Father’s Day 2018

Tags

family, father, Father's Day, Great Depression, practicality, scavenging

“It might come in handy one day” was my father’s motto. A child of the Depression, he abhorred wastefulness of every sort. One of his favorite recreations was to go to a farm auction on a Saturday and buy the boxes of junk that sell at the end for a quarter or fifty cents, then root through them at home to see what kind of useful tidbits could be uncovered. Our barn and basement were troves of odd and interesting things, picked up somewhere, salvaged from someone else’s castoff. He routinely brought home discarded dynamite wire after a blast at the quarry, and I can’t enumerate how many projects I’ve done that were held together by those brightly-colored strands.

I have inherited, to some extent, his fondness for accumulating the potentially practical. I can’t pass a lost bolt in the road without picking it up. So when I was commissioned to build a screen for our gas meter a while back, I went to my dad’s playbook: scrap lumber, leftover paint, and a piece of latticework inherited from the previous owner that had been leaning against the shed for at least eight years.

Tipping my metaphorical hat to my dad on this Father’s Day, 2018.

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The Stream of Time

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Aging, Black River, Current River, historical fiction, history, Icarians, logging, Ozarks, St. Francis River, utopia

I grew up in the Missouri Ozarks, a forest-rich region containing nearly ten million acres of dense timberland, and spent much of my childhood exploring the steep hills and crystalline streams around my family’s farm. To my young mind, everything had always been as it was at the current time, so I never considered the history of the region, the environmental and cultural changes it had undergone, or the effects of those changes on the people who lived there. My grandfather, who lived with us during his final years, reminisced about having chopped out a farmstead along the St. Francis River. Our neighbor, a long-time resident, remembered helping his father float enormous rafts of railroad ties down the Current and Black rivers. These tales were just isolated curiosities to me; I never connected them to any larger narrative.

Not that history didn’t interest me. I was a good student, and history a favorite subject. But the missing part was the connection between history the subject, filled with names, locations, battles, and Important Doctrines, and history the lived experience.

When I began writing historical fiction, at the age of 52, I came to it as someone who had been writing fiction in a contemporary setting for decades. The year was 2007, the United States was at the peak of its embroilment in the Iraq war, and I had been engaged in the scholarly study of 19th-century utopian communities, more from personal curiosity than as part of any systematic agenda. I had developed an interest in utopian groups after reading a rather snide reference to the Icarians in The Communist Manifesto while I was teaching a Great Books class at Centenary College of Louisiana, wondering “Who the heck were the Icarians,” and then chasing the footnote across the country, as history fanatics often do. It turned out that the Icarians were a pre-Marxian communist group who emigrated from France to the United States in 1848 and had colonies in various parts of the country as late as the 1890s. Once bitten by the footnote bug, there is no stopping. That endeavor led me to a wider interest in utopianism, especially in Missouri in the years before the Civil War. In 2007, something in the news caught my attention, and I was struck by the parallels between the war in Iraq and Missouri’s experience in the Civil War: an occupying army, a restive civilian population whose loyalties were hard to determine, a landscape in which separating enemy from ally was a constant problem, bands of freelance fighters who used the larger war as an excuse to carry out their own vendettas, and a pervasive atmosphere of uncertainty and violence, in which battle lines were never clear, neighbor betrayed neighbor, and casual encounters escalated to deadly violence in an instant.

All at once the connection between my somewhat recreational study of history and my passion for creative writing became clear. The past could give insights into the present, not simply in the “Those who cannot remember history are doomed to repeat it” sense, but in a more visceral way, engaging with the hopes, jealousies, good intentions, and broken promises of ordinary people caught up in terrible times.

That realization marked the moment when I began to think about my own history, and my home’s history, in a different way. My grandfather’s stories about life on the St. Francis River at the turn of the 20th century; my neighbor’s reminiscences of work in the lead mines and the log woods, and his tales of the great tie drives, with miles and miles of green railroad ties, freshly hacked from the forest, bound together and floated down the rivers to the railhead; these stories from my childhood took on life again.

The Ozarks that I had known as a child had not, as I should have realized even then, always been that way. The thick woods, mostly oak and hickory trees a couple of feet in diameter or less, had once been largely pine, much taller and larger. The rivers, clear but relatively shallow, had indeed carried immense volumes of cut lumber. The mound of earth on the hillside above our pasture, oddly soft underfoot, was the long-ago sawdust heap from a mill that had disappeared, along with the village that had grown up around it, leaving only the stray evidence of an overgrown lane, pieces of equipment rusted to the point of unrecognizability, and a hoard of logging tools in the barn.

History, it seemed, was all around me. It had always been, but I had simply never noticed. And it wasn’t confined to monuments and battlefields, but woven into the scenery.

It’s hard to make the claim that one must reach a certain age to appreciate history this way, but my own experience tells me that perspective is what counts in this enterprise, and perspective is a gift of aging. One becomes aware of the passing of time, and of how familiar sights – a street, a building, a landscape – shift over time to reflect changing ways of life, attitudes, and circumstances. Evidence of life-and-death struggle is concealed in plain sight. A sunken roadbed marks where a forced Indian removal passed. The incongruous name of a boat landing reveals the drowned town that once flourished where waterskiers now skim. You don’t have to get old to notice these things, but age brings an understanding of the impermanence of objects and lives, even ones that we might have imagined as children to be imperishable.

In my case, the enriched understanding of my own heritage as a fifth-generation Ozarker led to an endless fascination with the stories and conflicts of my region. As a child, my parents repeated a family tale about a great-great uncle who had been killed by a bushwhacker—a guerrilla fighter—during the Civil War. My curiosity about this tale was rewarded when I found a copy of the bushwhacker’s reminiscences, dictated to postwar interviewers, for sale in an annotated edition from the University of Arkansas Press. Like other participants in the Missouri-Kansas-Arkansas theater of the war, which was dominated by savage guerrilla fighting with no fixed lines of battle, he had sought to retell his participation in the fight by casting it in the mythical light of honor and revenge, and an eager audience of fellow reinterpreters took down his musings and published them for posterity. I discovered that my family’s story was true, although the motives for the killing remain in dispute. I picked up books like David Benac’s excellent Conflict in the Ozarks and Kenneth L. Smith’s Sawmill: The Story of Cutting the Last Great Virgin Forest East of the Rockies and discovered that my neighbor’s memories of tie drives, two-man crosscutting, and forests so tall and shady, and thus free from undergrowth, that a man could navigate them at a gallop, were not his memories alone, but shared experiences across the Ozarks and into the Ouachita Mountains as far west as Oklahoma.

This renewed sense of history as lived experience has led me to focus, in my novels, on how people’s conflicting belief systems change the way they live. “Be careful what we worship, for what we are worshipping we are becoming,” Emerson famously said, and the utopian idealists, determined slaveholders, love-maddened romantics, and money-loving capitalists of my novels demonstrate that truism again and again. We are living through history, making history, and becoming history ourselves. So when I turn to history in my novels, I see this simultaneous process of being and becoming repeated at the individual scale, relationship by relationship, person by person.

My earlier novels explored the Ozarks during the Civil War and Reconstruction years. My most recent book looks ahead to the later part of the century, when the Industrial Age came to the region in the form of large lumber and mining companies based in the nation’s urban centers. These companies moved into the deep Ozarks, built railroad lines into areas previously considered impossibly remote, and enlisted the local population in the extraction of the region’s natural resources. From the early 1880s through 1910, Missouri forests produced about half a billion board feet of lumber each year, a number that is as mind-bogglingly large as it sounds. The impact of this era reverberates to this day in the Ozarks, in ways that even longtime residents don’t always notice. For example, the large national forests in Missouri and Arkansas, some of the most extensive national forestland east of the Rockies, largely derive from cutover land that the big timber companies were unable to sell and didn’t want to pay taxes on. The environmentally calamitous cut-and-get-out philosophy of one era resulted in a surprising, and unintended, scenic and environmental benefit in another era.

In The Language of Trees, the quiet utopian community established in the 1850s, having survived the ravages of the war and the agonies of its aftermath, confronts a new challenge: what to do when the Modern Age arrives? The agrarian ideals that dominated the founding of America were giving way to the industrial organization of society, with time clocks, factory whistles, and all the social upheaval that accompanies it. From the contemporary perspective, we might see this transformation as a loss of innocence, and indeed it was. But for the inhabitants of Daybreak, the arrival of the American Lumber and Mining Company is a more complicated encounter. The new people who come to the valley, offering more money than Daybreak has ever seen before for land and labor, are not all the wicked capitalists of communal nightmare; in fact, some are quite charming and conflicted in their own motives. And not all the Communists want to remain Communist. Ultimately the villagers have to find a path that threads between love and self-advancement, between cherished ideals and new opportunities, between a changing present and a fraught future.

And thus history makes its way, neither the steady march of progress our forbears liked to imagine nor the decline from innocence it sometimes seems now, but instead a swift and twisting river that loops back on itself, disappears and reappears, and carries us along with it as we try to steer a clear route while being borne by the current. Come to think of it, history is a lot like an Ozark float stream itself. We think we understand it, we even think we can control it, but in the end it surprises us with destruction, or beauty, or both.

This essay first appear in BLOOM.

The Pulpwood Queens, Pt. 2

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novels, publishing, Pulpwood Queens, reading, Texas, writers, writing

My author panel at the Pulpwood Queens weekend

A few weeks ago, I wrote about my upcoming trip to the Pulpwood Queens Girlfriend Weekend. That trip has been completed now, and I’m here to report that it was quite an experience!

The event was held at the Fredonia Hotel in Nacogdoches, Texas, a 1950s-era hotel that has been renovated and modernized. I understand that the hotel hasn’t been open long in its new form, but it was a terrific location! Congratulations to the owners on the job they did, and to the Pulpwoods for choosing it.

The Girlfriend Weekend is a gathering of club members, who hailed from all over the country, and the authors they read. In that respect alone it was a unique event. I’ve never attended an event that had so many avid, enthusiastic readers from such a wide location.

The authors were also a varied group, and I had a good time making new acquaintances. Here are a few photos: The one at the top of the post has Clea Simon, the author of World Enough (she’s a mystery writer), and Reavis Wortham, who writes Texas-based thrillers. At the end is the Pulpwood Queen herself, Kathy Murphy (more about her in a minute). I enjoyed meeting scads of other authors who work in a wide variety of genres: Lorna Landvik (contemporary novels with a humorous twist), Bren McClain (whose debut novel, One Good Mama Bone, was the Queens’ Book of the Year, Tamra Bolton (children’s), Rickey Pittman (children’s ABC books), Romalyn Tilghman, Man Martin, Lisa Wingate (whose latest book, Before We Were Yours, has hit the well-deserved bigtime), Alice Hoffman, and many, many more.

Me with Lorna Landvik, who was the high bidder on my gift basket to raise money for the Pat Conroy Literary Center.

The orchestrator of this event is Kathy Murphy, who is a tireless advocate for books, reading, and literacy. She put the whole event together, co-hosted with author Jamie Ford, and somehow managed to keep this enormous herd of cats pointed in the same direction! It was a delight to meet her. We ended up having dinner together on the night before the event got started, and I was immensely impressed with her verve and zest for the literary experience. There’s a movie in the works about her story, and she’s an author herself!

The Texas Ornithological Society was holding its winter meeting that same weekend, and the hotel staff helpfully directed us. As if the tiaras weren’t enough of a clue!

It was a long drive, but an unforgettable event! I am hugely grateful to have been invited and excited about a return trip!

 

The Pulpwood Queens

Tags

Kathy Murphy, Pulpwood Queens, reading, Texas, writing

Earlier this fall, I was delighted to receive an invitation to participate in the annual get-together of The Pulpwood Queens, an event they call Girlfriend Weekend. I’ve been aware of the Queens for years, after reading an article about them in Newsweek. So when I got the invitation, I said yes without a moment’s hesitation.

For those who haven’t heard of them before, the Pulpwood Queens are an organization of book clubs, founded in 2000 by Kathy Murphy. You can read about her inspiring story here. At the Girlfriend Weekend, the Queens dress outrageously, wear tiaras, and dance the night away. But more important, they share their love of books! They talk books, chat with authors, and celebrate the writer-reader partnership. These folks love books. They are a Reading Nation, as Kathy Murphy calls them.

I’m excited to head for the Girlfriend Weekend next month. And despite the name, the Queens also welcome men — “Timber Guys” is the designated term. It’s not too late to join the fun, so if you’re looking for a mid-January getaway, head to Nacogdoches, Texas, in the heart of pulpwood country.

 

 

 

 

Favorite Ozarks Books – 9

Tags

Bittersweet, education, Ellen Gray Massey, Foxfire, high school, Lebanon

I vividly remember the excitement many of us felt upon hearing of the Bittersweet project back in the ’70s. Modeled on the groundbreaking Foxfire project from the Appalachians, Bittersweet was a quarterly magazine of Ozarks folklore written by students from Lebanon High School and edited by their teacher, Ellen Gray Massey.

We loved getting Bittersweet in the mail, partly because of the delightful reminiscences and practical lessons in near-forgotten crafts from its elderly interview subjects, and partly because it was just as delightful to sense the excitement of the young authors as they learned about their community from people they otherwise would likely have ignored. I suspect some of those high-schoolers grew from that experience into careers as journalists, historians, or writers.

In later years, it was my good fortune to get to know Mrs. Massey, who had served as president of the Missouri Writers Guild some years before I did. I’ll confess to a little fan-boying when I met her for the first time.

So when I saw this collection of Bittersweet articles — the second, as Bittersweet Country was published first, in the late 1970s, while this one came out in 1985 — at the book table at the Ozarks Studies Symposium in West Plains, I knew I had to have it. I’ve been reading it in the past few weeks, enjoying the articles, some of which are the simple reflections of high school students suddenly discovering that their own landscape has cultural riches, and some of which are transcribed interviews from “old-timers” (undoubtedly gone now) who talk about their childhoods, their work life, their geography, their families, and anything else that prompts their fancy. It’s glorious to read their words in full Ozark dialect, written down just as they spoke them.

And yes, I’m sure a few of those expressions and stories will work their way into my next book.

My “Playlist”

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Anais Mitchell, Andy M. Stewart, Angel Band, Arkansas Traveler, Beston Barnett, Blackberry Winter, Clyde's Water, Doc Watson, Fair and Tender Ladies, Farmer Is the Man, Hazel Dickens, Jimmie Driftwood, June Carter Cash, Lakes of Pontchartrain, Lily of the West, Little Maggie, music, Nanci Griffith, Pete Seeger, playlist, Pretty Bird, Reading the Past, Restoration, Richard Wagner, Sarah Johnson, shape-note, Stephen Foster, Tam Lin, Van Colbert

Sarah Johnson, whose “Reading the Past” blog is darn near required reading for people interested in historical fiction, was kind enough to let me guest post on it recently, with what I called my “playlist” for The Language of Trees. I’m reprinting that post here, with links to versions of the songs I mention (or in some cases, similar songs if I couldn’t find a good link to the original, or the same song by a different artist.) Enjoy the music, and start following Reading the Past!

Say “historical novel” to someone, and they’re likely to think of swords and swooning, which is why I’ve always been ambivalent about the phrase when it’s applied to my novels. There are no swords and essentially no swooning in my books; instead, I’m interested in everyday people swept up in extraordinary events, and how they cope with the tides of history. These are universal themes, and I’m particularly drawn to the odd tandem of optimism and exploitation that so often characterizes the American experience. So I listen to music that connects me to the struggles and triumphs of ordinary Americans. I immerse myself in period music when I’m writing and editing because doing so helps me recreate the mentality of people of the era, and in addition, it helps me work into the vocabulary of the times. Songs, letters, speeches, and diary entries all help make my diction accurate, but songs in particular help make it poetic. Here are some of the songs on my playlist while I was creating The Language of Trees.

Hard Times Come Again No More – Nanci Griffith

As I mentioned, I’m interested in the struggles of ordinary people and how those struggles reflect the concerns of the time, and few songs of the 19th century do that as well as Stephen Foster’s “Hard Times Come Again No More.” People critique Foster’s maudlin and occasionally racist lyrics, but he also came up with songs of genius, and this is one of them. The “pale drooping maiden who toils her life away” is an image all too familiar in the America of that age, especially as the Industrial Revolution spread across the country and the concentration of production in factories, many of which employed young women because of their reliability and low wages, became widespread. As a native of the burgeoning industrial area around Pittsburgh, Foster would have seen this trend firsthand. Of the hundreds of recorded versions, I like Nanci Griffith’s, as she combines a great authenticity of presentation with a modern voice. The song is both old and new in her take.

Lily of the West – Van Colbert

There’s a lot of obsessive and seemingly hopeless love in my latest book, so I found myself listening to traditional music that reflects that thinking, of which there is an abundance. I try to listen only to period music that I can be sure my characters would have known (with a few exceptions, noted below), so songs that were identified in Vance Randolph’s great collection Ozark Folksongs get high priority. One of those, and one of the starkest, is “Lily of the West,” sometimes called “Flora.” There’s an eerie matter-of-factness in the way the narrator describes his fixation with Flora, her casual betrayal, and his murder of her new lover. The minor key and relentless speed of the song add to its effectiveness. Like most American folksongs, it’s an import from the British Isles, in this case Ireland, which helps explain the odd phrasing of some of the verses. Most people know it from the two Chieftains versions of the song, or the early Bob Dylan rendition, but I’m partial to Van Colbert’s unadorned version.

Fair and Tender Ladies – June Carter Cash

Male fixation is a recurring theme in folk music; female endangerment, alas, is another, and its frequent companion. The endangerment can be physical, spiritual, or economic. Perhaps it’s most bluntly stated in the opening lines of “Hard Is the Fortune”: “Hard is the fortune of all womankind; / They’re always controlled, they’re always confined. / Controlled by their parents until they are wives, / Then slaves to their husbands the rest of their lives.” When Josephine angrily tells Bridges in The Language of Trees that his promises are like the stars on a summer’s morning, she’s quoting “Fair and Tender Ladies,” an Appalachian song with antecedents in 17th-century England. I know it had reached the Ozarks, because in the 1940 book Ballads and Songs Collected by the Missouri Folk-Lore Society a contributor recalls hearing it in 1906. June Carter Cash’s version is appropriately plaintive, and you get to hear her autoharp playing as a bonus. Another lovely version is the one by Bread and Bones.

Little Maggie – Doc Watson

I may be fudging on whether “Little Maggie” was a period piece during the time of the novel (1887-88), but music historians have identified family members of this tune since the late 1800s. So I don’t mind claiming it as a song of the era. It’s a great addition to the “songs of hopeless love” category; I first heard it on a recording by Doc Watson, and that’s still my favorite, although you hear the Stanley Brothers’ version more often. I spent several years trying to get my guitar playing to be as clean and effortless as Doc Watson’s until I realized I didn’t have the talent for it. But that’s all right—few do! I was fortunate to see Doc Watson perform a couple of years before he died, and he had passed the fast licks on to younger members of his band, but his voice was as distinctive as ever.

Mercy O Thou Son of David – Mount Pisgah Primitive Baptist Church congregation

When Barton Braswell starts “The Lord’s Barn” in The Language of Trees, this is the type of hymn I envision them singing: shape-note hymns, created so that even those who could not read music could follow their parts in hymnals such as Southern Harmony, Union Harmony, and The Sacred Harp. This song can be found in William Walker’s Southern Harmony from 1835. Shape-note singing, unearthly and unforgettable, uses a mix-and-match approach to tunes and lyrics; the lyrics for this hymn are from 1779, and although any tune with an 8-7-8-7 meter can be used with them, a frequent choice is a tune called “Restoration,” composed in 1758. My Unitarian-Universalist friends will recognize Restoration as the tune for their hymn “This Old World,” from which I take the title of my second book. Here’s another version with the familiar lyrics of “Come Thou Fount” set to the “Restoration” tune.

The Lakes of Pontchartrain – Andy M. Stewart

In The Language of Trees, Ambrose Gardner sings this song and recollects that his commanders in the Civil War had sometimes banned it and other songs like it as being bad for morale. Such incidents did in fact happen during the war, with the immensely popular “Lorena” a frequent victim of censorship. Sad songs about lost love just don’t pep up the boys for battle. The lyrics are American, but the tune is Scottish, so I like hearing the late great Scottish balladeer Andy M. Stewart do his version of the song.

The Farmer Is the Man – Pete Seeger

As Charley Pettibone brings his prisoner to town in The Language of Trees, he grows concerned by the man’s cursing, which he knows will bother the townsfolk as they ride to the jail. So he sings to drown it out, and the song he chooses is “The Farmer Is the Man,” an anthem of the Grange movement of the Midwest. The growing rural/urban divide of the late 19th Century is an important theme in this book, and “The Farmer Is the Man” illustrates that divide perfectly. The song draws a vivid contrast between the farmer, who is dressed shabbily, whose wagon is broken down, and who “lives on credit till the fall,” and the essential nature of his work. The lyrics are a much more earthy restatement of a song by “the singing evangelist,” Knowles Shaw, who was popular during the 19th century. And who better to deliver a song of agrarian protest than Pete Seeger?

The Arkansas Traveler – Jimmie Driftwood

My grandfather was a square dance fiddler, whose fiddle (with rattlesnake rattle inside) still remains in the family. “The Arkansas Traveler,” which Josephine helps Jimmy Pettibone play in The Language of Trees, is one of the first tunes any fiddler or banjo player would learn. Today you can find a lot of instrumental versions, but few with the song’s mischievous lyrics, which in my mind is a shame. The dynamic between Traveler and Farmer, rube and city slicker, is multilayered and eternal, and after a while we can’t tell who is outfoxing whom. Jimmy Driftwood was a great champion of Ozark folk music, so it’s only appropriate to listen to his version of the song. Another favorite of my grandfather’s was “Rye Whiskey,” and I recall his glee when he would reach the verse in which “Hiccup! Oh golly, how bad I do feel” is repeated six times.

Overture to The Flying Dutchman – London Festival Orchestra

Adolphus Kessler, the visiting geologist in The Language of Trees, is a devotee of opera, and for a German Chicagoan who fancies himself culturally current, that could only mean Wagner. Riots did indeed occasionally break out at Wagner concerts, as Kessler mentions, and although I’m sure there was plenty of aspiration without comprehension in the public’s Wagner frenzy during the late 19th Century, one can’t listen to certain Wagner pieces (such as this early one) without imagining the marvelous sweep of emotions that would have come over an audience upon first hearing this insanely ambitious piece of music.

Angel Band (a.k.a. “My Latest Sun Is Sinking Fast”) – Jimmy Bullard/Beston Barnett

I first came across this song in 1972, when my mom brought home the album “Music of the Ozarks” from the library. It was produced by National Geographic magazine, and I have to say, it felt a little strange to see a national magazine putting out a compilation of music from my own home area. I felt quite exotic for a while. We were old-hymnal people in our church, favoring Fanny J. Crosby and the like, so this kind of unadorned, rather mystical hymn was foreign to me. When the angels gather around the dying narrator, and he declares, “I hear the noise of wings,” a chill comes through me that doesn’t go away for a long while. Most people nowadays are familiar with this song through Ralph Stanley’s version on the O Brother, Where Art Thou? soundtrack, although, alas, it omits the crucial verse with the noise of wings, as does Johnny Cash’s version. Too creepy for some, I suppose. I know nothing about Jimmy Bullard, the singer of that original experience, except that he lived in Timbo, Arkansas, and did a wonderful job on that now-unavailable vinyl LP. In my novel, the hymn is sung the way it’s intended to be—around a deathbed. Since Jimmy Bullard’s version can’t be found, and Ralph Stanley’s version is so familiar, try listening to Beston Barnett, who incredibly enough turns the mournful wail that we’re accustomed to into a joyful, reggae celebration of heaven-going.

Pretty Bird – Hazel Dickens

Staying on the “chills” theme for a moment, anyone who doesn’t get chills listening to Hazel Dickens’ “Pretty Bird” needs—I’m not sure what they need, maybe a heart transplant. This song ties in with the earlier theme of a woman’s longing for freedom, coupled with the aching, mournful delivery of a true Appalachian artist. This is not period music; Dickens composed the song in 1973. But oh my goodness, it rings with the truth of eternity. Listen, and then go buy that “Hazel and Alice” album. You know you want to.

Tam Lin and Clyde’s Water – Anaïs Mitchell and Jefferson Hamer

I had Mitchell and Hamer’s Child Ballads EP pretty much on continuous play while writing the last four chapters of my novel, for several reasons. First, these two songs in particular have thematic connections. “Clyde’s Water” (which they title as “Clyde Waters”) has the powerful imagery of overwhelming love that struggles against all impediments, human and natural, and in addition it has one of the scariest drowning scenes in all of music. “Tam Lin,” one of the weirdest and most magical of the Child ballads, has a moment that affirms the idea that holding on obsessively to the one you love, against all reason and good sense, might actually work, and instead of ending up with a fierce beast, you find yourself with a shivering, naked man to wrap up and take home. So it has a thread of hope among all the strangeness. Finally, Mitchell and Hamer stay true to the ancient roots of the songs while recasting them in a contemporary way. They capture the old in the new, and that action speaks to me as I seek to do the same in my creative work.

The Humble PawPaw

Tags

Darren Osburn, George Washington, pawpaw, The Language of Trees, trees

My friend Darren Osburn sent me this photo of some unripe pawpaws recently, which got me thinking. I remember eating pawpaws as a youngster; I liked the taste, which vaguely resembled that of a banana, but the seeds had to be worked around. A crude but reasonably effective way of telling when they’re ripe is to watch for raccoon scat—once you start to see pawpaw seeds in it, you know the pawpaws are ready. As with persimmons, eating an unripe one is a mistake made only once.

My mom used to sing “Way Down Yonder in the Paw Paw Patch,” which some of you may remember. It’s a children’s tune about poor little Susie (or Nellie in other versions), who is way down yonder, etc., picking up pawpaws and putting them in her pocket, accompanied by hand gestures to match. Poor little Nellie had the good sense to pick the pawpaws off the ground, which meant that they were ripe, rather than off the tree.

My reading tells me that the pawpaw is the largest indigenous native fruit in North America and that chilled pawpaws were one of George Washington’s favorite desserts. There is also a dinosaur called the Pawpawsaurus, so named not because it dined on pawpaws (although it was a herbivore), but because its fossils were found in a rock formation in Texas known as the Paw Paw Formation. Still, I like the idea of pawpawsauruses roaming the earth in bygone times.

 

Civil War History Brought Home

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Civil War, Culver-Stockton, education, history, Patrick Hotle, Scott Giltner

Here’s a marvelous story from the Quincy Herald-Whig about my friend Scott Giltner and how he brings home the Civil War to his students. I’ve seen both Scott and his colleague Patrick Hotle teach; they’re exceptionally gifted, and the history department at Culver-Stockton College has long been one of its jewels.

We in the history-novel game often speak despondently about the lack of interest in history among the young; in some ways, it’s a natural phenomenon, as people’s interest in history grows as they become more a part of it themselves. But a good history teacher can spark that interest, and this article shows one good way of doing it—by bringing history home, helping students discover that history is not just a distant recitation of kings and armies, but something that happened in their own home town as well.

 

Patriotic Songs – 4

Tags

America, flag, George M. Cohan, James Cagney, patriotic songs

James Cagney as George M. Cohan in Yankee Doodle Dandy

July 4 is about the only day most of us hear “The Yankee Doodle Boy,” which is more often called “Yankee Doodle Dandy,” and our hearing it comes mainly from the 1942 film Yankee Doodle Dandy, in which James Cagney portrays George M. Cohan, the song’s author. It’s not high art, this song, but it’s worth reviewing if for no other reason than the mythology it incorporates. And besides, it’s irresistibly catchy!

The song comes from a 1904 Broadway musical written by Cohan, Little Johnny Jones. Very loosely based on the exploits of Tod Sloan, one of the most famous jockeys of the day, the musical tells the story of an American jockey who rises to fame and then travels to England, where he rides a horse named Yankee Doodle to victory in the English Derby. Thus the line in which “Yankee Doodle came to London just to ride the ponies” makes sense within the musical although most of us scratch our heads over it nowadays. (In real life, sadly, Sloan’s venture in the Derby ended in tragedy, when his horse inexplicably pulled up, broke its leg, and had to be put down.)

Today we only hear the chorus, which is oddly repetitious, repeating “Yankee Doodle” six times. Here are the lyrics of the verses, taken from Wikipedia:

Verse 1

I’m the kid that’s all the candy, 

I’m a Yankee Doodle Dandy,

I’m glad I am,

So’s Uncle Sam.

I’m a real live Yankee Doodle,

Made my name and fame and boodle,

Just like Mister Doodle did, by riding on a pony.

I love to listen to the Dixie strain,

I long to see the girl I left behind me;

That ain’t a josh,

She’s a Yankee, by gosh.

Oh, say can you see,

Anything about a Yankee that’s a phony?

Verse 2

Father’s name was Hezikiah,

Mother’s name was Ann Maria, 

Yanks through and through.

Red, White and Blue

Father was so Yankee-hearted,

When the Spanish war was started,

He slipped on a uniform and hopped upon a pony.

My mother’s mother was a Yankee true,

My father’s father was a Yankee too:

That’s going some,

For the Yankees, by gum.

Oh, say can you see

Anything about my pedigree that’s phony?

In the first verse, Little Johnny Jones combines North and South; although he identifies as Southern by loving the strains of “Dixie,” his girl is a Yankee, i.e., a Northerner. In the second verse, he combines Jew and Gentile; his father’s name is distinctly Old Testament, while his mother’s “Ann Maria” is about as Catholic as they come. Thus Johnny Jones is a thoroughly mixed-blooded American, who travels to Old England to both charm and vanquish the stodgy Old-Worlders.

The somewhat naive braggadocio of Johnny Jones, who proclaims himself “all the candy” (that is, he’s hot stuff) lines up with American folk heroes from Paul Bunyan to Mike Fink to Muhammad Ali. But in identifying himself as the amalgam of geographies and cultures, he also reminds us of the American ideal of inclusiveness and incorporation. And the bouncy tune is as hummable as they come, like Cohan’s other great songs, such as “Harrigan,” “You’re a Grand Old Flag,” and “Over There.”

Here are links to my earlier appreciations of patriotic songs: “God Bless America,” “The Star-Spangled Banner,” and, less appreciatively, “God Bless the U.S.A.”

Favorite Ozarks People – 14

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Arcadia, doctors, Favorite Ozarks People, Ironton, Marvin Menne

The former office of Dr. Marvin Menne in Ironton. Looks like it’s a Goodwill store now, or at least it was when this Google Street View image was taken.

Marvin Menne was my family doctor from the time I was about ten (I tried to find a photo of the good doctor himself, but was unsuccessful–who knew that someone could be that far off the grid these days?) I was a tolerably healthy kid, but had the usual number of youthful ailments and necessary check-ups, so I suppose my medical involvement was pretty typical.

Dr. Menne’s office, as you can tell from this photo, was modest. A small waiting room in front, a receptionist/appointment setter behind the counter, a couple of examining rooms, and then an office and a room for more involved procedures, which I rarely saw the inside of, thank goodness. It was the office of a small-town GP, not far removed from the Norman Rockwell illustrations.

Dr. Menne had a vaguely mournful expression much of the time, the expression of someone who’s seen too many broken limbs and lives. But I recall that even as a child, he would square himself up to me, sit, and listen, until I had told him everything I had to say. Only then would he prompt me with further questions or continue with his examination.

In today’s overheated discussions of health care, we romanticize the small-town doctor, who made house calls, accepted chickens as payment, or what have you. Let’s remember that the modern health care system has resulted in a high level of care, far beyond what my small-town doctor was capable of, and overall health has been improving. Instead of a chicken, today’s poor rural patient brings a Medicaid card. But the necessity of caring remains, and I have a feeling that doctors like Marvin Menne can be found all over rural areas just as in my childhood. With the election of a doctor from Mountain Grove to the presidency of the American Medical Association, this is a year to think seriously about the state of health care in rural America. Here’s a hint: It’s not good.