The Missouri Library Association

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books, Cornerpost Press, fiction, Missouri, Missouri Library Association, nonfiction, Scattered Lights, The Last Children of Mill Creek, Vivian Gibson, writing

Accepting the Missouri Author Award at last night’s Missouri Library Association annual conference. That’s Kaite Stover, the Author Awards Committee vice chair, behind me.

The Missouri Library Association is the umbrella organization of all the libraries in Missouri – public, private, academic, and otherwise. They’re a great organization, and they speak out strongly in favor of information access and freedom of expression.

They also give out two Missouri Author Awards each year, one for fiction and one for nonfiction. This year, I was honored to have Scattered Lights win the fiction award.

Receiving this award from the MLA is extra special for me. For one thing, the books that have won it before are really terrific, and I’m honored to be in their company.

But additionally, libraries have always been special places to me, even sacred. My mom worked in the Fredericktown library, and when we moved to Annapolis, she was instrumental in establishing the Annapolis branch library, which today is named in her honor. At the dedication of the newest building that houses the Annapolis branch, my brother and sister-in-law had buttons made celebrating Mom’s commitment, and that button is what you see on my lapel. Here’s a closeup.

What she saw in libraries was their immense potential for improving people’s lives, without regard to wealth or background. When you walk into a library, you are equal to everyone else there, and the knowledge of all the planet is available to you. She loved to cultivate that curiosity. Whenever a kid came into the library, she made careful note of what that kid was interested in. And the next time that kid came in, there would be a new book pulled from the revolving collection, just waiting, to satisfy that curiosity and perhaps nudge it along a little.

A library represents the potential in us all. The existence of free public libraries is one of the great advancements of civilization. So receiving an award from the state library association is, well, pretty much the best thing I can imagine.

I’d like to comment particularly on my co-winner this year, The Last Children of Mill Creek by Vivian Gibson. I’ve been reading it over the past few days, and it’s a marvelous book. It’s a memoir of growing up in the Mill Creek Valley of St. Louis, a large Black district that was demolished and emptied out in the name of “urban renewal.” The story of Mill Creek is one of the tragic chapters of Missouri history, and it’s not well enough known. This memoir is beautiful and heartbreaking, and you should get a copy. Or tell your library to buy one!

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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

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.

Playing the Stereotype

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KWTO, Les Paul, movies, music, Ozark Jubilee, Ozarks, stereotypes, Thomas Peters, writing

On Facebook, I’ve been following the progress of Thomas Peters’ book on radio station KWTO and the Ozark Jubilee with great interest. It’s going to be a great addition to the Ozarks history bookshelf! He’s been posting some of the photos he’s collected for the book, and this morning he posted this beauty:

That’s an 18-year-old Les Paul on the right, performing with his friend Sunny Joe Wolverton on KWTO as the Ozark Apple Knockers. A far cry from the urbane, sophisticated jazz pioneer he later became, the occupant of more halls of fame than one would care to count. Everybody has to start somewhere, and for Paul it was playing hillbilly music under the stage name “Rhubarb Red.”

When I saw this picture, for some reason I thought of a movie I had recently rewatched, the Coen Brothers’ The Ballad of Buster Scruggs. Buster (Tim Blake Nelson) opens the movie in full cowboy-movie garb, singing “Cool Water” as he rides through Monument Valley. Of course, the joke (or part of the joke) is that “Cool Water” is not a historic cowboy song at all, but a pop hit of the 1940s.

What follows is a series of ghastly/comic episodes that both play on Western-story stereotypes and embrace them, just as the “hillbilly” image both mocks, uses, and embraces that stereotype as well.

We make art where we find it, with the materials at hand. Sometimes those materials include simplified versions of ourselves, and then we must decide whether to challenge the stereotype or play with it. I think either decision can work, as long as the stereotype is approached with conscious intent. It’s when stereotypes are presented unconsciously and uncritically that they harm. The rural rustic, the hayseed, has been with us since Greek comedy, and we will probably never get rid of it. So we might as well play with that image as we move toward the larger points we are trying to make in our literary and creative work.

What truly prompted me toward these thoughts, though, was the news that the former Dogpatch USA property had been bought by Johnny Morris of Bass Pro Shops fame. I’ve never met Johnny, although some friends of mine know him and speak very highly of him. While Bass Pro is the business that made him a billionaire, it’s the other Morris properties that play the Ozark stereotypes: Big Cedar Lodge, Top of the Rock golf course, and Dogwood Canyon (which is owned by a linked foundation). These properties present a sanitized, tidied-up version of the mythic Ozarks that people just love and are willing to pay handsomely to experience; a single-day admission to Dogwood Canyon will set you back $20, and it’s another $32 to ride the tram. Assuming you brought your own bicycle or are up for the walk, you can see a mill, an Indian burial cave, a wilderness chapel, some waterfalls, a trapper’s cabin, and other sites, all skillfully manufactured and manicured to achieve a perfect match of product and expectation.

This is progress, I suppose. The old Dogpatch attraction played on an earlier generation of stereotypes, barefoot hillbillies and moonshine stills. It will be interesting to see what becomes of it under its new owner. I’m guessing it won’t stray far from the formula that has made the other attractions so popular.

New Book!

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books, Cornerpost Press, short stories, West Plains, writing

I’m thrilled to announce that I have a new book coming out this fall! Unlike my earlier books, this one is a collection of short stories. The title is Scattered Lights….that’s a line from one of the stories, and (in my mind) an appropriate metaphor for the people in the stories, and the stories themselves: a collection of things that may seem random at first, but which are deeply and firmly connected, if only we take the time to look. Release date is projected for November.

I’ve started a Scattered Lights page on my website and will be placing news about the book on it, for the most part, although I’ll put headlines here occasionally, too. The publisher is Cornerpost Press, a new venture out of West Plains, and they have been absolutely magical to work with! I think this new book will look great.

And for those of you who only know me through my novels, I think the stories will provide a different look. They’re not set in historical times, but in the contemporary setting.

Interview: Ed Protzel

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books, Civil War, historical fiction, Missouri, mysteries, racism, reconstruction, writers, writing

My fellow historical novelist Ed Protzel has a new book out today. It’s called Honor Among Outcasts, and it follows his very successful The Lies That Bind. Ed and I have mined similar veins in our work (Missouri during the Civil War), although Ed also has a mystery/thriller coming out this year, also. So it was a real pleasure to visit with him recently about his new release. Here’s our interview:

SW: Thanks for joining me on my blog today, Ed! To start out, I wonder if you could tell us a little about your new book, HONOR AMONG OUTCASTS, and how it connects with your previous novel, THE LIES THAT BIND.

EP: Thanks for having me, Steve. In HONOR AMONG OUTCASTS, the second book in my DarkHorse Trilogy, a Southern abolitionist and a group of runaway slaves form a Union colored cavalry regiment in western Missouri, plunging into the most brutal guerilla war in U.S. history. When the abolitionist and his fiancée are accused of spying for the Confederacy, they must face a corrupt military justice system and other obstacles.

Book 1 of the trilogy, THE LIES THAT BIND, centers on the relationship between these men and their efforts to build their own egalitarian plantation in slavery-dominated Mississippi. HONOR AMONG OUTCASTS begins two years after the end of THE LIES THAT BIND, with the group working as contraband laborers attached to the Union army in Missouri. Both books work as stand-alone novels or, even better, in tandem.

SW: What drew you to this time period in the first place?

EP: I read a lot of history, including the Civil War. Being from Missouri, it felt natural to set HONOR AMONG OUTCASTS in that time and place. However, in my research, Missouri’s terrible neighbor-against-neighbor guerrilla war really caught my attention; it said much about the depths to which hatred could debase the most noble cause. Great material for compelling storytelling. Actually, the periods depicted in the three books — antebellum Mississippi, Civil War Missouri, and Reconstruction Mississippi — form an arc through this pivotal time in American history.

Additionally, all of the DarkHorse novels decry violence, with the main characters attempting to avoid being victims of it. With HONOR AMONG OUTCASTS set during a brutal war to resolve slavery, I didn’t want to resolve the myriad conflicts in the book through violence. Instead, I chose to play out the conflicts  through a courtroom, which tied the plots together very neatly. My characters are seeking justice, and what better place for justice to prevail than a courtroom?

SW: I see that you have a third novel on its way. Did you envision this series as a trilogy, or is that something that just happened along the way?

EP: Yes, I am now happily completing SOMETHING IN MADNESS, the final book in the trilogy. Actually, I imagined the “DarkHorse” concept as a trilogy originally, but had only written the first book (THE LIES THAT BIND). Still I pitched it to my agent as a trilogy, and she pitched the trilogy to the publisher (TouchPoint Press). It’s certainly been an adventure, and I’ll miss the characters once I’m finished, they’re so real to me after all these years.

SW: On a similar note, are you someone who likes to plot your storylines out carefully in advance, or do you discover things as you’re writing? What’s your creative process like?

EP: Actually, I don’t plot out my storylines in advance. Usually, I come up with a strong concept that offers lots of possibilities and powerful themes, plus good main characters that fit the situation. I also come up with an idea for what I think would be a terrific ending, one which will reveal my themes, and I try to keep that ending in mind as I create the story.

As for the rest of it, once I set the story in motion, the characters and the plot take over—that’s the fun of it for me: the reader discovers as I discover. The novel usually morphs into complex plots that gain power as they go forward, with lots of twists and surprises along the way. THE LIES THAT BIND and another novel, futuristic, that was just picked up (THE ANTIQUITIES DEALER) were written like that. Interestingly however, with HONOR I didn’t have an ending in mind when I began, just a number of conflicts and historical events, all of which I had to tie together and resolve. HONOR is quite atypical for me in that respect.

SW: So, you’ve also got a futuristic thriller coming out. I think working on two such disparate genres would make my head spin! Do you see connections between the two types of writing, or do you keep those creative endeavors in separate compartments?

EP: Good question, Steve. Writing THE ANTIQUITIES DEALER was a nice break from writing historical fiction and refreshed me, cleaned out my head. Historical fiction has so many constraints, including language and character viewpoints that can’t be used because they’re too modern, they’d be anachronistic. No such problem with futuristic and sci-fi genres. Further, I wrote THE ANTIQUITIES DEALER first person, which was also liberating, letting me get into the main character’s head in his own words. Also the contemporary setting (St. Louis) is relatively familiar to the reader, mixed with exotic portions in Israel, and partially in Paris and London. And taking place in modern times, with sci-fi-like elements, I was able to really let go and come up with imaginative plot devices that the reader won’t guess. I really enjoyed this genre and have another, EARTH EXCURSIONS, laid out and ready to jump on when I finish SOMETHING IN MADNESS.

SW: Finally, and I know it’s always a little presumptuous asking authors to comment on “themes” and the like, but what are you hoping that readers will take away from HONOR AMONG OUTCASTS?

EP: I hope readers will see a parallel to today’s world and its own set of challenges. I want them to grasp how HONOR AMONG OUTCASTS illustrates that no matter how unjust society may be, love and friendship can enable men and women, regardless of color or class, to stand together and to prevail. And that evil deeds and the lies upon which they depend can and will eventually collapse of their own weight. Think of our country’s advances in civil rights and the women’s movements, gay rights, etc.

Call me an optimist, but history does bend toward justice over time.

Find Ed Protzel at:

Website: http://www.edprotzel

Facebook: https://www.facebook.com/edprotzelauthor/?ref=settings

Amazon: https://www.amazon.com/Honor-Among-Outcasts-DarkHorse-Trilogy/dp/1946920312/ref=sr_1_1?s=books&ie=UTF8&qid=1517584302&sr=1-1&keywords=ed+protzel

Goodreads: https://www.goodreads.com/author/show/14757802.Ed_Protzel

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

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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.

 

 

 

 

The King Sits in Dumfermline Town

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art, music, narration, Sir Patrick Spens, writing

Stained glass window from the Abbot House at Dumfermline

I’ve had the opening lines of “Sir Patrick Spens” running through my head for the last few days, probably because I’ve been thinking about narrative economy. And rarely will you find a more economical opening than this:

The king sits in Dumfermline town, drinking the blood-red wine.

“Where can I find a good captain to sail this ship of mine?”

Then up and spoke a sailor boy sitting at the king’s right knee:

“Sir Patrick Spens is the best captain that ever sailed the sea.”

And there you have it. We know that king. He’s idling away his time, he’s contracted for a new bride from Norway, and he’s eager to get to the business of siring heirs. With the wine in his blood, he’s growing impatient. But why won’t anybody sail over to fetch her? We know the reason. It’s a crazy mission this time of year to cross the North Sea. But he will not be brooked; he’s the king, and his word is law.

And we know that sailor boy, too. Eager to please, the little underling. Eager to show off his knowledge. So he “up and speaks,” and from that foolish remark the tragedy unfolds. Sir Patrick, his frightened crew, and “all the lords and noblemen” sail off to their doom. The blood-red wine foreshadows their fate.

A chance exchange of words sets off a chain of events, unforeseen by those who speak the words but inevitable as death itself. Now that’s narrative economy.

A New Author

Tags

Goat Boy of the Ozarks, John Mort, novels, Ozarks, Springfield, writing

It’s always a great moment when you discover an interesting author who is new to you. That happened to me recently when I received a book by John Mort, who is not a new author at all, but an established author who I simply had missed.

I should have heard of John Mort before now, but somehow had not. He’s an accomplished writer who lives in Springfield, and who has a bunch of books out that he’s either written or edited. I finished Goat Boy of the Ozarks in the last couple of days and based on that one, I’m going to go looking for more.

The “goat boy” of the title is Johnny Bell, a sixteen-year-old who like most boys his age struggles with authority, his sense of self, and inconveniently frequent erections. But unlike most boys his age, he is the poorest of the poor, parentless, largely friendless, and suspicious of the social-service foster family with whom he is placed, although in his isolation he also leans out for the scraps of affection they offer him as well.

At first I found the title off-putting, unsure whether I was in for some sort of Ozarks gothic story, nature idyll, or what. But when I discovered late in the book what the “goat boy” referred to, it came as an unexpected and refreshing surprise as the book took a turn into the deconstruction of Ozarks genre mythology, an activity dear to my own heart. I suppose one could say that the storyline of the book follows the coming-of-age pattern, but there are other springs flowing through this parcel as well.

The narrative style is curious; it’s a bit jagged, with elliptical moments in which we have to figure out what happened in the interim, but after a while I got used to that method. I could tell I was in the hands of a writer with serious purposes, which gave me all the incentive I needed to persist despite my uncertainty.

After reading Goat Boy of the Ozarks, I plan to seek out more of John Mort’s work and give it a look as well.