Originally published in our Tennessee Music Issue  There is a remarkable story tucked halfway through Bessie, Chris Albertson’s biography of the blues singer Bessie Smith, in which Smith approaches a circle of robed North Carolina Klansmen, places one hand on her hip,… by Amanda Petrusich | Nov, 2020

Playlists curated by your favorite musicians and writers. by Brittany Howard, Kiese Laymon, Rosanne Cash, Kelsey Waldon, & others | Nov, 2020

An introduction to the Music Issue’s Icons Section Beyond my eye, beyond the death and decay of matters left behind and unsettled, the music ringing up above my head told a thousand stories of bounty and belonging, and it glimmered… by Danielle A. Jackson | Nov, 2020

Originally published in our 2007 Music Issue  In a remarkable 1963 appearance with Juilliard professor and friend, Hall Overton, at the New School in New York, Monk demonstrated his technique of “bending” or “curving” notes on the piano, the most… by Sam Stephenson | Nov, 2020

Originally published in our North Carolina Music Issue.  I wanted to start with the wild weeds and the creaking wood on the front porch, walking up to Nina Simone’s childhood home in Tryon, North Carolina. I wanted to start where… by Tiana Clark | Nov, 2020

An essay from the Greatest Hits Music Issue The first songs that I listened to by Talibah Safiya had this soft, sweet, plaintive quality. There is something else underneath if you listen a bit closer: a little loneliness. The knowledge… by Jamey Hatley | Nov, 2020

An introduction to the Greatest Hits Music Issue How does the South inform my music? How do I describe the sound that your bare feet make when they pat the cool, packed red dust under them? How do I describe… by Brittany Howard | Oct, 2020

 A Letter from the Editor, Food Issue. Quiet as it is kept, and widely as it has become forgotten, those who do the cooking and the farming know that those who only eat what is cooked for them and served… by Alice Randall | Mar, 2021

March 13, 2018

A Points South essay from the 100th issue. 

“For more than three decades this maddening story of Evers’s murder and the question of Beckwith’s guilt or innocence has been told again and again, in conflicting voices and varying contexts, with no conclusion. Facts have been rearranged, deleted, added, interpreted differently. Yet one fact remains undisputed: the man responsible for one of the most notorious murders of the civil rights era remains free. Who is he? It is as if we are driving in rush hour traffic in a rusty Valiant with an expired tag. Alongside us sits an old and familiar white supremacist. We hear the ticking of a bomb in the back seat. The old man grins. Where is it we are going?”

May 15, 2017

The introduction to a previously unpublished poem by Margaret Walker. 

Nearly twenty years after her death and seventy-five years after the publication of For My People, this magazine sent me a previously unpublished poem of Walker’s. The poem, “An Elegiac Valedictory,” is a work that remembers, with comic clarity, the words, food, time, and space she shared with the likes of Toni Cade Bambara, James Baldwin, Ralph Ellison, and Audre Lorde.

May 26, 2017

Foreword to a collection of personal narratives by the junior class at New Orleans’s George Washington Carver High School.

I’ve read the essays in this book at least ten times each, not because I have to, but because I don’t think there is another book like it in the world. The really terrifying thing is that I need this book even more now than I needed it as an eleventh grader. If every American book published in 2018 were written to the eleventh grade at Carver High School in New Orleans, the world would be less violent. If every American book published in 2018 were written by eleventh graders at Carver, the world would be more loving. Though these young folks are rarely written to in American literature, they know who they are. And they know who the folks are who refuse to see all of their complexity. “We are rare and powerful,” the younger writers tell us in the introduction.