Traditionally, there has been a disconnect between theoretical linguistics and pedagogical teacher training. This book seeks to bridge that gap. Using engaging examples from a wide variety of languages, it provides an innovative overview of linguistic theory and language acquisition research for readers with a background in education and teacher training, and without specialist knowledge of the field. The authors draw on a range of research to ground ideas about grammar pedagogy, presenting the notion of Virtual Grammar as an accessible label for unifying the complexity of linguistics. Organised thematically, the book includes helpful 'Case in point' examples throughout the text, to illustrate specific grammar points, and step-by-step training in linguistic methods, such as how to analyse examples, which educators can apply to their own teaching contexts. Through enriching language teachers' understanding of linguistic features, the book fosters a different perspective on grammar for educators.

Though artistic and ambitious, Paul Kwilecki (1928-2009) chose to remain in Bainbridge, Georgia, the small Decatur County town where he was born, raised, and ran the family's hardware store. He had always been interested in photography and taught himself how to use a camera. Over four decades, he documented life in his community, making hundreds of masterful and intimate black-and-white prints. Kwilecki developed his visual ideas in series of photographs of high school proms, prison hog killings, shade-tree tobacco farming, factory work, church life, the courthouse. He also wrote eloquently about the people and places he so poignantly depicted, and in this book his unique knowledge is powerfully articulated in more than 200 photographs and selected prose. Paul Kwilecki worked alone, his correspondence with important photographers his only link to the larger art world. Despite this isolation, Kwilecki's work became widely known. ""Decatur County is home,"" he said, ""and I know it from my special warp, having been both nourished and wounded by it.

Traditionally, there has been a disconnect between theoretical linguistics and pedagogical teacher training. This book seeks to bridge that gap. Using engaging examples from a wide variety of languages, it provides an innovative overview of linguistic theory and language acquisition research for readers with a background in education and teacher training, and without specialist knowledge of the field. The authors draw on a range of research to ground ideas about grammar pedagogy, presenting the notion of Virtual Grammar as an accessible label for unifying the complexity of linguistics. Organised thematically, the book includes helpful 'Case in point' examples throughout the text, to illustrate specific grammar points, and step-by-step training in linguistic methods, such as how to analyse examples, which educators can apply to their own teaching contexts. Through enriching language teachers' understanding of linguistic features, the book fosters a different perspective on grammar for educators.

The Inheritance Issue explores what we have inherited, how, and from whom, reflecting on what we bring forward and what we must leave behind; what we have reckoned with and the consequences of failing to reckon. The lived experience of Indigenous people in the American and global Souths is crucial to the issue's reflections on place, identity, and origin and to the discussions of solidarity, allyship, identity, and belonging that must precede collaboration and reconciliation.

Guest edited by T. Dionne Bailey and Garrett Felber, this issue of Southern Cultures makes visible a radical US South which has long envisioned a world without policing, prisons, or other forms of punishment. A region so often exceptionalized for its brutality and white supremacy is also the seedbed of freedom dreams and radical movement traditions.

Taylorism has been the dominant mode of organizing paid work since early in the twentieth century. Tom Rankin argues that industrial unionism is inextricably linked to Taylorism, and Taylorism is breaking down. In its place is developing a new paradigm of organization. If unions are to survive and prosper they will have to develop a form of unionism better suited to the new paradigm. Rankin uses a socio-technical systems framework to analyse the transition, arguing that it encompasses similar views put forward by other disciplines such as production management. Focusing on one case study as an example, he explores the possibilities for unions to sustain themselves while adapting to a new work pattern. Ranking concludes that adaptation requires a fundamental change in traditional union policies and practices, but that it is achievable. The result is a new, post-industrial form of unionism in which a strong and independent union and a new pattern of work organization can be mutually reinforcing.

Photographer O. N. Pruitt (1891-1967) was for some forty years the de facto documentarian of Lowndes County, Mississippi, and its county seat, Columbus--known to locals as "Possum Town." His body of work recalls many FSA photographers, but Pruitt was not an outsider with an agenda; he was a community member with intimate knowledge of the town and its residents. He photographed his fellow White citizens and Black ones as well, in circumstances ranging from the mundane to the horrific: family picnics, parades, river baptisms, carnivals, fires, funerals, two of Mississippi's last public and legal executions by hanging, and most grimly, a lynching. From formal portraits to candid images of events in the moment, Pruitt's documentary of a specific yet representative southern town offers viewers today an invitation to meditate on the vexing interrelations of photography, community, race, and historical memory. Columbus native Berkley Hudson was photographed by Pruitt, and for more than three decades he has considered and curated Pruitt's expansive archive, both as a scholar of media and visual journalism and as a community member. This stunning book presents Pruitt's photography as never before, combining more than 150 images with a biographical introduction and Hudson's short essays and reflective captions on subjects such as religion and racial violence, small-town work-life and entertainment, and the idea of visual legacy as linked to historical memory.

Guest edited by Regina N. Bradley, the Sonic South Issue examines sound. From Deafness to silence to a tool of liberation, "Sound is where the South can be its most complicated and unapologetic," writes Bradley, "where it can boast its plurality and multiple communities.

Capturing the rich contrasts of the land and the intimate history of generations in the Mississippi Delta, Into the Flatland, by Kathleen Robbins, is a series of photographs documenting the terrain, people, and culture of her ancestry. The photographer returned to her childhood farm in Bell Chase as an adult in 2001 after completing graduate studies in New Mexico. She and her brother then lived on their family farm for nearly two years, breathing life back into family properties that had been long dormant. In this series, which won the Photo-NOLA prize in 2011, Robbins highlights the diversity of the landscape of the Delta, from expansive, dusty cotton fields to green, vibrant swamps. Her photographs capture the people and the architecture that are present on the land and also reminiscent of a time long past, before the mechanization of farming and the exodus of her people from their native soil. The presence of Robbins's family in some of her photographs brings an intimacy to her portrait of the Delta and shows the tension between past and present. Including a short story by a National Endowment for the Arts recipient, Cynthia Shearer, Into the Flatland transports the reader into the rich history of Mississippi. At turns both colorful and gray, the photographs capture not only the Delta landscape, but also the stark and rugged images of people and buildings that sink as deeply into the land as the roots of the trees in the woods and swamps. As large masses of birds flock to the vast blue sky, Robbins remains fixed on the ground, her lens trained on the home and the landscape of her past.