Christmas at Rowan Oak

This is an excerpt from Malcolm Franklin’s Bitterweeds:  Life with William Faulkner at Rowan Oak (1977) Born in Shanghai in 1923, Franklin was the son of Cornell and Lida Estelle Franklin. After what’s most often described as a “cordial” divorce, Estelle married William Faulkner in 1929, and he began living in Oxford, Mississippi. Franklin served as a medic during World War II, studied medicine and herpetology. He died in Charleston, South Carolina, in 1977.

Of all the holidays at Rowan Oak, Christmas was the most festive. An air of great excitement prevailed everywhere, even in Chrissie’s and Andrew’s little cabin.

I recall one cold, crisp December mid-afternoon, when the various members of the family gathered in the library in preparation for the expedition to get the Christmas Tree. This was the very beginning of Christmas, when the tree was found and cut.

Each was bundled up against the cold. This year there was Jill, Pappy, Victoria’s husband Bill Fielden, myself, Mama, and Andrew bearing the axe. It was Pappy who chose the tree-a cedar that had less of a chance to become a large tree. In making his choice he was also careful to thin out the woods properly, leaving extra growing space for the ones not cut, for our Christmas Tree always came from Bailey’s woods on Rowan Oak’s grounds.

After the tree was felled, Andrew and Pappy spread the khaki-colored tarp smoothly on the ground. Then the tree was carefully wrapped in the tarp, leaving an area at the base free so that Pappy and Andrew and all of us could take turns pulling it through the woods to Rowan Oak. This was done to protect the branches as the tree was pulled along, for it was far too heavy to carry.

The tedious chore of getting the tree up and ready for trimming was then completed. By then it was late afternoon and a cold sharp light came in through the living room windows. The trimming was left to the ladies with the men offering a suggestion now and then. Boxes of ornaments lay open on the floor. Tinsel lay heaped on the parlor table. When the decorations had found their way onto the delicate outer branches and the tinsel, sparkling and clear, reached to the very top ornament, the tree was a beautiful sight to behold. Across the hall the library door stood open. A roaring fire crackled in the fireplace. A bourbon bottle stood open on a silver tray. Cut glass waiting to be filled caught the reflection of the fire. (Christmas was preceded by trips for Christmas cheer to Memphis, seventy-odd miles away, the nearest place offering a wide selection of bourbon, wine, and of course champagne for the New Year.)

There were other trips to the woods for greens and decorations, all to be gathered before Christmas Eve. The gathering of the holly and mistletoe was quite a task. We had to drive almost eight miles out into the country to the place where it grew. This was an old Chickasaw Indian Boundary line, where the holly trees were used to mark the line running east and west. In the trees high above these hollies grew the mistletoe. So high up were they, that it was necessary to shoot the mistletoe out with a .22 rifle. Only a few berries were lost as the branches fell.

It was Christmas Eve morning. Pappy had taken Mama to Oxford in the old touring car to do last minute shopping. She had left instructions with Chrissie that if any packages or boxes should arrive while she was out, to just have them left in the house or on the verandah. Where I was at the time no one was sure. After all, it was Christmas Eve.

Toward the middle of the afternoon Chrissie was summoned by a sharp rap on the front door. It was the driver of the Railway Express van, with several large boxes for Mr. Franklin. Upon Chrissie’s instructions he and his crew neatly lined up three boxes on the verandah and drove off.

As the afternoon became colder and a grey sky brought early darkness, Mama and Pappy turned into the driveway, headed for the open fire and a drink. When Mama reached the top step on the verandah and saw those long boxes, all three of them, she was astounded. “Billy,” she called out, “What on earth do you suppose Malcolm’s receiving in these boxes?” As Faulkner reached the verandah he took one look at the boxes and called out loudly for me. **Buddy,” he said, “What on earth are these things? Come here!”

I had just come in by the back door and had not seen the boxes. I hurried through to the front verandah, took one quick look and knew. Dear God! They had sent out to me three cadavers meant for the Anatomy Department of the University!

When Mama found out what they were she took off for the library saying “Get rid of them! Get rid of them!”

I turned to Faulkner and explained. “Pappy,” I said, “I told Dr. Hogg that if anything was sent to the Anatomy Department during the holidays, the Express Company could call me and I would go over to the Department and let them in! I didn’t tell them to deliver cadavers here!”

“Well,” said Pappy. “We cannot have an array of cadavers gracing the verandah on Christmas Eve! You’d better phone Railway Express to pick these up immediately.”

Heading towards the telephone, shaken by the array of cadavers, I called back to Pappy. Please pour me a stiff drink while I make the call!

As the number was ringing the thought flashed through my mind that, as it was late Christmas Eve afternoon, there just might not be anyone there. But We had barely finished our drinks when the Railway Express van drove up again to the front Verandah. Faulkner then volunteered to drive me to the science building where I unlocked the door and made room for the Railway Expressmen to deliver the cadavers. As they emerged from the building Faulkner pulled from his pocket a pint bottle and passed it to each man.

When we arrived back, Rowan Oak was brightly lighted, and the glitter of the tree could be seen as the car came down the driveway and pulled up under the porte-cochere. Entering the library we headed toward the fire to warm up again. The aroma of various hot dishes drifted into the foyer from the dining room, where a buffet was being placed on the table. Norfleet appeared carrying a water pitcher. He bowed to Faulkner as he set the pitcher in place on the tray next to the bourbon decanter and glasses. For many friends would find their way up the cedar-lined driveway of Rowan Oak on Christmas Eve, leaving gifts or stopping by to say “Merry Christmas,” and perhaps sampling one of the hot dishes on the way to replenish a glass. This evening there were Dr. and Mrs. John Cully, Colonel and Mrs. Evans of ‘Minmagary” fame, Colonel Baker and his charmingly vivacious wife Kate, and many, many more.

The hour was a little past eleven, and younger members of the family were preparing to leave for the midnight service at St. Peter’s. A great flurry of activity could be glimpsed beyond the parlor door as coats were being held, gloves pulled on, and scarves flung across shoulders with an occasional impatient “Hurry or we’ll be late.” Older guests also began to disperse, leaving Pappy and Mama to go upstairs, where the stockings lay waiting in Mama’s room to be filled. Christmas Eve had suddenly become very quiet as Rowan Oak waited for the arrival of Santa. Even the dogs seemed somewhat subdued.

Daylight had hardly crept across the east lawn and touched the great cedars before young couples were astir in Rowan Oak. Jill’s and her young cousin Vicky’s were the first voices to be heard. Then there would be Pappy’s voice, trying to subdue the exuberant chatter as the girls headed for Mama’s room where the Christmas stockings hung waiting. Chrissie had already brought “Miss Estelle’s” coffee tray up, and was peeping from behind the door and saying “Christmas Gif,” and flashing her brilliant, warm smile. She caught Pappy on the stairs, tipping down to fix his own breakfast. Chrissie knew that Mr. Bill would be the only one to eat a proper breakfast: eggs, bacon, and grits covered with melted butter, topped off with hot coffee.

On Christmas Faulkner was always a fastidious dresser. To start the stocking-opening ritual in Mama’s room, he wore an elegant and ornate silk Chinese robe. In this he would have his breakfast. Even for the early part of the ceremony of the tree he would be so dressed, for by nine-thirty the young people were there beside the tree in the parlor. It was at this time that Mama would make her appearance wearing a lovely Chinese wrapper in soft, muted pastel shades.

The younger members of the family, including the colored servants, Broadus, Norfleet, Estelle, and others, gathered around the tree. Pappy in his colorful dressing gown officiated. He offered a prayer first. Then he picked up a package and called a name. That person stepped forward and received it. This continued until all the packages were passed out, amid a flurry of paper and ribbon the boxes were opened.

The time had now come for Faulkner to receive his gifts. These consisted of little bundles of pipe cleaners, some in assorted colors, others snow-white. There were all kinds of pipe cleaners in various bundles clinging precariously to the branches of the tree, each with its little tag. There was one package of Dill pipe cleaners, which Faulkner liked particularly. The tag on this read: “To Pappy, Love Buddy.” The next, a gaily colored mixture, said “To Pappy, Love Jill.”

For Faulkner would accept only pipe cleaners from the family with the exception of an occasional handkerchief from Mama. If he received any other gift, he would carefully take it to his office and there it would remain unopened.

Colored members of the family went merrily off to the kitchen to open their gifts. There were pints of bourbon for our colored friends: Henry Jones, Wade Ward, and Wallace, who hunted with Faulkner, and of course Andrew.

The dining room table had been made ready early that morning. The Christmas punch bowl glistened ruby red, the flowers were gracefully arranged. Punch cups were placed about the ornate lace table cover. The bowl could be glimpsed by members of the family as they made their way upstairs to dress for the day. This was a Christmas punch created by Faulkner for the holidays. It consisted of apples, bourbon, dry burgundy and soda water, chilled by a generous portion of ice chunks.

During the morning and through the day frequent knocks at the kitchen door were followed by shouts of “Christmas Gif!” and various folks that had worked for us during the year received in return a Christmas drink and cheerful word. This was the custom in Oxford and throughout Mississippi. Wallace, at the request of Faulkner, stood ready with a wagon to drive to their homes those who could no longer navigate.

During the early afternoon members of my mother’s family began to arrive. There was my mother’s sister Aunt Dot, and my grandmother Oldham, this time without my grandfather. He had passed away during the war. Then there was Mary Jenkins, Dr. John Cully’s surgical nurse, who lived at the Oldhams’, and had for years been almost a member of the family. She had on numerous occasions taken care of Faulkner during serious drinking bouts.

Miss Maud, Faulkner’s mother, never went out on Christmas, or attended dinner at the homes of any of her children. She preferred to have her sons and grandchildren drop in and visit her. After her husband, Mr. Murry, passed away in the early 1930’s Miss Maud never had a Christmas Tree. Instead, there were bouquets of holly, Christmas greens, and a holly wreath at the front door. About mid-afternoon Faulkner would leave for a visit with Miss Maud, usually staying an hour. Then he would return to dress for dinner.

The afternoon grew late. Faulkner, who had returned to Rowan Oak and dressed in the white tie and tails which he considered appropriate for the occasion, made his appearance in the parlor, suggesting as he did so that drinks were in order. He then headed for the library fire and a bourbon, soon to be followed by members of the family. Conversations over drinks rose and fell with merry outbursts of laughter. Ice clicked against chilled glasses as new toasts came up. Mama came gaily into the library, saying, “Billy, will you do the honors?” Those who were seated before the fire arose, and we all placed empty glasses on the tray as we passed the library table on the way to the dining room.

Faulkner was already standing at the head of the table as the members of the family reached the dining room. The long table was draped with its elegant linen cloth, and the lighted candelabra cast uneven shadows on the polished silver. Holly and Christmas greens in a low cut-glass vase formed the centerpiece. Silver goblets with crisp white linen napkins marked each place.

There were two small tables placed at graceful angles near the dining table. These were for the younger members of the family, for there were too many to be seated at one table. Small gumdrop trees were placed in the centers of these tables. Their dainty linen and lace tablecloths swept close to the floor.

Chairs were held for the ladies as Faulkner graciously designated where each was to be seated. Norfleet’s white coat flicked through the pantry as he made a smiling entrance carrying the huge serving platter and turkey. After Pappy said the blessing, the turkey was carved. Each plate was bountifully served as Norfleet held it for Faulkner. Boojack re-set Faulkner’s place as Norfleet removed the well-carved turkey, placing it on the long narrow serving table on Faulkner’s left just in front of the fireplace.

Faulkner, lifting a crystal wine glass, poured a small portion in the glass and tasted it. Then each glass was filled by Faulkner as he walked around the table. When every glass was filled, Fau toast appropriate to the occasion. Boojack entered carrying a heaping dish of rice. Just behind, Broadus appeared bearing a large bowl of giblet gravy. There was always a tremendous amount of giblet gravy prepared, for it was a favorite with rice on Christmas. Then came the broccoli with a cheese sauce, followed by a shallow dish of sliced buttered sweet potatoes. The ham was passed, and a final platter of broiled quail. The long serving table had very little room left as the dishes were placed on it.

It was Boojack who, sometime later, swung open the door carrying a large empty tray. She, with the help of Broadus, removed the dinner plates and placed the dessert plates beside Mama.

Norfleet appeared almost immediately bearing a large cut glass bowl of ambrosia, which he placed in front of Mama. Seeing the ambrosia reminded Faulkner of a story a good friend had told him. Faulkner repeated the story as the ambrosia was passed. This friend had a cook, and when she was asked if she would like to go to heaven when she died, she stood silent for a few minutes. Then, smiling broadly, she replied: “No Sir, I don’t believe I wants to go to heaven, cause all I’d be doing up there every day for Eternity is grittin’ up coconut for the white folks’ ambrosia.”

Boojack returned carrying fruitcake and a silver urn of after-dinner coffee and the cups. Norfleet placed in front of Faulkner a bottle of cognac and delicately patterned small brandy glasses. By the time the last refill of cognac had been offered and conversation become somewhat scattered it was time to leave the table. The sky was a deep black and night had come. Christmas was over.

Alice, Fasha, and Arlo

Thanksgiving has a uniquely American song, not the sort that Lincoln might have imagined when he inaugurated the holiday in 1863, but “Alice’s Restaurant Massacree” is revolutionary, irreverent, and earthy, just as American as pumpkin pie.

“Now it all started two years ago on Thanksgiving, when my friend and I went up to visit Alice at the Restaurant, but Alice doesn’t live in the restaurant, she lives in the church nearby the restaurant, in the bell-tower, with her husband Ray and Fasha the dog. This song is called Alice’s Restaurant, and it’s about Alice, and the Restaurant, but Alice’s Restaurant is not the name of the restaurant, that’s just the name of the song, and that’s why I called the song ‘Alice’s Restaurant’.”

“I think a lot of people who are interested in food fantasize about having a restaurant,” Alice Brock writes in My Life As a Restaurant (1975). “I never did. I was twenty-five, married and crazy. I was a captive in a situation I had very little control over other than the role of cook and nag—being a hippy housewife was not satisfying. I had a world of fantasies; none included a restaurant, but all were based on the assumption that I would be my own person, on my own trip.”

Alice’s mother, who was a real estate broker in Stockbridge and determined to get her daughter out of her “situation”, called her one day and asked her to go with her and look at a little luncheonette for sale down an alley in the middle of town. “It had a counter down one side and three or four booths on the other side, and a tiny ill-equipped kitchen in the back,” Alice remembers. “It was painted two-tone institutional green, and it was definitely not the kind of place where I would eat, much less own. But it was a chance, a chance to escape. Before we left, I was hooked. I was already creating a menu, I was already free. Those moments, when suddenly an opportunity appears, a door opens—they are what life is all about.”

Alice called her restaurant “The Back Room”. “I knew nothing, absolutely nothing,” she admits. “I can’t believe how innocent I was. But it didn’t matter.” Opening night was a near-disaster, “a nightmare”, but she persevered, and soon she and her sister, who was also in a “situation”, were staying up all night cooking things she later wouldn’t consider for hundred-dollar-a-plate dinners and working five hours making thirty portions of some exotic soup that would vanish in twenty minutes the next day. “I was crazy, she said, “but I know that for all our unprofessionalism, we cooked some pretty wonderful dishes, and I established a reputation as a cook.”

The summer of 1966 was a magical time for Stockbridge; the Berkshire Playhouse had reorganized with an eye to becoming more than just a summer stock theater, attracting stars and would-be stars to the town. “Dustin Hoffman and Gene Hackman liked hamburgers with onion, green peppers, and an egg in them,” Alice writes. “Frank Langella was called ‘Mr. Mushroom Omelet’. Ann Bancroft was wonderful, and when her whole family came, I cooked giant meals; when they stayed late, she helped me clear the table.”

One spring morning a year after opening, Alice says that she walked through the front door and freaked out. “I felt that instead of owning it, it owned me. The plates were out to get me, the pots were planning an attack, the stove was laughing at me. I had a terrible urge to smash everything.” Instead, she called Eastern Airlines and booked a midnight flight to Puerto Rico, emptied the cash box and gave away all the food. “It was a wonderful restaurant. It was a success. I ran it for one year. It turned me into a madwoman. I made enemies of old friends. I broke up with my husband. I left my home. I had actually broken free and become my own person. I didn’t know what I was going to do, but I knew I would never have another restaurant. Never say never.”

Alice Brock went on to open not one but several more restaurants; she now lives in Provincetown, Massachusetts, where she owns an art gallery. After Arlo premiered “Alice’s Restaurant Massacree” before a captivated crowd of over ten thousand at the Newport Jazz Festival in July, 1967, he performed it live on non-commercial New York City radio station WBAI one night later that summer. The song became so popular that for months afterward WBAI rebroadcast it only when listeners pledged to donate a large amount of money. The eponymous (less the massacree) album was released that same year, with the song (at 18:20) taking up the entire first side, the other filled with a selection of bluesy folk tunes. The ballad has become a Thanksgiving tradition not only for classic rock stations, but for thousands of households across the nation.

L.W. Aloft

by Howard Bahr (as told to Ms. Kate Kirkpatrick)

So far, I have written hardly anything to make you smile, which I certainly like to do, so I will tell a story featuring our late pal L.W. Thomas, one of the funniest boys who ever lived and a very nervous character who owned many peculiar phobias. For example, he was afraid of milk in any form. Also, when he bought a six-pack of beer at the Jitney Jungle, he would not touch the can with the price-tag on it (this, of course, was when things had price-tags). You could be sure L.W. would have a beer for you at his house, because there were always fifteen or so cans with the price-tag in his icebox. For Thomas, flying in an airplane was out of the question. Once, when he and Randy Cross and I flew on Delta Airlines to Washington, D.C., we had to render him comatose with three Ativan tablets before he would even get in the taxi to the airport.

Capt. Jung and his trusty Taylorcraft

Another late friend of ours, Captain R.A. Jung, owned a 1943 Taylorcraft tail-dragger (an old Army spotter plane) he named “The Yellow Peril.” She was canvas-covered (painted bright yellow) and could accommodate two persons in tandem seating. For instruments, she had an altimeter, an air-speed indicator, a horizon bubble, and a compass. That was it. We all enjoyed flying in this antique crate (sometimes we’d buy two or three bags of flour, then go hunting along the Illinois Central for a train to bomb), but, as you might expect, L.W. steadfastly refused to have anything to do with her. Finally, one evening at the local tavern, Captain R.A. Jung beguiled Thomas with the news that he had just installed a radio in the cockpit of “The Yellow Peril.” (Heretofore, the ship had been incommunicado, which meant the Captain could only land at strips without a tower.) This apparatus, claimed Captain R.A. Jung, made the old bird safe as a Chevrolet station wagon. L.W., girded with the bravado of a half-dozen draft beers, and no doubt embarrassed by his legendary reluctance, uttered the fatal words, “Why, there ain’t nothin’ I’d rather do than scale the airy heights with my old pal, Captain R.A. Jung. Excelsior!” After that, there was no turning back.

Next afternoon, a Sunday, the boys gathered at the Oxford airfield to see L.W. Thomas off on his maiden flight in the Taylorcraft. Having steeled himself beforehand with a half-pint of Cabin Still (no Ativan or Xanax in those days, and, at the moment, none of us had any reefer), Thomas squeezed into the cockpit and buckled himself in the rear seat, clutching to his chest a Gideon Bible he had swiped from some fleabag motel back down the line. Present as observers were Frank Walker, John Schorfheide, Steve Cook, Tommy Freeland, and I, each man enjoying the balmy day, each man uttering words of comfort and encouragement to our jittery comrade:

“C’mon, L.W.–if you crash, it won’t hurt–you’ll be killed instantly.”
“Don’t listen to him, pard–you’re back aft and may only be injured for life–”
“If that happens, man, try to keep your arms and fingers so you can play the
the guitar on the sidewalk by the bus station.”
“But . . . what if he’s only injured and the wreckage catches fire?”
“Good point! Lotsa guys survive a crash, only to perish in the flames.”

Meanwhile, Captain Jung ran through the pre-flight checklist:

Flaps: OK
Horizontal Stabilizer:  OK
Rudder: OK
Brakes: OK
Fuel: OK
Loaded Revolver Under Seat: OK
Peach Brandy: OK
Cigars:  OK
L.W. Thomas : Sitting quietly hating the Wright Brothers; hating Mr. Taylor who designed the Taylorcraft; hating all of us who, safely on Terra Firma, could afford to make light of hideous injury and death; most of all hating Captain  R.A. Jung who, when satisfied of the craft’s readiness spoke up as follows:

“Awright, girls–knock it off and pay attention.” He rummaged around under his feet and produced a mare’s nest of wiring from which, after a few minutes of muted invective, he extracted two sets of headphones fitted with throat mics. The leather earpads were cracked and dry, like the antique Bakelite mics and the confusion of black wires that connected one apparatus to the other, then disappeared beneath the instrument panel where, presumably, they were somehow connected to the generator[1]. Captain Jung explained that, while the device was not exactly a radio, it was a revolutionary, if makeshift[2], intercom system assembled from genuine WWII Naval Aviation components he’d discovered in a surplus store in East St. Louis, Illinois. As a result, the Captain pointed out, those in the cockpit would no longer have to scream at one another over the clattering of the engine and the wind howling through the wires and wing struts. L.W. Thomas–lucky boy!–was the first passenger to show up since the installation, and this flight would be the intercom’s initial trial.

Thomas revealed later that, in that moment, he did not feel lucky; his confidence was further eroded by the knowledge that Captain Jung had installed the rig himself. Not that the Captain wasn’t handy! It was he who built a muzzle-loading black-powder cannon from a length of steel pipe, so effective it could fire a dirt-packed tomato sauce can clear across the Mississippi River. His work with plunger-activated black-powder aerial bombs was pure genius.[3] However, the Captain’s craftsmanship was generally applied to automobile repair, heavy machinery, and crude explosive devices; his experience with electricity was limited to hot-wiring cars in his youth. Thomas was aware of this deficiency, but his thought was, What could possibly go wrong with an intercom?

Now, to start the motor of the Taylorcraft, a ground crewman had to turn the propeller until he felt pressure on the pistons, whereupon that person would announce “Contact!” whereupon Captain Jung would flip the magneto and reply “Switch on!” whereupon the ground crewman would grasp the propeller blade and give it a heave counterclockwise. This is a very old-timey way to start an airplane, but she was a very old-timey airplane. After the engine was started and the prop spinning, pilot and ground crewman would exchange a hearty thumbs-up and “Cheerio!” (see illustration below), Captain Jung would take a draught from his flask of peach brandy, and off he’d go.

Capt. Jung in the cockpit, the author giving him a thumbs up.

So it went on the day of L.W.’s first flight. We watched the little machine trundle onto the grass runway–in a moment, she began to roll forward–Captain R.A. Jung opened the throttle–the mighty sixty-five HP engine began to buzz–the tail came up–and in a moment “The Yellow Peril” was gracefully aloft and disappearing southward over the trees. Meanwhile, the boys walked back to the office to drink coffee and listen as the airfield manager, the late Mr. Jeff White, told us tales of flying in World War II.

Well, I started out with the intention of telling about the time our friend S. Cragin Knox beguiled L.W. Thomas into accompanying him to Texas to work on an oil exploration crew, and the foreman out there gave Thomas the job of driving the dynamite truck, which made Thomas very nervous indeed, especially when, one day, and without thinking, L.W. Thomas flicked his cigarette out the open window of the truck cab–but now I am all tangled up in the story of L.W. Thomas and the Taylorcraft. However, as I think about it, the two stories have a similar narrative thread. As a modern person (no offense), and especially a modern person (no offense) married to an Air Force fireman, you might question the wisdom of L.W. Thomas smoking a cigarette while driving a dynamite truck. Also, you might contemplate the photo above and ask yourself, “Should Captain R.A. Jung really be smoking a cigar in the cabin of a fabric-covered airplane swirling with gasoline fumes that is about to sail into the Wild Blue Yonder?” This behavior was perfectly routine in those times; today, it would most likely be considered poor judgment, if not moronic.

(At this point, I should insert an apologetic parenthetical. Beloved niece, you could not be blamed for assuming our gallant band were naught but a crowd of dissipated low-lifes and scoundrels. In fact, we were all in college at Ole Miss, save Schorfheide [a railroad detective on the Cotton Belt RR in Memphis] and Captain Jung, who, when he was not adventuring, worked as a millwright at a steel mill in Granite City, Illinois. Walker was an ex-Marine, Schorfheide and I were Vietnam veterans; Jung had served his Army time in Alaska as a ski-trooper; Steve Cook would become chairman of the graduate art program at Mississippi College. Tommy Freeland was a poet and intellectual from an old Mississippi family; he would grow up to become an excellent attorney, marry my ex-wife, and die of a heart attack at a tragically young age. S. Cragin Knox, in spite of his lowly beginnings slinging cable on an exploration crew, eventually became the State Geologist of Mississippi. As for L.W., he was a graduate student in theatre at Ole Miss, a musician, a restaurateur, and a fine writer. He died in his sleep at age fifty-two in ’02 as his beloved wife Jeanne watched by the bedside. Life was never the same for us after L.W. Thomas crossed the river, and I do not believe a man can own a higher accolade. The same can be said of Captain R.A. Jung, who was killed in the crash of “The Yellow Peril” on [fittingly] November 11th, 1976, just seven months after the events recorded here. These were lads who lived authentic lives, and I am proud to have been one among them, and I miss them greatly. Thus, though sometimes we were dissipated low-lifes and scoundrels, misbehavior was only part of the adventure.)

Anyway, since I am thus far into the airplane story, I will stick with it.

Time and again, we hear persons complain that Life is Unfair, and certainly it seems so at times. Some point to Fate; the Calvinist attributes every misfortune to God’s Inscrutable Plan; sensible people have no other recourse than to mutter the well-worn phrase, “Shit just happens.” Whatever one’s philosophy, it does seem patently unfair that events surrounding “The Yellow Peril” on that balmy April morning in ‘75 came to pass with poor ol’ L.W. Thomas, of all people, in the catbird seat.  (As a writer, you will recognize this paragraph as intended to “stretch out the story” and “build up suspense” in order to delay the climax of the tragedy, so I will mention the wholly superfluous fact that, like old-timey barnstormers, Captain R.A. Jung always carried a number of wooden tomato stakes and a rolled-up bundle of cord affixed with colorful pennants like you might see at the state fair, a used-car lot, &c. so that, should he land in a cow pasture, as he often did, he could stake out a perimeter of wavy little flags around the ship. Remember that cows, though not very bright, are curious creatures; remember also that Captain Jung’s Taylorcraft was covered in a fabric treated with sealant [pilots call it “dope”]. Naturally, the local bovines would saunter over to investigate the big yellow insect that had buzzed down into their pasture; if Captain R.A. Jung neglected to set out a perimeter of wavy little flags to confuse them, the cows would commence to snack on the tasty, dope-covered fabric so that when Captain Jung returned from the nearby grocery with his sack lunch, he might well find a more or less portion of his fuselage gnawed down the the ribs[4]. I always wanted to use this arcane fact in a novel, but never found the opportunity.)

In any event, but a few minutes after takeoff found our intrepid aviators at a thousand feet and crossing over the Yokona River[5]. L.W. Thomas, of course, was not feeling intrepid. Below him lay the thin brown thread of the river, the greening woods, the checkerboard of cotton fields soon to know disc and plow, a sprinkling of white houses and, here and there, a wisp of cloud: truly a magical scene stretching to the blue hills and the world beyond. Alas, these aesthetic delights were not for Thomas. Later, he would freely admit that, from the moment the tail wheel lifted off the grass strip in Oxford, he shut his eyes tight and kept them shut. He white-knuckled the Gideon Bible and felt the rapid beating of his heart. He listened keenly to every variation in the motor’s rhythm and waited for the moment when it must surely quit altogether, all the while painfully aware that only a bit of wood and fabric lay between him and a thousand feet of empty air. Meanwhile, Captain Jung’s voice chattered amiably through the headphones clamped over Thomas’s Baltimore Orioles cap. Heretofore, L.W. had ignored the Captain’s observations, thinking them no more than the utterance of a madman indifferent to his own mortality. Now, high over the fields of Lafayette County, the Captain said something that made L.W. open his eyes and take notice: “Hey, man,” spake the Captain, “whatever you’re smoking back there smells like shit!”

This remark was an eye-opener for Thomas–first, because he wasn’t smoking at all, and, second, because he, too, all at once detected an unwelcome odor; i.e., the acrid smell peculiar to electrical fires. As the cabin began to fill with blue smoke, Thomas understood that the moment he’d feared was arrived at last, a realization confirmed by the Captain’s next announcement: “Well, hell, Thomas–we are on fire. Help me look for a place to set her down.”

Looking “for a place to set her down” was not among L.W. Thomas’s various array of skills. He’d never needed to “set down” from anyplace higher than his own bed, nor supposed he ever would. In addition, obeying the Captain’s order meant L.W. would actually have to look out the window! This he tried manfully to do, but the attempt was cut short when he realized (as he would later remark) that the distant ground, scary as it was from the sealed double-paned window of an airliner, was a hundredfold more so viewed through a vibrating half inch of cracked and oil-smeared plexiglass howling with wind. Thomas, heart palpitating, closed his eyes again and exclaimed “Oh, Jesus!” just as “The Yellow Peril” made a sudden stomach-churning drop. The Captain had chosen a field of broomsage nigh the river, and toward this he descended with dispatch, at the same time banking the ship hard over on her starboard wing in order to land into the wind, which direction he perceived by the smoke of a burning brush pile. The little machine hit hard, bounced high, hit and bounced again, and at last found her footing among the muddy ruts of the field. In a moment, she had rolled to a stop, whereupon Captain Jung shut off the engine and bailed out of the cabin door, pulling after him the still-smoldering remains of the intercom system, including L.W.’s headset. To say that Thomas was not far behind is to diminish the speed and agility of his exit.

Later, L.W. would admit that, once free of the cabin, he fell to his knees, pressed his cheek to Mother Earth’s welcoming bosom, and promised never again to leave her. It was, he said, not one of his finer moments.

For a time, Thomas and the Captain lounged under the wing, sipped peach brandy, and basked in the warmth of danger passed, peril overcome. Luckily, the Taylorcraft suffered no damage beyond a little bubbling of paint on the instrument panel; the intercom system, however, was hors de combat. One can imagine how, in that field to this very day, fragments of wire and Bakelite are turned up by harrow or plow, unseen and unlamented, their history lost to time like artifacts from a remote civilization. Here we must leave them, and here we must leave our tale of two gallant flyers–save for a final contemplation. When you feel safe, when the world seems in order at last and the Almighty has apparently wrapped you in His protecting arms–then look out, for the Cosmos is about to slap you up side the head. L.W. Thomas was still congratulating himself on his narrow escape when Captain R.A. Jung stood up, brushed off the seat of his pants, lit a fresh cigar, and said, “Awright, buddy–you ready to go?” Only then did Thomas comprehend that “The Yellow Peril,” having landed, must now take off again. With him aboard. True courage means that, when you’re scared shitless, you go ahead anyhow. This Thomas did, clutching his Gideon Bible as the ship bounced across the muddy broomsage field and struggled aloft. The last thing Thomas heard before he fell asleep was the brush of the landing gear through the greening branches of the trees.

The author with the irrepressible L.W. Thomas

[1] The generator was fixed under the starboard wing and had its own little red propeller. In flight, the wind spun the little red prop, and the generator generated.
[2] When he told the story later, L.W. Thomas used a more colorful synonym for “makeshift,” i.e. “nigger-rigged.” Regrettably, the term has since fallen out of common usage.
[3] In fact, we only had one; it was stoppered by a wooden plug so wouldn’t disintegrate; It made a most satisfying thump when dropped on an empty field, but when we landed, we had to get in the car and go retrieve it. The bomb in its experimental form wouldn’t hurt anyone, unless it hit him on the head. However, should any bad guys–Russians, Yankees, &c.–invade North Mississippi, we were ready to provide air support. Today, we’d be arrested as terrorists.
[4] When I was a little boy in Primary School, certain children from poor families (known as “clay-eaters”) would eat library paste and even dirt from the playground to satisfy the cravings of vitamin deficiency. Perhaps this helps to explain cows’ tendency to chew on airplanes.
[5] Originally called the Yoknapatawpha and so named in Faulkner’s novels and stories.

Last Train Through Vardaman

This is a recording of Raymond Bailey performing “The Last Train through Vardaman” that Barbara Yancy made sometime in 1975-76. I lost the first part of Raymond’s narrative because the tape was so old and broke at both ends during recording, but I did hear it on the first playback. Raymond begins with saying, “This is ‘The Last Train through Vardaman.’ I remember we were loading the train that day, and my brother said, ‘Pile it high, boys, because this is the last train through Vardaman!’ So, we loaded her up (and away she went!)” The tape has him doing a couple of other songs, including ‘Nellie Gray’ and a version of ‘Casey Jones,’ but it’s too fragile for any further play. The locomotive is the OH&CC Number 9 at Okolona. Listen to Raymond here.

‘Faulkner: The Past Is Never Dead”: A Review

With this first feature-length documentary on William Faulkner, Michael Modak-Truran sets a very high bar indeed. This triumphant film is a rich, detailed portrait framed by a penetrating, entertaining narrative, a work that radiates talent and professionalism.

Faulkner: The Past Is Never Dead” is a many-paned portal for the discovery of Faulkner the man, his life and times, and his art. Modak-Truran calls his method a “hybrid documentary approach,” employing traditional interviews, archival media, animated sequences, and re-enacted scenes; the resulting quasi-stream-of-consciousness mélange seems intensely reflective of Faulkner’s own technique.

A select group of scholars examine themes such as race and feminism, consider Faulkner’s novels both in relationship to each other and their sequence in Faulkner’s career, and offer insights into how his characters and narratives relate to the man and his milieu. Archival photos, video, and documents provide buoyancy.

What Modak-Truran calls the “narrative arc” of the film is a series of beautifully re-enacted scenes derived from various sources, and this too reflects Faulkner’s own approach to narratives in works such as As I Lay Dying, The Sound and the Fury, and Absalom, Absalom!

“Faulkner: The Past Is Never Dead” establishes Modak-Truran as a director with a sure sense for the medium and a firm grasp on his material. The film also confirms Faulkner’s relevance and offers assurance that the power of his prose and insights into the human condition will indeed endure.

A Feast of Feathers

This absolute gem of a story by Jeff Weddle, a man of many parts, but a poet at heart, was inspired by true events. It’s the lead item in his brilliant collection, When Giraffes Flew (SYP; Tallahassee, 2015).

You’re ten years old the day the chickens explode. What could possibly prepare you for this? You’re in the living room watching TV, and you hear the bang out in the yard, and you run to the door. A pickup truck is turned over beside a broken elm tree, and there are chicken crates everywhere and chickens all over the yard. Some of the chickens look dead already, but others are screaming and running around flapping their wings. Poochie and Smoke appear from somewhere out back and lay in on the chickens. They bite the heads and sling the bodies, both just the same, as if they had been taught to do this. They kill the birds and eat their fill, then kill more and leave them lying dead on the lawn.

“Mama,” you scream, but she’s not there. She’s visiting her sister in town, and you’re in the house alone-just you and the wrecked truck in the yard and all those chickens. Dead chickens, dying chickens, chickens being murdered by the dogs. The scene is horrible. Poochie and Smoke fight over a small bird. Poochie has it by the head and Smoke has a wing. The wing rips off, and Poochie backs away, growling.

“Mama,” you scream again.

The driver is still in the truck, but you don’t know this. You don’t even think about him. All you can think about is the chickens in your front yard.

You don’t know how long it is before you think to call somebody. You call your mother at your aunt’s house and tell her what’s happening.

“Calm down,” she says. “Talk slow. Tell me what’s the matter.”

Where do you start? What can you tell her?

“Feathers,” you say. “There are all these feathers. The yard is filled with them.”

“Feathers?”

But that’s all you can think to say. After a while, she stops trying to get the story, and says she’s coming right home. You hang up but don’t dare walk back to the door. Instead, you go back and stare at the television. You turn up the sound so you can’t hear what’s going on outside.

The front door opens. There’s a man standing there, a man you don’t know. He’s bloody and feathers are stuck all over him. He looks like a big, awful rooster. He stands there in your front room for a second then dips over and slides against the wall, all the way to the floor. There’s a wide trail of blood where he slides. You realize this isn’t good.

This is the driver. He’s a farmer from out in the county, and he was on his way to sell his chickens in town. Now he’s had a bad experience in your yard, and his chickens are mostly beyond salvage. Now he’s lying on your living room floor bleeding to death, feathers stuck all over his body. Now you have to deal with him.

But of course you can’t. There’s nothing to do but sit where you are and wait. The noise outside has quieted to the din of a few dozen chickens clucking and squawking. The dogs have followed the man into the house. This is the biggest chicken of them all, and they each know they must have him. Smoke wises up and latches onto his head, just above the cheek, and locks her jaw tight. Poochie has a shoulder. They try their best to sling him around and kill him, but he weighs too much. They growl and jerk, but it’s no good.

You run over and kick the dogs away, but they are crazed with blood. For a moment it looks like they’re going to jump on you, but they don’t; they want the big chicken and nothing is going to keep them from having it.

By the time your mother arrives it’s all over. The man’s face and arm are chewed to pieces. He’s on the floor, dead-blood and feathers stuck all over the floor and walls.

Your mother doesn’t know what to make of any of this. You think she’ll scream or faint, but what she does is scoop you up and run into the bathroom and lock the door.

“Are you okay?” she yells at you. “Are you okay?”

There is no way to answer this question. You sit on her lap and shake your head back and forth, but you don’t know what you’re doing.

A week later, things are mostly back to normal. The truck has been towed away and most of the feathers are gone from the yard. The front room is immaculate. The broken elm tree has been removed. A man from the sheriff’s office has come and taken Smoke and Poochie away. You cried over the dogs.

When the deputy came for them, you tried to keep him away, but you’ve learned now, there’s no fighting a man with a badge and a gun.

Your mother hasn’t left your side in seven days.

“Mama,” you tell her, the chicken man can’t hurt us anymore.”

She smiles the tiniest bit, but you know she believes something different. From now on, every so often, the yard will yield a host of bones.

If there is anything in the world you miss more than your dogs, you don’t want to think of it. At night, now, you wonder about all that road out there. There must be more trucks heading your way, and maybe chickens aren’t the worst of it. It’s hard to imagine this might be true, but something tells you to believe it.

Waters Walking

The other day my car was being repaired. I had it in the shop for an oil pump problem. I say it’s a car; maybe it’s a truck. I don’t know. It’s a twenty-two year old Jeep Cherokee with crank windows. Nothing fancy and that’s what I like about it. It was cold that morning so I put on my insulated boots with warm packs placed in each toe like hunters do, bundled up with my fingerless gloves, packed my painting kit, and set out walking around the block.

I saw a few people who might have thought I was indigent. I know the look. I’m loaded down like all I have is what I’m carrying. These things are my most valuable possessions. Walkers pass by not saying anything when, if I were dressed nicer and not for painting in the cold, they would probably say hi. I saw some people who recognized me and wandered why I was in the neighborhood. I explain I got married last March and we live around the corner. I’m out looking for something to paint. Things always look different on foot. Nothing is speaking to me yet. Then I come upon a painter friend of mine. We chat about the things going on in each of our lives and I reach down to pet her three legged dog. We say our goodbyes and as they are walking away I see a painting there.

I make a quick mental sketch of her and her companion. I begin setting up. I turn my AirPods on and begin listening to shuffling music. A car stops and a person is looking for some keys that may or may not have been dropped nearby. No luck. A young lady stops with a Polaroid camera and explains she is working on a series of photos depicting the neighborhood. Another car stops to drop off a meal on wheels to an older person. Then I get a call from my mechanic who says he’s going to need another day to finish the oil pump job. It’s okay. It’s all okay.

It’s been a little over two hours and I’m nearly through. It’s best not to get too through. I take a phone photo and post it like I always do. It feels good but I am not sure if it’s the painting or the process of seeing; but it does feel good. Then, I’m flooded with another feeling that I am doing what I am supposed to be doing. All because an oil pump broke and a walk around the block.