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Still under the Influence: The Bioregional Origins of the Hub City Writers Project

...in 1978 was labor intensive rather than capital intensive. It operated outside traditional capitalist models. Sam Hamill referred to nonprofit Copper Canyon as "life outside the mainstream capitalist economy, living...

A Mind To Stay Here: Closing Conference Comments on Southern Exceptionalism

...importance of race in persistent southern distinctiveness Part 6: Egerton calls for further research, highlighting a list of potential contributions about neglected subjects About John Egerton John Egerton was born in...

Reconsidering Appalachian Studies

...thoughtful deliberation and intellectual honesty. Cherokee stickball game, Liston B. Ramsey Center for Regional Studies, Mars Hill University, November 8, 2011. Photograph by Hannah Furgiuele. Courtesy of the Liston B....

Glimpsing Andalusia in the O'Connor-Hester Letters

...her serpent's tongue, is cleft. Nevertheless, O'Connor remained wary of identifying herself as a Christian novelist, a Catholic novelist, or a southern novelist. Of a subsequent interview she writes: Letter...

Southern Spaces Recommends

...critical scholarship, Matt Brim's Poor Queer Studies: Confronting Elitism in the University is at the top of my list right now. Brim reorients queer studies to an anti-elitist and anti-racist...

Ramp Hollow: The Ordeal of Appalachia

...in 1980 still resonates. "At its worst . . . regional identification is an isolationist impulse." He deconstructs an essentialist mountain identity. And yet, "The political value of regional identity...

No Country for Old Hippies: Jason Mellard's Progressive Country

...explores the contradictions of the 1930s and 1940s writings of the Lone Star regionalists (folklorist Frank J. Dobie, historian Walter Prescott Webb, and naturalist Roy Bedicheck) associated with the University...

Cultural Life in a "Chocolate City": A Review of Natalie Hopkinson's Go-Go Live

Review In Go-Go Live: The Musical Life and Death of a Chocolate City journalist and educator Natalie Hopkinson uses go-go—the ultra-local style of African American popular music that has dominated...

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

...He is given a list and an identifying tag and sent on his way. For a brief moment we can see on Northup's face the hope that he might be...

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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