This month, we’re diving into two books that explore the layers of identity, place, and the quiet stories often left untold. On the surface, Stories from Where All Dirt Roads Taste of Salt and Amy Sherald: The World We Make might seem to come from entirely different worlds—one grounded in the landscapes of rural Mississippi, the other painted in vibrant hues of contemporary portraiture. But as we look closer, we find a shared theme: the deep emotional resonance of human experience.
Raven Jackson’s Stories from Where All Dirt Roads Taste of Salt feels like a slow, soulful breath. It invites us to reflect on the beauty of everyday moments—the quiet rhythm of life in the deep South. It’s a celebration of connection, both to the land and to one another. Jackson’s photographs feel like meditations on intimacy, memory, and the passage of time. The stillness of the imagery speaks to the depth of feeling in the simplest moments—almost as if we’re invited to linger in each frame, allowing the texture of life to reveal itself at its own pace. Her book asks us to pay attention to the small, often overlooked parts of life, to find beauty and meaning in the mundane.
In contrast, Amy Sherald’s The World We Make brings us to the vibrancy of portraiture. Sherald’s work, known for its striking use of color and the subversion of traditional representation, commands us to see the women she paints as both individuals and symbols. Her use of color, especially her choice to paint skin tones in shades of grey, challenges our conventional understanding of race and identity, inviting us to look beyond the surface. Each of Sherald’s paintings becomes an emotional dialogue between her subjects and us—the viewers—allowing us to see their humanity in full, unfiltered depth. The contrast between Sherald’s bold portraits and Jackson’s serene photographs demonstrates how art can be a powerful tool for redefining identity and visibility.
While Jackson’s work pulls us into the quiet and reflective world of rural Mississippi, Sherald’s work lifts us into the vibrancy and complexity of contemporary life. What connects these two books is their commitment to revealing the depths of human existence—the layers that often go unnoticed, whether in a moment of stillness or through the boldness of color. Both Jackson and Sherald give us an invitation to slow down, look closer, and honor the often-overlooked beauty that surrounds us. They remind us that the emotional depth of a moment, a person, or a place is not always visible at first glance.
As we reflect on these two works, it’s clear that there’s a conversation happening between them, one that’s about the power of art to unearth hidden stories. Both books speak to the importance of representation—whether it’s the intimate, personal stories Jackson brings to life through her photography or the way Sherald redefines who gets to be seen and heard in her portraits. In both cases, the artists are asking us to reconsider the way we view others, to see beyond the surface, and to appreciate the stories that define identity and humanity in all its forms.
Let’s Discuss:
Which book speaks to you more deeply? The quiet, intimate moments captured in Jackson’s work, or the bold, colorful exploration of identity in Sherald’s portraits? Let’s share our thoughts in the comments!
Personal Reflection:
Reflecting on both Stories from Where All Dirt Roads Taste of Salt and The World We Make, I find myself contemplating how each book uses visual storytelling to pull us deeper into the lives of the subjects it presents. Jackson’s photography invites us to sit with the subtle, introspective moments that make up the everyday, while Sherald’s portraits demand that we confront the complexities of identity in vivid color. For me, these works remind me of the power of art to not only reflect the world but to shape the way we understand our connection to it. They challenge us to rethink representation and to embrace the beauty in both simplicity and boldness. These books have become an invitation to see, to feel, and to engage with the world in a new way—one that acknowledges the layers beneath the surface.
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