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The Mobility of Faith: Cross Sections of Haitian Religion in Miami

...airplane and boat suggest parallel devotional differences between Miami's mostly lower-class "Little Haiti" and various middle- and upper-class suburban enclaves. Haitians in middle- and upper-class neighborhoods outside of Miami (such...

Timber, Equity, and Ethics

...of The Least of These: Fair Taxes and the Moral Duty of Christians (2003) and "An Argument for Tax Reform Based on Judeo-Christian Ethics" published in the Alabama Law Review, Fall...

Southern Spaces Recommends

...Fight: How Women Led Appalachian Movements for Social Justice. You can pair this episode with Wilkerson's Southern Spaces essay "You Can't Eat Coal, and Other Lessons from Appalachia." Recently Published...

Geography

Geography Natasha Trethewey reads her poem "Geography," 2010. Poem text. About the Poet Natasha Trethewey is a professor of English and the Phillis Wheatley Distinguished Chair in Poetry at...

Theories of Time and Space

Video Theories of Time and Space You can get there from here, though there’s no going home. Everywhere you go will be somewhere you’ve never been. Try this: head south...

Work

...changing headings on library cards, and cleaning houses, to working as a chair-side dental assistant, a secretary in an occupational therapy unit, and a counselor to prisoners in a minimum-security...

2014 Phillis Wheatley Poetry Reading

...Young reads “Money Road” About Kevin Young Kevin Young is the author of eight books of poetry, most recently Book of Hours, which was featured on NPR's "Fresh Air," and...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...sending a fine mist of blood into the air above Patsey's head. As viewers, we see the shot from just in front of Patsey, foregrounding her agony, but not letting...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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