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was immediately celebrated for its novelistic approach to nonfiction storytelling and its nuanced treatment of the characters and community, but in Woodstock, many residents are fidgeting under the scrutiny the viral hit has brought to the town.
The show begins as an investigation of a supposed murder cover-up in the small Alabama town, but evolves into a portrait of Mc Lemore — the town eccentric, who had reached out to Reed to investigate the murder case — and a meditation on time, pain, and the claustrophobia of small-town southern life.
“Aren’t there any places that have this kind of story,” she asks, “and it’s not in the South?
” Wendy, a 20-something cashier at the local Foodland who hasn’t listened to the podcast, sums up the sentiment slightly differently: “How many times does the name Alabama come out of somebody’s mouth who’s not from here to say something good? Now, I wouldn’t want my kids living anywhere else.” At the invitation of Don Kimbrel, a man in his 60s I met at the library, I make one of my stops the Woodstock senior center, which shares space with the town hall and the police department.
But when I saw the photo I was thinking about all the hours and all the time and all the effort. That’s the part I wish people would understand.” Mc Lemore, whom Bubba considers his “redneck professor,” has rubbed off on the tattoo artist in myriad ways: reading, which he never used to do, subsistence farming, brooding about the nearby depleted coal mines and pine forests “cut raw.” And like Mc Lemore, Bubba can go on a stem-winder, so I end up spending more time than anticipated talking with him at the parlor.
I said people need to see what was really going on in his mind.” Bubba says the tattoo represented “the pain the world goes through just to host us. It wasn’t until almost dusk that I made it to the bank of the Cahaba River.
“I ain’t worried about it here.” About a week after came out, in advance of the new parlor opening, Bubba posted a picture of Mc Lemore to his business’s Facebook page.