Art and Influence

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Douglas Pokorny, influence, music, Nina Simone, Santa Esmeralda, The Animals

In the car the other day, the Animals’ classic “Don’t Let Me Be Misunderstood” came on the radio, which prompted a cascade of thoughts and memories.

The Animals were never among my favorites of the British Invasion bands, although you had to give them credit. In their short initial incarnation, they produced a string of unforgettable hits and had a distinctive sound. Their version of the folk standard “House of the Rising Sun” is the one that most people remember today.

But “Don’t Let Me Be Misunderstood” has a curious history. It was originally recorded by Nina Simone, in a slow, somewhat jazzy version that focuses on the subtle lyrics. You can hear the ache of the lyricist in her version, the apology and the explanation for foolish behavior, the longing to improve. The memorable guitar hook that the Animals led with is hidden in a violin section, partial and barely noticeable.

When the Animals recorded it, they turned it pretty much into straight-ahead blues rock, capitalizing on Eric Burdon’s gritty voice to make it a perfect anthem for the moment, echoed by teenagers throughout the decades who are dealing with complicated emotions and a sense of disaffection.

But the version that has stuck in my mind the most is the one by Santa Esmeralda, and I remember the first time I heard it. I was in the basement of Douglas Pokorny, a friend I have written about before, and he put the album on. Keep in mind, this was the late ’70s in the eastern Ozarks, where musical variety was hard to come by. How he came to possess the Santa Esmeralda album I’ll never know. But when I heard the flamenco-influenced Latin rhythms of the song, overlaid on the clearly recognizable template of the Animals version, I knew I was hearing something memorable. And the song just went on and on for more than sixteen minutes, filling up the whole second side of the album, the phrases repeating and building into some kind of pop-music ecstasy. In later years I learned that it was a disco favorite, which makes sense, given its propulsive beat and infinite energy.

Three different artists, the same material, three entirely different versions. Whose is the best? Don’t ask me. Each song fits its performer and its moment. The later versions are influenced by the earlier ones, but it would be wrong to say that they were unoriginal.

I’ve been asked several times lately about who my favorite writers are, or who the writers are that have influenced me. I can’t honestly say. I think the best answer is all of them, and none of them. I pick up things from many writers, but I don’t think that I’ve ever consciously copied or been directly influenced by one in particular. I’ve read that there are only [x-number, take your pick: 3, 5, 7, whatever] plots in narrative, the Journey, the Revenge, and so forth. So of course stories will bear resemblance. I think my essential plot is People Who Are Trying to Make Some Sense of Their Lives, but They Keep Getting Thwarted and It’s Usually by Their Own Damn Selves. Not sure if that’s one of the 3.

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Favorite Ozarks Books – 17

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books, Dave Malone, Favorite Ozarks Books, poetry, West Plains

I’ve been reading the new book of poems by Dave Malone in bits and pieces over the last month. Like most books of poetry, it rewards dipping in and out.

I suppose you could say it’s not technically an “Ozarks” book, since there are sizable sections of it that are set elsewhere, when a place is specified, and many of the themes are not Ozarks-specific. But there are a lot of Ozarks poems in here, and a lot of Ozark sensibility, too. In one of my favorite poems from this collection, “Pentecostal Ladies,” he writes: “Their skirts bloom sunflowers, / a decade or two out of favor. / I wave from my front porch / though I know one day they’ll sidle up / in their ballet flats and tell me what for.” And it’s that “what for” that slaps down so delightfully true.

A few things I note about Malone’s work: first, it’s very precise. This is poet who does not just throw in the expected word. Often he leads us into a phrase then turns it ninety degrees, shifting the mood of the poem unexpectedly. The poems are best read slowly, because you never know when that turn is going to happen.

Second, Malone’s poems do two things that I don’t always see in contemporary poetry. For one thing, they are sometimes unabashedly emotional. So many contemporary poets feel restrained by some sort of unwritten rule of decorum to be clinical in their presentation of situations, but these poems don’t shy away from their feelings. But also, these poems can be funny. Sometimes the wit is verbal, sometimes situational. In either case, it’s nice to read a book in which every poem does not feel compelled to be Serious. There are plenty of serious poems in here too, poems of grief, loss, and longing. But seriousness is not the only key this instrument plays in.

Dave Malone lives in West Plains and has published a number of books of poems, each with its own tonal register (or key signature, if I want to push that musical metaphor). If you haven’t run across his work yet, I highly recommend checking it out.

Another Good Year – Part 2

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books, historical fiction, John Mort, novels, Oklahoma, The West

I mentioned earlier this month that the year was off to an excellent start in Ozarks writing. This book is not technically an “Ozarks” book, but its author, John Mort, grew up in southern Missouri and has written several fine novels and story collections based in the Ozarks. So, close enough.

Oklahoma Odyssey is, if you’re looking for a descriptive category, a novel of the West. It mainly takes place in southern Kansas and northern Oklahoma in the time leading up to the Oklahoma Land Run of 1893, with briefer forays to Kansas City and elsewhere. But it toys with and re-imagines the stock characters and situations of the Western genre. We have a hero, love interest, sidekick, and villain, but none of these people turn out to be what you would expect. There’s a killing and a call for revenge, but again, don’t expect it to go the way you have been conditioned by decades of Westerns.

I have a complete review of Oklahoma Odyssey coming out in the next edition of OzarksWatch magazine, so I’ll leave my discussion for there. If you’re not already a subscriber to OzarksWatch, what are you waiting for? But for now, I’ll just say that this novel is a real gem, with rich characterization, historical insight, and a compelling story.

Here’s a purchase link.

Favorite Ozarks Books – 16

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books, fiction, Jetta Carleton, Missouri, novels, Ozarks, prairie, The Moonflower Vine, writing

I shouldn’t really call The Moonflower Vine an Ozarks book, as it is set in the western Missouri prairie, in a fictionalized version of the town of Nevada, where Jetta Carleton grew up. (If you want to get a sense of this region, you should look at Leland Payton’s marvelous book of photographs, Ozark-Prairie Border.) But a couple of the major characters of the book spend considerable time in the Ozarks, and since it’s a border region I’ll expand my “Ozarks books” phrase a little to include this one.

The Moonflower Vine was first published in 1962 and was a big hit, making the bestseller list, some important book clubs, and the Reader’s Digest Condensed Books volume. Then, as books do, it faded from attention. It became one of those secret favorites, passed from enthusiast to enthusiast, until Harper Perennial brought out a new edition in 2009 with a robust introduction from Jane Smiley. That new edition helped return the book to some deserved prominence.

The novel is divided into six sections, one for each of the major characters. It begins in the more-or-less contemporary time period to its publication, then dips into the past with the next four sections, finally returning to the present at the end. So its structure is a bit challenging, but not overwhelmingly so.

But what makes The Moonflower Vine so memorable is its rich, surprising characterization. The novel’s six main characters are a rural couple and their four daughters, all of whom go through various troubles and all of whom are revealed, over time, to have secrets they are keeping from the rest of the family. The characters resist stereotyping, revealing ever-deepening layers of feeling, aspiration, frustration, and despair. It’s an immensely humane novel that refuses to excuse its characters even as it comprehends them. And for a book that made it into the Reader’s Digest condensations, it’s surprisingly frank about sexual desire. (I suspect they condensed that part right out and left the “local color” in.)

What I ultimately take away from The Moonflower Vine, though, is a deeply forgiving spirit. By one definition or another, all the characters fail. But they are never portrayed as failures. They are flawed creatures, like us all, who are doing their best with what has been handed to them. And sometimes their best is not very good. They do stupid things, they suppress their feelings, they misunderstand. And yet I found myself drawn to them, and drawn also to this landscape by Carleton’s vivid power of description. She sees this world in an intense and careful way. Some people might see this book as an exercise in nostalgia, but I think that misses its precise and comprehensive view of human nature.

Jetta Carleton

Back to Walden

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nature, Thoreau, winter

I read Walden about once a year, or at least dip into it for refreshment. Lately I’ve been reading the “winter” chapters: “Former Inhabitants and Winter Visitors,” “Winter Animals,” and “The Pond in Winter.” These are much quieter chapters than the showy, occasionally verbally extravagant flourishes of “Economy” and “Where I Lived, and What I Lived For,” and they tend to get overlooked, I think. But I’m appreciating them anew this time around.

The “former inhabitants” section is a quiet catalogue of the abandoned houses and waste places Thoreau encounters as he walks around his Concord neighborhood, and a recollection of what he knows about the families who once lived there – which in some cases is very little. One might wonder what he’s up to with this melancholy inventory. I wondered, too, until I noticed, this time around, that the people he memorializes are almost all Black, poor, or both. All that is left of their life’s labor is an overgrown hummock, a portion of a cellar wall, a vague tale of their occupation.

This section of the book is a meditation on disappearance and loss, and it’s especially telling that this meditation focuses on the poor. Thoreau approaches their stories with his usual wry humor. In one instance he tells of a comical adventure with the volunteer fire department, when they respond to an alarm and mistakenly think the fire is some distance away, when it actually turns out to be an abandoned hut just down the road. But that scene is followed by the poignant description of the sole remaining member of that hut’s last family, who returns to the home of his childhood and pokes through the ashes for any remnant of his family’s existence, turning up only the hook from which the well-dipper was fastened. “I felt it,” Thoreau writes, “and still remark it almost daily in my walks, for by it hangs the history of a family.”

Disappearance, withdrawal, diminishment. These chapters are full of such things. The visitors are few; the animals go into hiding; even the pond itself, frozen over, is sawn into blocks and carried away, ice to cool the beverages of the privileged in distant cities. But this condition also yields new perspectives. Thoreau takes advantage of the winter to go out on the ice of the pond and observe, to take measurements and to peer to the bottom, activities that would be impossible during warmer times.

Winter brings clarity as the essential parts are revealed. There is melancholy in this, of course, but also opportunity for a deepened understanding. And of course, the chapter that follows “The Pond in Winter” is “Spring.”

Floating

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Alumni, canoeing, floating, kayaking, Missouri, Mizzou, Ozarks

I am currently floating (metaphorically) because the University of Missouri alumni magazine just published a long essay I wrote about floating (literally). I love taking float trips on Ozark streams and tried to convey some of the feeling of those experiences.

They also assigned a writer and photographer to do a profile of me to accompany the essay. Tony Rehagen and Nic Benner both did wonderful jobs.

Here’s the link.

Testimony

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poetry

Stephen Dunn passed away a few days ago at the age of 82. He was one of my absolute favorite poets. His specialty was seeing meaning in the smallest of things, and his work had immense wit that was also quite expansive. His poems would often take on bigger and bigger meanings as they went along, yet they always stayed grounded in the real and specific. He had such a marvelous way of seeing!

In his honor, here’s his poem “Testimony,” which was published in the New Yorker not quite ten years ago.

The Lord woke me in the middle of the night,

and there stood Jesus with a huge tray,

and the tray was heaped with cookies,

and He said, Stephen, have a cookie,

and that’s when I knew for sure the Lord

is the real deal, the Man of all men,

because at that very moment

I was thinking of cookies, Vanilla Wafers

to be exact, and there were two

Vanilla Wafers in among the chocolate

chips and the lemon ices, and one

had a big S on it, and I knew it was for me,

and Jesus took it off the tray and put it

in my mouth, as if He were giving me

communication, or whatever they call it.

Then He said, Have another,

and I tell you I thought a long time before I

refused, because I knew it was a test

to see if I was a Christian, which means

a man like Christ, not a big ole hog.

Happy Birthday, William Shakespeare

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Scattered Lights, Shakespeare

In honor of William Shakespeare’s birthday, or at least his purported birthday, here’s the opening of my short story, “Why Miss Elizabeth Never Joined the Shakespeare Club.”

They found Miss Elizabeth dead this morning, upright in her velvet Queen Anne chair, hands folded. When I heard the news, I was in the same pose; I had fallen asleep while crocheting, as I am prone to do in the afternoons nowadays, and the telephone frightened me. Unexpected phone calls always bring thoughts of death. My first reaction:

Now I am the only one left who knows Miss Elizabeth’s story. My second reaction: Perhaps I am the only one to whom it has meaning.

You can read the rest of the story in my collection, Scattered Lights. If you already own the collection, thank you! And be sure to leave a review on your favorite book-review website.

Terrific New Story Collection

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A Common Person, fiction, Missouri, R. M. Kinder, short stories, Sullivan Prize, University of Notre Dame Press

I ordered this new collection of short stories from the University of Notre Dame Press as soon as I saw the announcement, and for a couple of reasons. It was the second book in a row from a Missouri author to win the press’s Sullivan Prize, so I felt a little regional pride. And the previous year’s prizewinner, John Mort’s Down Along the Piney, was such a pleasure that I had developed some trust in the editors’ judgment.

That trust was justified. R. M. Kinder’s A Common Person and Other Stories is a rich and rewarding book. The seventeen stories in its 200 pages have a unified, guiding sensibility to them, but each is distinctive in its own way, and some challenge our notion of what counts as a “story.” It’s a satisfying collection, with stories to re-read and find multiple rewards from.

Kinder’s strength is her handling of point of view, the flowing, sometimes-random way our thoughts move from one idea to the next. The characters in her stories think in the kind of associational bursts of connection we’re all familiar with, from specific observation to vast abstraction, from hope to despair in the flick of an insight, and then back to hope again. Their feelings and responses are true and precisely portrayed.

There’s a proliferation of animals in these stories, too, mostly dogs but some others as well. I don’t know anything about Kinder’s personal habits, but certainly the stories suggest that for this author, the way a person interacts with animals is an indicator of essential character. The dogs have lives and personalities in the stories that are as carefully drawn as the humans, sometimes.

Sometimes the point of view will float from character to character within a story, the sort of thing we warn our beginning students against but a beautiful tool in the hands of a pro. The effect is that of a drifting consciousness, above but not detached from the thoughts of the individual characters, allowing us to glimpse multiple trains of thought and emotion even as the story progresses along a single line of action. This technique gives some of the stories a dreamlike quality, not that actual dreams are happening (although they sometimes do) but because we move from mind to mind with such swiftness and ease. And sometimes the collective consciousness of the community speaks through the voice of narrator.

If you’re a lover of the short story, this collection is worth tracking down and putting on your shelf.

This Writing Thing

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awards, fiction, PEN, PEN/Faulkner Award, writing

I can hardly say enough about how delighted I was last night when I received word that my short story collection had been named as one of ten finalists for the PEN/Faulkner Award in Fiction for 2021. The happy vibe is still in full effect this morning, and I find myself reflecting on this whole writing endeavor.

Writers are a funny bunch. It’s the most solitary art form of all, and somebody can be working on a single project for years. You have to distance yourself from the rewards of immediate gratification, and in fact you’ll hear a lot of writers declare that they get sufficient reward from the work itself. I say that myself from time to time.

But at the same time, writers as a group tend to be highly insecure, often neurotically so, and every little bit of recognition is lapped up like sweet cream. So we hold contests and conferences, and we monitor sales reports, even as we announce that such things don’t really matter. But of course they do matter, even if it’s only inside our heads.

So today I celebrate, and tomorrow I get back to work.