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The Save All Quilt [ca. 1880]

...relatively close together when cutting the fabric, but the claim of "no waste in material" is not entirely accurate. Making a quilt can express thrift in a number of ways,...

Paul's Crazy Quilt [ca 1875 and ca 1915]

...would likely have made this number if she had envisioned this project from the start. Finally, although red fabrics appear in both the star and the crazy blocks, there is...

Piedmont Blues

...1932, and he collaborated with a number of high profile blues artists, including Ma Rainey, Gus Cannon, and Papa Charlie Jackson. Blake disappeared after his last Paramount session in 1932....

Failed Memory Exercise

...A place I can't forget, since its beams were ripped out, Numbered, and shipped east to some resurrection bistro Where one can cop a decent blintz and expresso now That...

Conflict and the Senses: A Review of The Smell of Battle, the Taste of Siege

...this transformative event that gave rebirth to a nation. He tells a compelling story, based on diaries, letters, and other archival material. A number of questions remain unanswered, however. What...

Spatial Humanities and Modes of Resistance: A Review of HyperCities

...in any number of new temporal and spatial configurations" (54–55). While this observation is true of any map—as is the relationship between cartographic representation and a given culture's deepest ambitions...

Red J. Store on Carroll Street, ca. 1910–1920

...using the collection's browse function, I discovered a number of striking images of my neighborhood, including an unattributed photograph from the early twentieth century depicting a store called Red J....

A City Divided

...and black occupancy increased, elite whites became distressed about more African American homes, which they equated with urban disorder. From 1899 to 1910, the number of households within the declared...

The Digital Yoknapatawpha Project

...hot spots are categorized by page number and the user can specify a range of pages that will restrict the map's details and move through the events of those pages....

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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