williamson
BEDFELLOWS FOREVER
Male romantic friendships in art and life
by Logan Scherer
A POINTE TOWARD BLACKNESS
Could Lucy Negro Redux beckon a new era for ballet?
by Kelundra Smith
Local Fare:
MY MOTHER’S CATFISH STEW
by John T. Edge
Art by Curran Hatleberg, Brian Galderisi, Rory Doyle, Derek Wycoff, Lacey Terrell, Ruth Miller, Adair Freeman Rutledge, Josh Smith, Johnathon Kelso, John Lucas, Angela Deane, DM Witman, William Widmer, Tschabalala Self, Nate Powell, Ebony G. Patterson, Walter Inglis Anderson, Julian Rankin, Cheryle St. Onge, Nathan Gelgud
Cover: “Untitled (Azalea)” (2012), by Curran Hatleberg.
Hatleberg’s work is on view in the Whitney Biennial through September 22, at the Whitney Museum of American Art