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The Poetics of Rescue and Resilience: A Conversation with Jericho Brown on The Selected Shepherd

...and edited two poetry anthologies [The Iowa Anthology of New American Poetries (2004) and Lyric Postmodernisms (2008)]. Courtesy of The University of Pittsburgh Press. Shepherd met his partner, Robert Philen, in Ithaca,...

Sea Changes in Personhood

...Sublime: Ecology and Resistance in the American Plantation Zone," is an expanded version of a piece Allewaert published in PMLA.2Monique Allewaert, "Swamp Sublime: Ecologies of Resistance in the American Plantation...

Draining Paradise: A Tour of Salt Creek in St. Petersburg, Florida

...pleasures of outdoor leisure. An invisible line along Central had already divided the city into north (white) and south (African American) sides. African Americans moved to St. Petersburg in search...

Africana Archives: Making Art at the Schomburg

...the American Negro Academy, an association of African American "men of science, letters and art or those distinguished in other walks of life" was founded in Washington, DC. It's purpose...

Along the Ulcofauhatche: Of Sorrow Songs and "Dried Indian Creek"

...his people had long resided on.2We assume this Indigenous leader was Muscogee, but the older African American oral accounts we heard referenced him as "Indian" or "Native American." White settlers...

Mapping the Muggleheads: New Orleans and the Marijuana Menace, 1920–1930

...African Americans, the local newspaper evidence reveals little connection between these groups and marijuana use. The lack of African Americans identified among those arrested for marijuana during this period appears...

Revisiting Flaherty's Louisiana Story

...facing all streams shaping Cajun culture, among which Lomax lists French, African American, and Native American. The culture was primarily rural and under significant economic stress. While Flaherty romanticizes living...

Closer to the Ground: A Conversation with Ann Pancake

...for American Studies at the British Library. His research centers upon on African American history and literature since 1865, with a particular interest in African American media and print culture....

References
1.	I attended and observed preparations for the Moore’s Ford reenactments in 2007, 2008, 2009 and 2010. I have interviewed many participants in the 2005 and 2006 reenactments.
2.	For an account of earlier memorial practices at Moore’s Ford see Mark Auslander, "'Return to Sender:' Confronting Lynching and Our Haunted Landscapes.“ Southern Changes, Vol. 24, No. 1-2, 2002, pp. 4-7.
3.	Inge Nielsen, Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange between East and West in Antiquity (Aarhus, Denmark: Aaruhus University Press, 2002).
4.	Rory Tuner, “Bloodless Battles: The Civil War Reenacted,” The Drama Review, Vol. 24, no. 4 (1990).
5.	Alice Correia, “Interpreting Jeremy Deller’s The Battle of Orgreave,” Visual Culture in Britain, Vol. 7, no. 2 (2006).
6.	Oren Baruch Stier, “Different Trains: Holocaust Artifacts and the Ideologies of Remembrance,” Holocaust and Genocide Studies, Vol. 19, no. 1 (2005).
7.	Jo Blatti, “Field to Factory: Afro-American Migration, 1915-1940,” Oral History Review, Vol. 16, no. 1 (1988). The exhibition was curated by Spencer Crew and designed by Jim Sims.
8.	Handler and Gable report that white reenactors and staff at Colonial Williambsurg tend to minimize the cruelty of the slavery system. Richard Handler and Eric Gable, The New History in the Old Museum: Creating the Past at Colonial Williamsburg (Durham: Duke University Press, 2002): p.225.
9.	James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, no. 4 (1999): p. 30.
10.	The protests against the auction were organized primarily by the local NAACP and SCLC chapters. In her detailed analysis of this episode Lisa Woolfork argues that much of the local African American opposition to the auction was deeply gendered; senior male African American activists and civil rights leaders, she suggests, were offended that the auction was conceived of and planned by female African American professionals at Colonial Williamsburg. Lisa Woolfork, Embodying American Slavery in Contemporary Culture (Urbana: University of Illinois Press, 2009). See also James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, No. 4 (1999).
11.	In spring 2010 a Lumpkin County, Georgia high school history teacher was placed on leave after her students, planning on creating an anti-racist film about lynching, walked through the school cafeteria wearing Klan robes. See: http://www.wsbtv.com/news/second-teacher-at-center-of-kkk-controversy/241731973.
12.	I wish to emphasize that local community disagreements with the urban-based organizers of the reenactments, over issues such as the age of the vehicle, were nuanced and low key. Nearly all local participants would be extremely reluctant to offer public critique of a figure such as Representative Boyd, whom is widely regarded in the Georgia African American community as a hero of the civil rights struggle.
13.	It is interesting to note that in 2008 a friend of Jane’s, one of the organizers of the performance, made the doll out of nylon pantyhose. So in that year the doll and Martin’s shirt shared powerful affinities, both were articles of clothing stained with blood.
14.	Roland Barthes, Camera Lucida, tr. Richard Howard (New York: Hill and Wang, 1981).

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