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An Excerpt from The Lesbian South: Southern Feminists, the Women in Print Movement, and the Queer Literary Canon

...and San Francisco, where their visibility and numbers result in political clout and political influence. Greenwich Village in New York and the Castro in San Francisco were two models; pioneer...

Ecologies of the Sacred: A Review of Valérie Loichot's Water Graves

...Wata, the titular voudou figure who grants life and death to those lost at sea—also sanctify the victims of the violence their objects traverse. Through Julia Kristeva's notion of "muck,"...

Changing Places, Changing Lives

...no. 377, Records of the Office of the Comptroller of Currency, National Archives, Record Group 101, microcopy 816: Registers of Signatures of Depositors in Branches of the Freedmen's Savings and...

Mississippi as Metaphor: State, Region, and Nation in Historical Imagination

Mississippi as Metaphor Part 2: The limits of James Silver’s image of Mississippi as “the closed society” Part 3: The idea of Mississippi as America writ large: did the “Mississippi...

Ramp Hollow: The Ordeal of Appalachia

...well-defined boundaries and members. Each will devise rules for appropriation suitable to the environment, along with sanctions and penalties for those who violate the rules and take too much or...

Unearthing the Weeping Time: Savannah's Ten Broeck Race Course and 1859 Slave Sale

...burning oyster shells), and sand. Researching tabby led to an interest in plantations and the enslaved, when, in 1997, I recognized some distinctly Ghanaian (Gold Coast) names embedded in Malcolm...

When Sunday Comes: Gospel Music in the Soul and Hip-Hop Eras

...reinforced many of the lessons provided during my extracurricular activities. Classes and conversations with Professors Sonia Sanchez, Bettye Collier Thomas, Greg Carr, Valethia Watkins, and Mario Beatty, among others, strengthened...

Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee

...with her adoptive mother, schoolteacher Annie Lee Jones.3Roland Freeman, "Journey of the Spirit: The Art of Gwendolyn A. Magee," in Barilleaux, Journey of the Spirit. Fascinated with color, Magee recalled trying...

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

...runaway slave from Georgia, hiding the fact that he was once a free man from most of the people he met in order to avoid even more brutal treatment. Northup's...

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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