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Louisiana: Crossroads of the Atlantic World

...the various iterations of Lousiana's colonial slave codes, analyzing in rich, often imaginative detail, the aspirations and anxieties of authorities who attempted to construct and maintain categories of difference within...

Reuse, Author Choice, and the Open Access Spectrum: New Creative Commons Licenses for Southern Spaces Authors

...derivative works, such as those "consisting of editorial revisions, annotations, elaborations, or other modifications which, as a whole, represent an original work of authorship."1"17 US Code, Chapter 1, Section 101–Definitions,"...

Readership Reports and the Benefits of Open Access Publishing

...open access format to spread the word about our publications. We promote our pieces through social media accounts on Twitter and Facebook, an RSS feed, and an email listserv. We...

Southern Spaces on Hurricane Katrina

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Beasts of the Southern Wild and Dirty Ecology

...a chorus of animals: "'I'm hungry. I want to poop.' But sometimes they start talking in codes." How do we make our way into the coded life of other species?...

How I Shed My Skin

Presentation and Review https://vimeo.com/134247004?fl=ls&fe=ec Civil rights narratives often empower and embolden, promoting faith in possibilities, hope for rectifying inequities. More sober assessments show that, though we've come a long way—thanks...

"Beer, Prayer and Nellydrama": (Im)Possibilities in Max Vernon's The View UpStairs

...that is vital to contemporary social justice activism confronting the racist, nationalist, and anti-LGBTQ+ violence emboldened in a post-Trump America. The View builds new forms of solidarity across impossible limits...

Slavery's Traces: In Search of Ashley's Sack

...around 1880, is listed in the 1900 census as living in Columbia, employed as a chambermaid. She is listed as the "sister in law" of a Wesley Perry, married to...

Enslaved Labor and Building the Smithsonian: Reading the Stones

...listed besides their names, suggesting that Mr. Smith may have been their owner, renting them out for quarry labor. Rachael Cheney is also listed as a “cook”; it is not...

Three Poems and a Critique of Postracialism

...election, novelist Colson Whitehead published a characteristically biting New York Times editorial entitled "The Year of Living Postracially": "One year ago today, we officially became a postracial society. Fifty-three percent of the voters opted...

References
1.	Peniel E. Joseph, "Our National Postracial Hangover" Chronicle of Higher Education, 27 July 2009. On the Gates affair, see especially Charles J. Ogletree, The Presumption of Guilt: The Arrest of Henry Louis Gates, Jr. and Race, Class, and Crime in America (New York: Palgrave Macmillan, 2010).
2.	Colson Whitehead, "The Year of Living Postracially," The New York Times, November 4, 2009.
3.	The Colbert Report, episode no. 153, first broadcast October 26, 2009 by Comedy Central. Colbert went on to suggest that Cornell West rename his signature book "Race Mattered."
4.	David A. Hollinger, "The Concept of Post-Racial: How Its Easy Dismissal Obscures Important Questions," Daedalus 140, no. 1 (Winter 2011): 175.
5.	See especially Paul Gilroy, Against Race: Imagining Political Culture Beyond the Color Line (Cambridge: Belknap Press of Harvard University Press, 2000).
6.	Edward S. Casey, "How to Get From Space to Place in a Fairly Short Stretch of Time: Phenomenological Prolegomena," in Senses of Place, Steven Feld and Keith H. Basso, eds. (Santa Fe: School of American Research Press, 1996), 19. I should note that in this essay and elsewhere Casey's claims are broad. He often uses the collective "we" or "human beings" to describe the purview of his philosophical project (e.g., "we are not only in places but of them" [19]). Nonetheless, as I argue in the broader project of which this essay is a part, Casey's concept of emplacement has particular urgency for raced human beings.
7.	On the genius loci trope, see Geoffrey H. Hartman, "Romantic Poetry and the Genius Loci" in Beyond Formalism: Literary Essays, 1958–1970 (New Haven: Yale University Press, 1970), 311–36; Roberto M. Dainotto, Place in Literature: Regions, Cultures, Communities (Ithaca, NY: Cornell University Press, 2000); and John D. Kerkering, "American Renaissance Poetry and the Topos of Positionality: Genius Mundi and Genius Loci in Walt Whitman and William Gilmore Simms" Victorian Poetry 43, no. 2 (Summer 2005): 223–248.
8.	Elizabeth Alexander, The Venus Hottentot (Saint Paul: Graywolf Press, 2004 [1990]), 50.
9.	Elizabeth Alexander, Antebellum Dream Book: Poems (Saint Paul: Graywolf Press, 2001), 22.
10.	Elizabeth Alexander, "Natasha Trethewey Interviews Elizabeth Alexander," Southern Spaces, December 10, 2009, https://southernspaces.org/2009/natasha-trethewey-interviews-elizabeth-alexander. On passing narratives in twentieth-century American literature, see especially Gayle Wald, Crossing the Line: Racial Passing in Twentieth-Century US Literature and Culture(Durham: Duke University Press, 2000).
11.	See especially Elizabeth McLagan, A Peculiar Paradise: A History of Blacks in Oregon (Portland: Georgian Press, 1980).
12.	Elizabeth Alexander, "Natasha Trethewey Interviews Elizabeth Alexander."
13.	Natasha Trethewey, Native Guard (Boston: Houghton Mifflin, 2006), 36.
14.	Natasha Trethewey, Native Guard (Boston: Houghton Mifflin, 2006), 35.
15.	Thadious M. Davis, Southscapes: Geographies of Race, Region, and Literature (Chapel Hill: University of North Carolina Press, 2011), 58.
16.	Davis offers little help here, noting, "The Fugitives' rural iconography is made obsolete by the sound of the bulldozers building more of the city, Southscapes, 78."
17.	The paradoxes of Atlanta's uneven development and race relations have been exhaustively documented by Ronald H. Bayor, Larry Keating, Kevin M. Kruse, and David L. Sjoquist. Since the 1996 Olympics, it has become a critical doxa to describe Atlanta as an urban space characterized by its "sense of placelessness"—a "nonplace," if you will.
18.	One imagines that Robert Penn Warren and Allen Tate might have admired Trethewey's formal commitments and/or keen interest in Civil War memory. It bears repeating, this is a very well-wrought sonnet in a collection of poems called Native Guard.
19.	Davis, Southscapes, 57.
20.	Robert Lowell, For the Union Dead (New York: Farrar, 1964), 70.
21.	C. S. Giscombe, Prairie Style (Champaign, IL: Dalkey Archive Press, 2008), 22.
22.	Ron Sillman, in C. S. Giscombe, Giscome Road (Champaign, IL: Dalkey Archive Press, 1994), back cover.
23.	Giscombe, Prarie Style, xiii.
24.	C. S. Giscombe, Into and Out of Dislocation (New York: North Point Press, 2000), dust jacket.
25.	Giscombe, Prairie Style, 68–69.
26.	Max Cavitch, American Elegy: The Poetry of Mourning from the Puritans to Whitman (Minneapolis: University of Minnesota Press, 2007), 1.
27.	Peniel E. Joseph, "Our National Postracial Hangover: With the Gates Fiasco, the Rosy Glow Has Faded," The Chronical of Higher Education, 27 July, 2009, http://chronicle.com/article/Our-National-Postracial/47462/.
28.	George Lipsitz, How Racism Take Place (Philadelphia: Temple University Press, 2011), 5.
29.	Ibid., 5.
30.	For a powerful, related claim about poetry's representation power, see Neville Hoad, "Three Poems and a Pandemic" in Political Emotions: New Agendas in Communication, ed. Janet Steiger et al. (New York: Routledge, 2010).

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