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The Bulletin—April 3, 2013

...block the enforcement of the new law. African American legislators in Arkansas have compared the new law to the poll taxes used in southern states during the Jim Crow era....

Sacred Harp, "Poland Style"

...tendency in the United States for new singers to "imagin[e] this locus of tradition . . . as 'southern,'" in Europe, teachers at Camp Fasola, and new European singers alike...

Glimpsing Andalusia in the O'Connor-Hester Letters

...and comparatively small furniture. The light is pale on the clay-colored walls (newly painted in 1959); the floorboards creak underfoot. Most things are just as O'Connor and her mother, Regina,...

Lincoln graffiti, New Orleans, Louisiana, 2010

Mardi Gras Indian, New Orleans, Louisiana, 2010

New house, Vicksburg, Mississippi, 1996

Music in Cipriere, New Orleans, Louisiana, 2001

Recording Musical History: An Interview with Lance Ledbetter of Dust-to-Digital Records

Interview...

Wherein the South Differs from the North: Naming Persons, Naming Places, and the Need for Visionary Geographies

...other siblings, had a famously peripatetic and cosmopolitan childhood. In her case, Allegheny was followed by family sojourns in New York City, Vienna, Paris, and Oakland, California, where (as she...

References
1.	Ulla Dydo, following William McFeely's 1981 biography of Grant, tells the story of Grant's change of name rather differently from the way Stein does in Four in America. Dydo writes, "Hiram Ulysses Grant—always called Ulysses—changed his name when he entered West Point at age seventeen. He planned to be Ulysses H[iram]. Grant. The congressman who made the appointment forgot his middle name and sent in the appointment under his mother's maiden name, for Ulysses S[impson]. Grant. The name was never corrected, and Grant signed himself 'U. S. Grant,' though he never used 'Simpson'" (Ulla E. Dydo with William Rice, Gertrude Stein: The Language That Rises, 1923-34 [Evanston IL: Northwestern UP, 2003], 579 n. 48). That it was something between a clerical error and congressional fiat that changed the initials the young Grant planned to adopt ("U.H.") to "U.S.," with all that the latter letters portend for Grant's and the country's future (according to Four in America), tends to confirm Stein's claims about the ineluctable shaping force of first names.
2.	Ulla Dydo, who has worked long and closely with Stein's manuscripts, provides a stimulating and succinct account of the meanings of "geography" and "composition" in Stein's thought and writing in Dydo's book (written with William Rice) Gertrude Stein: The Language That Rises, 1923-34 (Evanston, IL: Northwestern UP, 2003), 70-75.
3.	William Carlos Williams's pioneering essay, "The Work of Gertrude Stein," first appeared in the avant-garde magazine Pagany in 1930. It is reprinted in Kirk Curnutt, ed., The Critical Response to Gertrude Stein (Westport CT: Greenwood, 2000), 194-99.
4.	Wanda Van Dusen published an early consideration of the politics of Stein's wartime activities entitled, "Portrait of a National Fetish: Gertrude Stein's 'Introduction to the Speeches of Maréchal Pétain (1942)," which appeared in Modernism/modernity 3:3 (1996), 69-92. Barbara Will is at work on a book about the matter; until it appears, see her article, "Lost in Translation: Stein's Vichy Collaboration," Modernism/modernity 11:4 (2004), 651-68. See also Janet Malcolm, Two Lives: Gertrude and Alice (New Haven: Yale UP, 2007).

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