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The Dispossessions of Appalachia: A Review of Ramp Hollow

...the 1960s and 1970s, activists promoted a related golden-age vision of egalitarian pastoralism in pre-industrial Appalachia, which they contrasted with the ugliness of strip mining, black lung disease, and other...

En ningún [pero todo] lugar del mundo: Historia y sexualidad cubana en el teatro de Abel González Melo

...2007. Photograph by Flickr user Gilbert Sopakuwa. Creative Commons license CC BY-NC-ND 2.0. González Melo: Recuerdo que a principios de los 2000, cuando atravesaba en la noche la Habana Vieja...

Nascent Nations: A Review of Chiefdoms, Collapse, and Coalescence in the Early American South

...Indians' New World: Catawbas and Their Neighbors from European Contact through the Era of Removal (Chapel Hill: University of North Carolina Press, 1989). The unearthing of new archaeological information, as...

Whatwuzit?: The 1996 Atlanta Summer Olympics Reconsidered

...and regional identities of Atlanta itself in the coverage of the national and international media. The festivities of the Opening Ceremonies, reported Jere Longman of the New York Times, were...

Mississippi Delta

...an extensive flood control system. The New Deal introduced the most extensive federal government presence in the region since Reconstruction. Planters used New Deal appropriations to their advantage, accepting payments...

Writing Appalachia

...example, to examine the concept of the American frontier in the writings of New Yorker James Fenimore Cooper as well as in the southern account of Anne Newport Royall, or...

Navigating Jim Crow: A Review of Adolph L. Reed's The South: Jim Crow and Its Afterlives

...experienced the last phases of Jim Crow and the emergence of a second "New South" in Atlanta. His recollections end around 2017 as New Orleans begins removing its most prominent...

Bioregional Approach to Southern History: The Yazoo-Mississippi Delta

...Faulkner, Big Woods: The Hunting Stories (Originally published in New York: Random House, 1955; New York: Vintage International, 1994), [166]. As more dependable levees for the protection of croplands and...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film...

References
1.	David Denby, "Privilege and Bad Manners," The New Yorker, January 7, 2014, http://www.newyorker.com/online/blogs/culture/2014/01/steve-mcqueen-armond-white-controversy.html. In a statement to the Hollywood Reporter, White refers to himself as "the strongest voice that exists in contemporary criticism," and claims that several influential New York film critics are using the concocted incident as a chance to convene a "Communist-style special 'Emergency Meeting' supposedly in the interest of legislating 'decorum'—a meeting based entirely upon something that none of them actually heard and one that is really intended to purge me from the Circle." See Scott Feinberg, "Embattled Film Critic Armond White: I Never Heckled Steve McQueen," The Hollywood Reporter, January 7, 2014, http://www.hollywoodreporter.com/race/embattled-film-critic-armond-white-669032.
2.	Pitt's presence in the film is one of 12 Years a Slave's few missteps. Having such a recognizable star come in and play a kind of angel figure distracts us from both the miracle of Northup's staying alive and the power of Ejiofor's performance. Had the role been played by a younger, less well-known actor, it would have highlighted the randomness of Northup's delivery from bondage. This problematic choice to cast Pitt (perhaps made by Pitt himself in his role as producer) has had repercussions outside of the film itself, as a poster advertising 12 Years a Slave's Italian release featured a huge headshot of Pitt looming over a much smaller full-body profile of Ejiofor. The poster was quickly recalled, but not before it led to a backlash from critics who felt the marketing was focusing on the film's white stars (there was also a poster featuring Michael Fassbender, who at least has a lot of screen time) at the expense of its two black leads, Ejiofor and Lupita Nyong'o. The poster was made by a third-party distributor and reflects a long-term problem Hollywood has had in marketing films focusing on people of color, particularly in international markets.
3.	Recently, Phil Robertson, one of the stars of the astoundingly popular A&E television show Duck Dynasty, gave an interview to GQ in which he said (among many other things) that: "I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash. We're going across the field. . . . They're singing and happy. I never heard one of them, one black person, say, 'I tell you what: These doggone white people'—not a word! . . . Pre-entitlement, pre-welfare, you say: Were they happy? They were godly; they were happy; no one was singing the blues." See Drew Magary, "Duck Dynasty's Phil Robertson Gives Drew Magary a Tour," GQ, January 2014, http://www.gq.com/entertainment/television/201401/duck-dynasty-phil-robertson.

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