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Writing Appalachia

...example, to examine the concept of the American frontier in the writings of New Yorker James Fenimore Cooper as well as in the southern account of Anne Newport Royall, or...

...in Madison County combines the persistence of established local networks with the transformations accompanying new technologies, a diversifying and more transient population, new money, and the effects of I-26, a...

African Americans in Atlanta: Adrienne Herndon, an Uncommon Woman

...promoted her debut through advertisements and well-placed references, Adrienne succeeded in gaining the attention of more than ten Boston area newspapers. For the most part, the reviews were glowing. "She...

The Black Belt

...dialect, trying to depict the dwellers of the Black Belt as I felt and saw them.” New York, New York. Portrait of Richard Wright, poet, May 1943. Photograph by Gordon...

The Joneses: Home Made in Mississippi

...ever since. The Joneses promotional poster. Bunny Lake Films LLC, 2016. The documentary project spun out of my first book, Men Like That: A Southern Queer History, which began as...

Negotiating Gender Lines: Women's Movement across Atlanta Mosques

..."almost half had been in America five years or less at the time of the Census." See John Y. Fenton, Transplanting Religious Traditions: Asian Indians in America (New York: Praeger,...

Renewing Multimedia Scholarly Publishing: A Streamlined and Mobile-Friendly Design for Southern Spaces

Southern Spaces is proud to launch a fresh design for our journal today, stage one in a two-stage rollout of our newly redeveloped publishing platform. The new design emphasizes visual...

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Writing Appalachia

I-26, Corridor of Change

African Americans in Atlanta: Adrienne Herndon, an Uncommon Woman

The Black Belt

Renewing Multimedia Scholarly Publishing: A Streamlined and Mobile-Friendly Design for Southern Spaces

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).