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Opening Remarks: 2014 Callaloo Conference

...the 2014 Callaloo Conference, we have invited distinguished intellectuals and artists to help us return to subjects that we, at our inaugural meeting in New Orleans in March 2008, partially...

Race

...when he traveled without his white wife to visit his siblings — now in New York, now in Harlem, USA — just as pale-skinned, as straight-haired, as blue-eyed as Paul,...

"The Ohio River Was Not the River Jordan": A Review of Matthew Salafia's Slavery's Borderland

...booming new market economy on the Ohio River Valley in the 1820s and 1830s, spurred primarily, Salafia notes, by the emergence of steamboats. This rapidly expanding river trade provided new...

Farmland Blues: The Legacy of USDA Discrimination

...slaves brought farming knowledge with them to the New World, and planters relied upon slaves' farming expertise. After Emancipation, former slaves made remarkable progress in acquiring farms, and by 1910,...

Sea Changes in Personhood

...Wilson Harris), law and literature (Colin Dayan), ethnographic history (Richard Price), object relation theory and new materialism, and ecocriticism. Her rich archive is composed of published literary texts, manuscripts, non-written...

Shaping a Southern Soundscape

...conventions mixed with popular memory, amateur and "professional" history, the study of folklore, and decades of activism by southern "heritage" societies. We know that this thing called the South—a new...

Flatlands in the Outlands: Photographs from the Delta and Bayou

...to Virgil. What makes each new iteration of this tradition relevant and vibrant, as exemplified by the photographs in this exhibit, is the ability of artists to fuse new styles,...

Race & Gender in the Latinx South: A Review of Cecilia Márquez’s Making the Latino South & Sarah McNamara’s Ybor City

Introduction In 2003, Raymond Mohl’s description of the “latinization” of the late twentieth century US South (the “Nuevo New South”) helped set the stage for an expanding body of cross-disciplinary...

LiFT Art Salon: Gallery 72

...in a multi-media environment that engaged artists, activists, and academics in dialogue about innovative Atlanta projects.2 "The South Got Something to Say" refers to Andree 3000's acceptance speech at the 1995 Source Awards. "Outkast winning Best New...

References
1.	Eric Foner, Reconstruction: America's Unfinished Revolution, 1863–1877 (New York: Harper and Row, 1988).
2.	Shawn Lay, The Invisible Empire in the West: Toward a New Historical Appraisal of the Ku Klux Klan of the 1920s, ed. Shawn Lay (Urbana: University of Illinois Press, 1992): 56.
3.	Mark Auslander, "Driving Back into the Light: Traversing Life and Death in a Lynching Reenactment by African Americans," in Vehicles: Cars, Canoes and other Metaphors of Moral Imagination, eds. David Lipset and Richard Handler (New York: Berghahn Books, 2014): 178–193.
4.	Teresa Lenox, "The Carver Village Controversy," Tequesta: The Journal of the Historical Museum of South Florida, no. 50 (1990): 39–51.
5.	Robert Franklin Williams, Negroes with Guns (Detroit: Wayne State University Press, 1962): xiv. In July 1965, gunfire from the Deacons for Defense and Justice dispersed a Klan motorcade firing shots at African American homes in Bogalusa, Louisiana.[fn]Christopher B. Strain, "'We Walked Like Men': The Deacons for Defense and Justice," Louisiana History: The Journal of the Louisiana Historical Association 38, no. 1 (1997): 43.
6.	David Cunningham, There's Something Happening Here: The New Left, the Klan, and FBI Counter-Intelligence (Berkeley: University of California Press, 2005).
7.	Mark Auslander, "'Holding on to Those Who Can't Be Held'": Reenacting a Lynching at Moore's Ford, Georgia," Southern Spaces, November 8, 2010, https://southernspaces.org/2010/holding-those-who-cant-be-held-reenacting-lynching-moores-ford-georgia.
8.	Although opponents of the flag often assume it was used by the Ku Klux Klan from the time of the organization's founding in 1865, there is little evidence that the Klan used the flag until the 1940s (John Coski,The Confederate Battle Flag: America's Most Embattled Emblem [Cambridge: Belknap Press of Harvard University Press, 2005]: 85–96.) To be sure, the founders of the first Klan were Confederate veterans and honored the memory of the Lost Cause, and many second Klan members from 1915 through World War II felt great loyalty to the memory of the Confederacy, but they appear to have shared the prevailing white Southern sentiment that the flag was best reserved for honoring the Confederate dead in cemeteries and in solemn commemorative marches. From the time of General Robert E. Lee's surrender at Appomattox until the mid-1940s, the flag was largely under the control of heritage organizations such as the Sons of Confederate Veterans and the United Daughters of the Confederacy. From 1945 onwards, the revised Klan made extensive use of the Confederate battle flag, at times in conjunction with cross burnings at Stone Mountain and other sites. Following the war, members of the elite white fraternity Kappa Alpha increasingly displayed the flag at football games and in "Old South" processions. The rise in public flag display coincided with growing white southern resistance to Truman's civil rights proposals. The flag was widely used in the 1948 National States Rights Democratic Party, the "Dixiecrats," although it was never adopted as the party's official emblem. By 1951, Roy V. Harris, editor of the Augusta Courier and former speaker of the Georgia House of Representatives would write that the flag, "is becoming to be [sic] the symbol of the white race and the cause of the white people. The Confederate flag means segregation" (Coski, 137).
9.	Coski, 126.
10.	Auslander, "Driving Back into the Light," and "'Holding on to Those Who Can't Be Held.'"
11.	Gwendolyn Brooks, "The Chicago Defender Sends a Man to Little Rock, Fall 1957," in The Bean Eaters (New York: Harper, 1960).
12.	Laura Wexler, Fire in a Canebrake: The Last Mass Lynching in America (New York: Scribner, 2003).

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