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Recounts the history of the Good Roads Movement that arose in progressive-era Alabama, how it used the power of the state to achieve its objectives of improving market roads for farmers and highways for automobiles

Getting Out of the Mud: The Alabama Good Roads Movement and Highway Administration, 1898–1928 explores the history of the Good Roads Movement and investigates the nature of early twentieth-century progressivism in the state. Martin T. Olliff reveals how middle-class reformers secured political, economic, and social power not only by fighting against corporate domination and labor recalcitrance but also by proposing alternative projects like road improvement and identifying the interests of the rising middle class as being the most important to public interest.

With the development of national markets in the late nineteenth and early twentieth centuries, Americans began to regard the nation as a whole, rather than their state or region, as the most important political entity. Many Alabamians wished to travel beyond their local communities in all seasons without getting stuck in the mud of rudimentary rutted dirt roads. The onset of the automobile age bolstered the need for roadmaking, alerting both automobilists and good roads advocates to the possibility of a new transportation infrastructure. The Good Roads Movement began promoting farm-to-market roads, then highways that linked cities, then those that connected states. Federal matching funds for road construction after 1916 led state and federal governments to supplant the Good Roads Movement, building and administering the highway system that emerged by the late 1920s.

Olliff’s study of how Alabamians dealt with strained resources and overcame serious political obstacles in order to construct a road system that would accommodate economic growth in the twentieth century may offer clues to the resurrection of a similar strategy in our modern era. Many problems are unchanged over the hundred years between crises: Alabamians demand good roads and a government that has the capacity to build and maintain such an infrastructure while, at the same time, citizens are voting into office men and women who promise lower taxes and smaller government.

An award-winning poet writing through violence, solace, and hope

Luiza Flynn-Goodlett’s Mud in Our Mouths illuminates how we are all enmeshed in a web of violence and love. As the speaker of the collection drives cross-country to visit her family of origin in Tennessee, she reckons with the tensions between her current and past selves and the many ways violence—interpersonal, societal, and environmental—has shaped her life. She struggles to find meaning, questioning the ethics of locating faith in a natural world she is unintentionally destroying, and grapples with her complicity in systems of power and oppression as a white Southern woman. Ultimately, she rejects the idea of genetic family as a place of solace; instead, she cleaves to the liberation and joy of connections forged outside those strictures, where intimacy is freely chosen rather than preordained.

The life and times of Alabama folk potter Jerry Brown, as told in his own words

Born in 1942, Jerry Brown helped out in his father’s pottery shop as a young boy. There he learned the methods and techniques for making pottery in a family tradition dating back to the 1830s. His responsibilities included tending the mule that drove the mill that was used to mix clay (called “mud” by traditional potters). Business suffered as demand for stoneware churns, jugs, and chamber pots waned in the postwar years, and manufacture ceased following the deaths of Brown’s father and brother in the mid-1960s. Brown turned to logging for his livelihood, his skill with mules proving useful in working difficult and otherwise inaccessible terrain. In the early 1980s, he returned to the family trade and opened a new shop that relied on the same methods of production with which he had grown up, including a mule-powered mill for mixing clay and the use of a wood-fired rather than gas-fueled kiln.

Folklorist Joey Brackner met Brown in 1983, and the two quickly became close friends who collaborated together on a variety of documentary and educational projects in succeeding years—efforts that led to greater exposure, commercial success, and Brown’s recognition as a National Heritage Fellow by the National Endowment for the Arts. For years, Brown spoke of the urge to write his life story, but he never set pen to paper. In 2015, Brackner took the initiative and interviewed Brown, recording his life story over the course of a weekend at Brown’s home. Of Mules and Mud is the result of that marathon interview session, conducted one year before Brown passed away.

Brackner has captured Jerry Brown’s life in his own words as recounted that weekend, lightly edited and elaborated. Of Mules and Mud is illustrated with photos from all phases of Brown’s life, including a color gallery of 28 photos of vessel forms made by Brown throughout his career that collectors of folk pottery will find invaluable.