Patriotic Songs – 6

Tags

marches, memory, music, patriotic songs, South Iron High School

When I was in high school, our music teacher for a couple of years was an intense, strange, rather scary man who was also a preacher of some sort. Looking back on it now, I think there might have been something genuinely wrong with him. He had very little emotional control, losing himself in rapture at the music we were playing (or the version that was playing in his head, anyway; we were not particularly musical) or flying into fits of rage whenever kids got under his skin, which was often.

This teacher had two musical passions: old-time gospel music and Sousa marches. He selected far more gospel music than was appropriate for a public school, even in those days, and would close his eyes and sing in bliss as we squawked out the tune. Even the pious among us probably realized something was off about the level of his religious fanaticism as we marched down the street at the regional band festival playing “Onward, Christian Soldiers.” But Sousa marches! Now there was something we all could embrace, even the rowdy saxophonists who otherwise lived only to torment our unbalanced band director with sotto voce sarcasm. The teacher’s favorite was the “Washington Post March,” which you don’t hear as much nowadays, but we students preferred the one that you will undoubtedly hear today, July 4, if you watch a fireworks show, listen to an Independence Day concert, or simply keep your ears open as you hit the stores: “The Stars and Stripes Forever.”

“The Stars and Stripes Forever” is written in military march form, in which separate sections called “strains” can be repeated, recombined, and re-sequenced to meet the needs of the situation. If the band is actually marching, for example, the first and second strains can be repeated as many times as needed until the band reaches the reviewing stand, at which time the leader will undoubtedly head for the famous Trio/Grandioso strain that finishes the march, the one we all remember with that crazy piccolo flying up into the sky.

John Philip Sousa, the march’s composer as well as its popularizer, was not just a fine musician and composer; he was also a shrewd businessman. He recognized the potential of recorded music very early and made sixty recordings with the Marine Band during his time as its leader, bringing fame to the band and to himself, before leaving it to start the Sousa Band. Although Sousa was known as “the American March King,” the Sousa Band was emphatically not a marching band; our friend Wikipedia records only eight times that the band actually marched during its forty-year history. The Sousa Band can be found performing at practically every notable event and celebration of the late 19th and early 20th centuries, including the 1904 St. Louis World’s Fair, where it performed at the opening. By that time “The Stars and Stripes Forever” had become one of its signature pieces, as it was practically an instant hit after its composition in 1896-97.

Sousa also wrote lyrics for the march, although I’d have to describe them as unremarkable. They’re full of patriotic sentiment but not especially original; lots of “the gem of the land and the sea” going on here, filling out lines to match the tune. If you grew up watching Mitch Miller on TV, as I did, you’ll remember the nonsense lyrics better. “Be kind to your web-footed friends . . . ” What makes “The Stars and Stripes Forever” memorable is its grand and stirring music, and that’s all right. We don’t always need words to make us feel patriotic.

Speaking of patriotism, after that band director got fired or left on his own (who knows which?), the school hired a young music teacher, fresh out of college, who actually knew a thing or two about music and played a mean trumpet. He had gone to college after serving in the Army, where his trumpet skills had earned him an assignment to one of the several music ensembles that the Army maintained to entertain troops, play at events, and generally put forth a more humane face to the world than tanks and machine guns. And thus he had found himself out of the line of fire during that time, when the Army was engaged in a full-scale war in Vietnam. I remember him telling me as graduation approached to keep practicing my trombone in case things went sour and the draft was reimposed. “You’ll want to play that horn, trust me,” he said, or something like that.

 

 

 

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Favorite Ozarks People – 15

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Bill Knight, Fredericktown, libraries, memory, Ozark Regional Library

I have a distinct early memory of the Fredericktown branch of the Ozark Regional Library. When I was a kid of nine or so, I was a frequent habitué of the library, partly because my mom worked there part-time and partly because I was intoxicated with the rows and rows of books, an infinite amount of knowledge or so it seemed, free for the taking. (They also loaned out other things, of course, and I remember showing up at the checkout desk with a couple of full-sized art prints only to be turned away because such things were reserved for grownups. I have no idea what I intended to do with a couple of framed art prints.)

The day I am remembering came after I had discovered the juvenile historical fiction of Joseph A. Altsheler, a popular novelist of the early 20th century whose books were fat, action-filled, and intensely romanticized. In theory, these books were way beyond my reading level; I had to creep out of the kids’ section and into the “teen” section to get them. But I gobbled them up like an addict. So I loaded up my usual week’s supply – three or four books, I would guess – and headed for the checkout desk.

The clerk at the desk took one look at me, with my head barely clearing the counter, and the stack of five-hundred-page books in front of her, each branded with the tell-tale “J” on the spine (instead of the “Y” books I was properly entitled to), and then looked at her co-worker at the desk. Something unspoken passed between them, and she stamped all the books and handed them back to me.

That was when I first recognized the possibility of libraries. A library can turn the most ordinary of transactions into an unexpected opportunity. Its very existence is a statement that doors are never fully closed and that thoughts are ultimately free. Many of us need to be reminded of these facts from time to time; the recent PBS documentary Ex Libris does a wonderful job of it, and if you haven’t seen it yet you should.

But back to the Fredericktown library, and one of my favorite Ozarks people. I’ve been back to that library several times in recent years, putting on programs, leading workshops, and attending ceremonies (that’s what’s going on in the photo above, my cousin Joe Brewen on the left presenting two copies of War of the Wolf to the library – it’s a history of the U.S.S. Seawolf, the submarine on which our uncle Mike served during World War II). My contact person for all my visits has been Bill Knight, who is the other person in the photo.

Bill has been a wonderful asset to the Fredericktown branch, as a recent article in the Fredericktown Democrat-News attests. He’s curious, humble, open to new ideas, intelligent, and devoted to the best interests of the library patrons. He isn’t alone in possessing these qualities, though; all the people quoted in the article have them as well. But Bill gets to stand out in this post because he has just retired from the library. A celebration was held in his honor Friday afternoon.

Bill Knight epitomizes the values of a library, and I am grateful to have gotten to know him. It’s heartening to know that those ideals I first experienced as a child are still alive and in practice.

 

Hail the Local Historian

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history, Lesterville, local history, memory

I just finished reading Lesterville Community: The Early Years, an oversized, 413-page book that I can guarantee will never be a best-seller. And that’s fine! Because what’s important about this book, and the many books like it, is that it exists in the first place.

The authors, John Jamison (now deceased), Paul Adams, and Wade Hill, all longtime Lesterville residents and graduates of Lesterville High School in the 1950s, have collected documents, stories, photographs, and memories of all things Lesterville-related up to the mid-20th Century, producing a comprehensive portrait of the community’s early settlers, schools, businesses, churches, and pretty much everything else. If you want to know when the first public school was established in Lesterville or who built the garage on Old Highway 21, this book will tell you.

Local historians – and every community, every county, has them, the stalwarts of the local historical society and the keepers of the obscure artifacts – don’t always get much respect from their professional counterparts, who see them as dabblers or region-specific obsessives, who fail to see bigger trends in their determination to record every name on every plat map and census record. But those local historians serve a valuable purpose. They excel at giving a deep feeling for a place, its essential characteristics and its essential people, and the good ones know how to tell a compelling story.

Local historians preserve the collective memory of a place, in an era when memory seems to be in dangerously short supply. And sometimes they discover important but overlooked stories that escaped mainstream attention for some reason. So celebrate your local historian, and contribute to your local historical society! (And if you’d like to buy a copy of Lesterville Community, contact me and I’ll hook you up.)

Taum Sauk reservoir north of Lesterville, under reconstruction in 2009 after its disastrous breach. Photo by KTrimble at English Wikipedia and used under Creative Commons license.

Who Loves Libraries?

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Jefferson City, libraries, memory, The Language of Trees

I do! This photo was taken at the Missouri River Regional Library in Jefferson City recently, where I was participating in an author event. My college friend Wade Park showed up, much to my delight!

I’ve done events of all types at libraries all over the state, and elsewhere. A library is one of a community’s greatest resources, a place open to all, where knowledge, entertainment, and connection is free and cherished. I’m an unabashed fan of libraries, and anyone who knows about my upbringing can say I got it honestly. My mother, a long-time librarian, instilled that love in me from a very early age. I remember going to the Fredericktown library when I was a kid and loading up on books that were WAY over my age range. The checkout clerks passed a glance, then sighed, then checked them out for me. (They did, however, tell me that only grownups could check out the art prints that I had under my arm.)

I can hardly begin to list the libraries I have visited as part of my book efforts. Some of the bigger ones have nice speaker budgets, and I always appreciate being invited to talk where there’s a check at the end. But many of the little libraries are scratching by with no spare money at all; I usually give a talk at those libraries for free, or for gas money. Libraries have given me so much over the years that I consider myself in a permanent state of debt to them. Plus, when I visit a library there’s always a chance that an old friend will appear!

The Wayback Machine

Tags

art, books, Ed King, memory, Missouri, publishing, University of Missouri

I had an odd jolt this week when I saw a name in the obits and thought, “That sounds familiar.” I suppose that’s a by-product of aging.

When I was a master’s student, my advisor sent me over to the University of Missouri Press for a class/internship in academic publishing. I suspected then, and still do, that it was some sort of payback, in the “do me a favor, and I’ll send you some free labor” way—I’ve done that myself as a teacher. There were four of us students, as I recall, and our tasks were to proofread, read the manuscript pile, and perform the general publishing grunt work.

Our supervisor was the managing editor, whose name was Sue Kelpe, and she oversaw us effectively, although like managing editors everywhere she had the air of someone who had twenty pressing tasks waiting for her at all times, so our conversations were usually swift and surgical. I had some familiarity with blind proofreading from my newspaper days, when we did it for our major advertisers, so I often took that task. One person would read the proofs aloud while another followed the manuscript; the reader had to pronounce every punctuation mark, every capitalization. Some of my fellow students hated it, but I always found it a weird but calming task, this microscopic tour through the text, although I was never the perfect proofreader because I would usually be revising the work in my head at the same time, cutting extraneous words, replacing dead verbs with live ones.

The director of the press was Ed King, whom Sue treated with respect bordering on awe, and who didn’t deal with us passing lowlies a great deal. Occasionally he would glide through our workspace, exuding distinguished geniality, and exchange a few words. But mostly he was elsewhere, his office or meetings, although everyone knew that the U of M was his press, and the selection, design, and overall feel of the books were his.

So this week I saw Ed King’s obit in the paper and remembered droning on to my proofreading partner in the sunlit space in the press’s offices, and what I learned there about care and precision. And I walked over to my bookshelf to take down a book from that era. I noticed its design—impeccably elegant if a little old-fashioned, perfectly proportioned, a book designed to last—and it occurred to me that no obituary could be as insightful, as honest, or as  honorific as that finely crafted book.

Living with Loss

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art, change, childhood, creativity, Crystal Payton, fiction, historical fiction, history, lakes, Leland Payton, literature, memory, Osage, Quincy, writing

A while back I shared a guest post from Dean Robertson about “home” – her recollections of her childhood home, leaving it, and returning years later. Since then that meditation has returned to me on occasion as I work on my next book.

The third book that I have set in the same river valley takes place about twenty years after This Old World‘s end. Some of the characters are still there, some are gone, and new ones have arrived. I’ve been thinking about the complicated emotions we experience when we see a place – our place – occupied by someone else.

Whenever I travel to Quincy, I like to drive by our old house on North 22nd Street, the house my daughter grew up in. For a while it was an unpleasant experience, as the house fell into disrepair (seeing its occupant appear in the police report was the low point). But now it has a new owner, bright shutters, newly planted flowers. So the drive-by is a cheerful one once again.

Still, it’s not my house any more. And even the most dutiful of owners is not me. So even positive change involves loss.

These thoughts were prompted today by the folks over at Damming the Osage, who posted a poem written by a gentleman not of my acquaintance, Rod Cameron of Raytown, Mo. It’s a lovely poem, followed by a reminiscence, of himself and his neighbors losing their land to the building of a reservoir. It’s a darn fine poem. Take a read.

What can we do with loss? Loss is built into our existence. Some losses are inevitable, but others (like the loss in the poem) are not, and we fight like devils to prevent them. In G.B. Shaw’s Major Barbara, a character says, “You have learnt something. That always feels at first as if you have lost something.” Perhaps that aphorism can be reversed as well. When we lose something, we owe it to ourselves to learn from it – or at least to make it into a poem worth reading.

And so I return to the last few chapters of my novel-in-progress, thinking about my characters and their losses and their learning.

Parallel Universes

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art, childhood, creativity, fiction, imagination, memory, universes

I’m not learned enough in the sciences to genuinely understand the concept of “parallel universes” as put forth in theoretical physics, but I read enough in the popular scientific media to appreciate it. It occurs to me that we all live in parallel universes.

Let me call them the “chronoverse” and the “neuroverse.” The chronoverse is the world of brute reality, of time and space as we ordinarily experience them. Time moves on. We age. We live in one place, and then another. And then we die and are gone.

But the neuroverse is the universe created by the firing of our synapses and the electrochemical processes of our brains (thus the “neuro”). The neuroverse is the world of imagination and desire, memory and possibility, the hypothetical and the fantastic. In the neuroverse, I live here in Columbia, but I also live in Quincy, and in my childhood homes. In the neuroverse, I am a child and also a great-grandfather. My parents are living, and my grandparents and great-grandparents, and all my ancestors and descendants, because as I think of them, they are created in those neurochemical sparks.

The chronoverse is unforgiving and linear. The neuroverse is plastic and pluripotential. In the chronoverse, I know who I am and what I’m capable of, but in the neuroverse, these questions are always open, a prospect that is both exciting and scary.

It’s tempting to say that the one is “real” and the other is not, but what is real? What I perceive through the ordinary senses comes to me through neurological filters as well, and is similarly edited before I experience it as normal. Practicality and experience keep me in the chronoverse most of the time, functioning like a regular person. The longing for other lives, for realities beyond what is currently within my grasp, draws me to the neuroverse again and again.

As a fiction writer,  I spend a lot of time in my neuroverse. I have lived in the 19th Century for many years now and feel quite at home there. But I think all of us live in our neuroverses a lot. We dream, we fear, we imagine, we remember, we project. All of these states create alternate universes for us to visit, some desirable, some not. Whenever I am creating a scene in a novel, or thinking of a loved one who is not physically present, I am there in my neuroverse just as much as if I were there in “real life.” It’s just happening in a universe that others cannot perceive.

“Home” – Guest Post from Dean Robertson

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blogs, change, childhood, Dean Robertson, Faulkner, Georgia, home, memory, ostst, St. Benedict, writing

From Dean Robertson, whose book Looking for Lydia, Looking for God I reviewed last month:

Home

A few weeks ago a friend and I walked to the Chinese restaurant near my co-op and brought back steaming cartons of vegetable lo mein, fried rice, two Spring rolls, and my favorite—roasted broccoli (enough to save for lunch the next day). The order—white cartons stacked neatly in a large white bag—of course included small packets of soy sauce and several fortune cookies.

I always look forward to the slight crunch and sweetness of fortune cookies after the salty Chinese food, but the two I grabbed that day were stale. I was on the verge of throwing them out, along with their predictions for my future, when the edge of a slip of paper caught my eye. It read:

“You will find luck when you go home.”

That piece of paper, greasy at one corner, wrinkled from its near-miss with the garbage, is taped to the door of my kitchen cabinet.

 “I know that our relationship to those places we inhabit and leave and for which we search is the informing metaphor of the spiritual life in any tradition and is, in fact, the governing reality in our lives; the spirit of place is in our bones” (Looking for Lydia; Looking for God, 116-117).

I grew up in the South, in the hills of North Georgia, and so—even more than most—I have that bone-deep sense of belonging to a place, of that physical bond with land. In his small novel, The Unvanquished, William Faulkner describes the forced and hasty departure from home of two boys, with their grandmother, just ahead of Sherman’s army on its March to the Sea. They take along basic provisions—and bags of soil from the plantation.

One morning about twenty years ago, one of my cousins and I drove out to the land where I grew up. We were going to see the log house my parents built which neither of us had seen since I left for college at seventeen.

After the house was built, Mother and Daddy carefully cleared narrow paths into the woods and down the steep hill between the house and the “patio,” a structure made entirely of mortar and large stones from the creek bank. On the day my cousin and I were there, all those paths were completely grown over; there wasn’t a trace of them. We sat for a few minutes, looking with a kind of hopelessness at the uninterrupted woods, seeing no possibility for navigation.

I glanced back and stepped out of the car. I walked cautiously, but without hesitation, across the overgrown yard and onto the path that led by twists and turns through a quarter acre of dense trees and underbrush to the edge of Cedar Creek. Those stones and trees, that path, buried in thick vines and roots and many seasons of leaves, are my bones.The skeleton of that land is my skeleton. I never faltered. My cousin followed. We sat by the creek for more than an hour without speaking.

There is a reason that all those houses and apartments and rooms over all those decades never quite satisfied my search for home. Not one of them, even the wonderful co-op, in the wonderful walking neighborhood where I live now, ever will be home.

Home is not a place, not a location, neither house nor woods nor hills nor any ocean. Home is, as Esther de Waal writes in her 1984 book, Seeking God: The Way of St. Benedict, a sense of being “earthed;” it is the Biblical concept of stability or steadfastness.

Of Metropolitan Anthony, “a monk and a bishop,” she says only,

“He has found his centre of gravity; he is wholly inside himself. This is the stability of the heart.”

Home, the particularity of place, is significant because it points always to something beyond itself.

It points to home.

A hymn whose name and provenance I have forgotten includes this line:

“We are all God’s children; the journey is our home.”

And, finally, this road to our real home can never be easy. Benedict writes in his Rule of the novice monk:

“‘Do not grant newcomers to the monastic life an easy entry’ says the opening sentence, and the novice is to be left knocking at the door for four or five days. He is then warned about ‘the hardships and difficulties that will lead him to God’ If he promises perseverance in his stability after two months. . .If he still stands firm. . .he is taken back. . .and is tested again after six months, and then again four months later.”

Looking for Lydia, Looking for God is also available on Amazon.com.

 

Place

Tags

change, farming, Madison County, memory, rural

When I was a kid, my parents drove us out to visit our relatives on the home place pretty much every weekend, and sometimes during the week as well. My grandparents lived on what everyone called The Old Home Place, and my uncle Bill and aunt Gina lived down the road on why my folks called “Bill’s Place,” but which I understood in the sort of dim way that kids do that it was also part of the Home Place. Not to be confused with the River Place, where my mom had been born, now uninhabited but still part of the farm.

We passed other places – the Thurman Place, the old Kessler Place, the Graner Place (Graners long gone, now occupied by McCreerys, and in the slow process of becoming the McCreery Place). In between were mere houses, occupied by people we didn’t know, or by people we knew but who were yet too brief in their occupancy to merit a Place.

When you had a Place, you were somebody. You were probably just as poor as everybody else – my grandparents’ place was tiny – but people knew who you were, and where you lived. Your Place didn’t change much. Maybe an addition when extra children necessitated it, but the essential plan didn’t change. The house, the barn, the sheds, the pond, the pastures, all existed in a slowed-down version of time, one in which change happened, but on a different rhythm than the rest of the world. Change was more measured, deliberate, its implications considered more broadly. Other farmers considered my grandfather pretty innovative in his time; he was an early adopter of terracing and other practices advocated  by the county agent. But certainly no one would ever have called him hasty.

Needless to say, I don’t have a Place, and at this point in my life probably never will. The contemporary world, and my adjustment to it, doesn’t permit that. But I know that this is a trade and not an unalloyed gain.

Memorializing

Tags

art, creativity, history, memory, parks, war

Annie-Rose Strasser wrote a fascinating article that came out on Think Progress today about the act of memorializing the dead who are lost in massacres or tragedies. On the third anniversary of the mass killing in Norway by a racist fanatic, she recounts the moving, artistic tribute that is being created to memorialize the event.

The article got me thinking about the most powerful memorials I have ever experienced. To me, the two that I have found most profound are the Vietnam Veterans Memorial in Washington, D.C., and the NAMES project’s AIDS Memorial Quilt.

The common element in both those memorials is the act of naming, but I don’t think that’s essential to all memorial artwork. The magnificent Tribute in Light that commemorated the World Trade Center’s destruction was entirely abstract. I have not yet seen the new WTC memorial so am unable to describe it.

What the effective ones do have in common, I think, is that they are works of art, and are conceived as such. Even the AIDS Quilt, while not a work of art in the more traditional sense, draws upon the traditions of folk art and the loving acts of beauty created by many hands to achieve its power. The Norwegian memorial is so striking because it is, paradoxically, so beautiful. It takes a horrendous event and in its beauty renders it tragic, rather than simply horrible.

Likewise, the Vietnam memorial is not just haunting; it’s a fully realized work of landscape sculpture. The World War II Memorial just up the Mall from the Vietnam memorial has never had the same effect on me, even though I lost a relative in that war and it was an event that profoundly affected my family. You can sense the difference between the two memorials simply by walking around in them. At the Vietnam memorial, voices are hushed, and there is an air of solemnity; at the WWII memorial, people stroll around, chatting, taking photos as they would at any tourist attraction. I think it’s the artistic coherence of the Vietnam memorial that gives it its power.

The Norway memorial by Jonas Dahlberg