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Watching the Surface for a Sign

Readings Patrick Phillips reads "Brass Knuckles." Poem text Patrick Phillips reads "The Chimney." Poem text. Patrick Phillips reads "The Flood." Poem text Patrick Phillips reads "Heaven." Poem text Patrick Phillips reads an excerpt...

New Digital Archive of Hiphop and Bounce Music in New Orleans

...and bounce in this collection, in a city where these musics are so often segregated as something different––considered unworthy of preservation or protection and support as cultural heritage––cannot be overstated....

The Cobb County Braves

On Monday, November 11, residents of the city of Atlanta were surprised to learn that their baseball team, the Atlanta Braves, will move to a new suburban stadium in 2017....

Rebuilding the "Land of Dreams": Expressive Culture and New Orleans' Authentic Future

...New Orleans musicians have drawn on their experiences of living in a flood plain Part 4: Spitzer explores the cultural importance of the city’s musical and building arts, featuring an interview...

Marching for Gay Rights in Atlanta, 1971: An Excerpt from A Night at the Sweet Gum Head

...Baptists, Bill took a seat as a city commissioner, then took over the most influential gay newspaper in the South, The Barb. When his addictions and predilections were revealed, he...

Diversity and Its Discontents: A Review of Behind the White Picket Fence

Review Sarah Mayorga-Gallo's Behind the White Picket Fence explores how race, class, and ethnicity shape daily life and power sharing in "Creekridge Park," a pseudonymous multiethnic neighborhood located in Durham, North Carolina. In the early...

Envisioning Faulkner and Southern Literature

...years, Holiday herself is on record as having occasionally claimed Baltimore as the city of her birth.) Meanwhile, other major figures, like Mamie Smith, born in Cincinnati, Ohio (just across...

Black Markets and the US-Mexico Border

...'60s and early '70s in Alfred McCoy, The Politics of Heroin: CIA Complicity in the Global Drug Trade, Afghanistan, Southeast Asia, Central America, Colombia (Chicago: Chicago Review Press, 2003), 387–460....

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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