Journal of Southern History

Travel writers, poets, ethnographers and other social scientists, musicologists, folklorists, journalists, and photographers made “the American South . . . the most documented place on earth” (p. 2). Scott L. Matthews surveys this oeuvre; his history’s title conveys that he is equally interested in what the [End Page 145] region’s rich vein of documentary studies communicates about its practitioners. For Matthews, documentarians’ will to chart “appealing primitivism and appalling pathology” often overshadowed much else—hence the book explores documentarians’ motives and mythologizing (p. 239). If James Agee claimed the camera testified to “the cruel radiance of what is” (James Agee and Walker Evans, Let Us Now Praise Famous Men [Boston, 1941], p. 9), Matthews argues that documentarians’ witnessing often resulted in patronizing attempts at reform or twisted caricature that still adhere to the South. They conspired to preserve a “premodern” regionalism before “modernity wiped it away,” yet Matthews evidences how documentary subjects often rejected such representations (p. 2).

The author’s well-researched case studies span the twentieth century. Beginning with social scientist Howard W. Odum’s development of the University of North Carolina’s Institute for Research in the Social Sciences, Matthews moves to New Deal–era Farm Security Administration (FSA) images of a Georgia county through Jack Delano’s eyes. For the postwar period, Capturing the South: Imagining America’s Most Documented Region explores musicologist/musician John Cohen of the New Lost City Ramblers, who tracked down and then promoted the “high lonesome sound” of Appalachian singers (p. 113). Matthews then investigates Danny Lyon’s evocative photos of the Student Nonviolent Coordinating Committee (SNCC) and finishes with a deep dive into Hale County, Alabama, where Let Us Now Praise Famous Men is set.

Matthews’s probing of a range of documentary materials is a strength, allowing him to identify common patterns of representation. He also delineates documentary projects’ overlapping audiences. For example, Odum’s staff introduced photographer Dorothea Lange to several southern communities. Photographers, academics, policy makers, and the general public then engaged with this imagery, a generation later embraced by folk lovers, art enthusiasts, and political activists. Another strength is Matthews’s mining of poor southerners’ reactions to their documentation. One Kentucky musician shot and killed an interviewer. Most subjects found less brutal forms of resistance. Matthews makes an important scholarly intervention in demonstrating how elites, such as Zora Neale Hurston or W. E. B. Du Bois, and common sharecroppers or churchgoers registered distaste or actively sabotaged documentarians’ efforts to pin down southern folkways.

For half a century, critics and scholars have argued photographers exert an adverse power over their subjects. Matthews’s analysis provides evidence where others offer theory alone; but as each chapter shows documentarians forcing themselves upon resisting subjects, the argument becomes formulaic. Greater suppleness in limning the relations between subject and maker would persuade more. Similarly, Capturing the South flattens differences in the wide variety of practitioners who made the South their subject. Certainly, documentarians in the center (urban North) sought to preserve an “authentic” culture in the periphery (rural South). And yet what drew such diverse people as snobbish, WASPy Walker Evans; genteel, racist Odum, a southerner; or Jewish Brooklynite and antiracist Lyon to documenting the South? Lyon was held in high esteem by his subjects and his activist sponsor, SNCC. Ultimately, SNCC [End Page 146] advanced Black photographers, paralleling the movement’s radicalization to Black Power. This does not appear proof of Lyon’s “well-meaning white liberal[ism]” (pp. 187–88). A final concern is that Matthews’s southern documentarians are largely men. His discussion of Lyon’s SNCC work focuses on leaders such as Bob Moses and John Lewis. But one of Lyon’s most famous photographs portrays teenage women in the Leesburg, Georgia...