Category: Fiction

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Ignatius at the Hop

“A small and sallow figure whose shorts hung clumsily in the crotch, whose spindly legs looked too naked in comparison to the formal garters and nylon socks that hung near the ankle,” resplendent in a red beard, besotted by the milk of human kindness—and perhaps feeling not a little guilty—stands on the porch of the Reilly home ready to provide some comfort to Irene Reilly. Patrolman Mancuso had found out that Irene couldn’t afford the a $1000 fine for drunk and destructive driving he’d given her.

Mancuso looked at the Plymouth and saw the deep crease in its roof and the fender, filled with concave circles, that was separated from the body by three or four inches of space. VAN CAMP’S PORK AND BEANS was printed on the piece of cardboard taped across the hole that had been the rear window. Stopping by the grave, he read REX in faded letters on the cross. Then he climbed the worn brick steps and heard through the closed shutters a booming chant.

 Big girls don’t cry.
Big girls don’t cry.
Big girls, they don’t cry-yi-yi.
They don’t cry.
Big girls, they don’t cry… yi.

 While he was waiting for someone to answer the bell, he read the faded sticker on the crystal of the door, “A slip of the lip can sink a ship.” Below a WAVE held her finger to lips that had turned tan. (p. 33)

The “chant” Mancuso hears is the refrain from “Big Girls Don’t Cry,” is a song written by Bob Crewe and Bob Gaudio. Originally recorded by The Four Seasons, “Big Girls” hit number one on the Billboard Hot 100 on November 17, 1962, and spent five weeks in the top position. The song—along with the movies that Ignatius sees at the Prytania—provides an important signature for the novel’s time setting. Mancuso follows Irene into the kitchen and they commiserate over coffee and donuts. Soon enough, they begin to discuss Ignatius.

“He’s out in the parlor right now looking at TV. Every afternoon, as right as rain, he looks at that show where them kids dance.” In the kitchen the music was somewhat fainter than it had been on the porch. Patrolman Mancuso pictured the green hunting cap bathed in the blue-white glow of the television screen. “He don’t like the show at all, but he won’t miss it. You oughta hear what he says about them poor kids.” (p. 35) “Oh, my God!” Ignatius bellowed from the front of the house. “Oh, my heavens! These girls are doubtless prostitutes already. How can they present horrors like this to the public? What an egregious insult to good taste. Do I believe the total perversion that I am witnessing?” Ignatius screamed from the parlor. The music had a frantic, tribal rhythm; a chorus of falsettos sang insinuatingly about loving all night long. “The children on that program should all be gassed,” Ignatius said as he strode into the kitchen in his nightshirt. Then he noticed the guest and said coldly, “Oh.” (p. 36)

Most of us will recognize “the show where them kids dance” as “American Bandstand,” but in New Orleans, in November, 1962, the popular local edition of was “The John Pela Show.” Pela was a staff announcer for local station WWL-TV who in 1961 took over hosting duties of the show originally titled “Saturday Hop.” Featuring a studio full of New Orleans teenagers dancing to the latest pop hits, and with groovy, era-appropriate graphics—including a stylized riverboat–setting the mood, the live, hour-long dance party originated from the WWL studios every Saturday a must-see for NOLA teens in the day.

Ignatius maintained an extreme opinion.

“The ironic thing about that program,” Ignatius was saying over the stove, keeping one eye peeled so that he could seize the pot as soon as the milk began to boil, “is that it is supposed to be an exemplum to the youth of our nation. I would like very much to know what the Founding Fathers would say if they could see these children being debauched to further the cause of Clearasil. However, I always suspected that democracy would come to this.” He painstakingly poured the milk into his Shirley Temple mug. “A firm rule must be imposed upon our nation before it destroys itself. The United States needs some theology and geometry, some taste and decency. I suspect that we are teetering on the edge of the abyss.” (p. 37)

After a tumult with Irene, Ignatius retreated to his room.

He slammed his door and snatched a Big Chief tablet from the floor. Throwing himself back among the pillows on the bed, he began doodling on a yellowed page. After almost thirty minutes of pulling at his hair and chewing on the pencil, he began to compose a paragraph.

Were Hroswitha with us today, we would all look to her for counsel and guidance. From the austerity and tranquility of her medieval world, the penetrating gaze of this legendary Sybil of a holy nun would exorcise the horrors which materialize before our eyes in the name of television. If we could only juxtapose one eyeball of this sanctified woman and a television tube, both being roughly of the same shape and design, what a phantasmagoria of exploding electrodes would occur. The images of those lasciviously gyrating children would disintegrate into so many ions and molecules, thereby effecting the catharsis which the tragedy of the debauching of the innocent necessarily demands. (p. 40)

Considered the first female writer from the German-speaking lands, the first female historian, the first person since antiquity to write dramas in the Latin West, and the first female poet in Germany, Hroswitha (c. 935–973) was a secular canoness at Gandersheim Abbey In Lower Saxony. She has been called “the most remarkable woman of her time”, and an important figure in the early history of women. Hroswitha’s six short dramas are considered to be her most important works. Ignatius’s conjuration of Hroswitha likely stems from her position of a dramatist, with the medieval stage providing a parallel to a televised dance floor, making  her somewhat of a patron saint of public performance. She’s an interesting choice for his appeal, since Tool most certainly would have been aware of Hroswitha’s reputation as a proto-feminist, which jars with Ignatius’s position as an ultra-conservative Catholic:

“I do not support the current pope. He does not at all fit my concept of a good, authoritarian pope. Actually, I am opposed to the relativism of modern Catholicism quite violently.” (p. 45)

Finally, don’t recoil at Ignatius’s dire punishments for (presumably) innocent teenagers. Ignatius is a medievalist, and however diminished by contemporary horrors, the Middle Ages were brutal and cruel. Ignatius is following the script.

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The Bottle Tree

Joyce Sexton was proud of her garden. It occupied the edges of her back yard along the fences; broad beds of perennials punctuated by flowering shrubs whose Latin names she had memorized;  they sounded like an incantation as she recited them in her mind.

In the southwest corner was a short dead spruce stripped of twigs and leaves whose trimmed branches were adorned with brightly-colored glass bottles. Joyce enjoyed the way the glass caught the morning sun and reflected in the lights from the porch during the evenings. It had taken her months to find just the right bottles for the tree, and this morning she finally found the last one, a bright red bottle on top that seemed to glow from inside. She was admiring its light when she heard the front doorbell. She had invited her friend Sandra over for a drink.

“Well, it is pretty,” Sandra said later as they sat under the porch fans.

“At least you’ve got different bottles. I don’t like those with just one kind, especially those milk of magnesia models. They just send out the wrong signal, if you ask me.”

“I think it’s the best bottle tree in town,” Joyce said. “I know it sounds silly, but a bottle had to really say something to me before I put it on.” Sandra just stared at it with her arms crossed.

“You don’t like it?” Joyce said.

“Oh, like I said, it’s pretty, Joyce. And it looks good right next to the Lady Banks. But do you realize what those things are?’

Joyce laughed and said, “You mean that nonsense about trapping evil spirits? Cassandra June, your fanny hits a pew every time First Prez is open. And besides, you’re over-educated to boot. Surely you don’t believe that voodoo junk. ”

Sandra sipped her gin and tonic and smiled at her old friend. “Oh, you wouldn’t care if I were sacrificing stray cats in my basement, you’d still never get along without me.”

“If you were sacrificing stray cats, I’d bring you a few,” Joyce said.

“They kill the little birds, they yowl all night long and they beat up on poor Lucky.” A little terrier of dubious parentage under the table between them raised his head and thumped a raggedy tail.

“Okay, if you think its all stuff and nonsense, let me break one,” Sandra said. “Oh, don’t look so shocked. Admit you had fun looking for these bottles, and one of them’s bound to break sooner or later.”

Joyce thought about it. “Okay, you old witch,” she said. “But break one of the bottom ones. Use Glen’s putter. It’s over there on the corner.”

Sandra retrieved the putter, walked into the back yard and shattered a small green bottle on a lower branch. At the sound, Lucky jumped up and scrambled under the gate towards the street outside.

Before Joyce could gather the breath to summon her dog, she heard the screech of brakes and a choked, mournful howl.

. . . . . . . . . .

“Mother, it was just an accident,” Rachel said. “Sandra shouldn’t blame herself. That’s just silly.”

Joyce looked at her daughter. She and Glen had been surprised when her infant golden hair had not only remained gold, but had also matured into a mane that Rachel merely pretended to complain about. Today she had wrestled it back into a tawny mass that spilled in a shower over the back of her bright blue scrubs.

“I know,” she said. “But you know how Sandra loved Lucky. She brought him liver snaps every time she came over. I think she did it on purpose; they always gave him gas.”

Rachel brought her coffee to the table and sat next to her mother. “Mom, just ride it out. I know you loved Lucky, too. Hell, we all did; except Richard, of course.” They both made a face at each other and laughed. “Cliff Stevens told me he was still wearing an ankle bracelet in Chattanooga,” Rachel said.

Joyce sipped from her cup and wished Richard were much further away. She still ran into his parents at parties, his father formal, his mother always managing to snag Joyce away from the crowd and update his doleful story. (“He didn’t mean anything, Joyce. You know that.”)

Rachel glanced at her watch. “I’ve got to go, Mom. Joe Wright told me I could scrub in on a valve replacement this morning.”

Joyce kissed her daughter and took her coffee to the patio. She called Glen at his office, forgot he was in court that day and ended up talking to his secretary Cathy about the upcoming office party.

“Glen’s just a mess about it,” Cathy said. “And I do mean a mess. He can’t decide on a damn thing, and that puts me in charge of everything from food to felonies. Would you please try to sit him down for five minutes and nail something down for me?”

“Oh, just do what you did last year, Cathy. It’s not like he’s going to notice.”

“I know,” Cathy said. “He’s such an airhead.”

Joyce laughed and said goodbye, went and poured another cup and settled back on the porch to admire her garden. The azaleas had exhausted themselves long ago, and the Shastas were now coming into their own, as were the hostas she’d planted last October. Lucky’s grave by the holly was marked with a shaggy little stone dog and a weathered scattering of liver snaps.

The bottle tree glistened in the morning sun. One bottle caught the light extremely well, a beer bottle Joyce found behind the back fence that had a white and blue label. The light it caught dazzled. Joyce laughed, picked a hand spade from her garden shelf, walked up to the tree and shattered the bottle into hundreds of pieces. She was still smiling when she heard the phone ring.

. . . . . . . . . .

“Joyce?”

Glen knocked gently at the barely open door. Joyce lay on the bed, the golden afternoon light pouring onto the floor and casting shadows upon morning windows.

“Joyce?”

He moved into the room and sat on the edge of the bed. “Honey?”

“How did he get out?”

Glen turned, bowed and rubbed his hands together. “He’s been out.”

Joyce rolled over and looked at her husband’s back.

“It’s been eight years, Joyce. He was convicted as a juvenile. It was not a capital offense. He served five years, and then they put him in a rehabilitation unit. He was clean and sober; he had a job at a Walgreens. He was evaluated twice a month.”

“He just killed our daughter,” Joyce said.

Glen’s shoulders heaved and he began to sob. Joyce reached up and brought him to her and they lay there, crying, while the shadows grew on the wall.

. . . . . . . . . .

The summer office party was never conducted, but as the holidays approached, Glen suggested that the traditional year’s end celebration be held, and to his relief Joyce agreed. The firm had had a very good year, and Glen, as senior partner, always enjoyed giving out bonuses and promotions.

Predictably, it began on a muted note, but as the night progressed, the mood lifted and Joyce found herself enjoying being around friends. As they were driving home, she and Glen found themselves laughing about Cathy’s QVC jewelry and Jerry Wineman’s new toupee.

It was warm for a winter’s evening; wisps of fog were settling into the low places along the road, and the lights from the house glowed as they pulled into their drive.

Glen grabbed Joyce’s hand and said, “Let’s sit out on the back porch and have another drink.”

“No, Glen,” Joyce said, caressing his hand, “I’d rather not. Let’s just sit in the living room.”

Glen looked at her and said, “You used to love the porch. You used to love looking at the garden. What’s the matter?”

Then Joyce told him about the bottle tree, about Lucky, about Rachel. Glen sighed and said, “Oh, honey, you know that’s just ridiculous. What did they call it in college, synchronicity? Come on, let’s build a little fire in the fireplace and huddle up next to it on a blanket with a couple of beers.”

“I’d rather have a martini,” Joyce said.

After they’d changed, Glen settled Joyce in front of the fire with her drink. “Glen, I know it’s just a bunch of nonsense, coincidences, like you said.”

“Of course they were, and I know it, but I don’t believe you believe it.”

“I do,” Joyce said, “And I’ll prove it to you. Is your 12-gage in the hall closet?”

“Sure.”

Joyce retrieved the gun from the closet, along with a box of shells. “Show me how to load it again.” Once the gun was loaded, Joyce slung it over her shoulder and headed out the back door.

“If you stand back about ten yards, you ought to be able to get all of ‘em,” Glen shouted. He smiled, took off his shirt and sipped his beer. Then, with a smile, he slicked back his hair and lay down on the couch. A shot echoed from the backyard.

When Joyce came running back in, she said, “Glen, I got them all! And the trunk is in splinters. I’ll have a hell of a time cleaning up all the glass. Glen?”

GLEN!

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Clara Curtis

“Clara bought another freezer.”

These words passed among the neighbors each time it happened, and they all nodded knowingly, having long ago concluded that Clara Curtis had indeed slipped over the edge into a comfortable sort of crazy that was perfectly harmless and acceptable.

It was simple enough, after all; they had all known people who had grown up in the Depression, when every penny, every scrap of cloth, every button or buckle was precious, and the food, well people would have shelves upon shelves of home-canned vegetables, pickles, even meats, and smokehouses were filled with hams and salted sides of beef. So it was only natural that Clara, who was born in Mississippi the very year Calvin Coolidge was elected president, would harbor the bitter memories of her early years and retain the habits of her childhood for a lifetime.

Why, those freezers were just full of frozen food—chops and steaks, bags of blanched limas, green peas and corn, stocks and soups—most of which, they said, were fed to the occasional homeless men who having heard of her soft touch would end up first at her front door, then on her back porch eating a hearty meal, usually with plenty of her homemade yeast refrigerator rolls, which were a highly-regarded addition to the pot luck suppers at St. John’s Methodist Church, where she was a devout attendee and tither. Her neighbors would see them stretched out in a post-prandial snooze on the white wicker settee on her back porch in the warm afternoons, but they were always gone by the morning.

Then there were the dogs. She couldn’t abide cats, Ms. Clara, but she loved dogs, all kinds of dogs, and if she found a stray she would take it home for caring. Those she fed from the heavy sacks of dry dog food she had Kenny the check-out man at the local grocery deliver to her house. Though home deliveries were long a thing of the past for most, Clara, being of such an age and means, was an exception to this rule, and nobody begrudged her the privilege. She was, after all, Mrs. Harvey Curtis, that same Harvey Curtis who was one of the founding fathers of a local oil exploration group that happened upon a rich field in a nearby rural county, resulting in a considerable fortune which the childless Widow Curtis held with formidable tenacity in the palms of her tiny immaculately-groomed hands.

And the flowers, let’s not forget the flowers. Clara’s house, an unpretentious two-storied brick affair with three awkward gables, stood in a space surrounded by a ring of trees that provided shade by degrees according to their nature, but around the building itself circled a ring of light that in the spring brought daffodils of every shape, size and color as well as what one local horticulturalist called “the most magnificent collection of heirloom azaleas in the state”. In the summer her marigolds and zinnias laid a golden/scarlet quilt across her south beds, and in the fall burgundy castor beans towered over crimson cockscomb. The coda of every year was a pirouette of the beautiful old mums that shared her name.

How many freezers did she have? Oh, at least three, some argued four and one or two knowledgeable observers just nodded sagely and whispered “five”. There really was no telling, since the house was old and after all did have a huge basement that was sure to be cluttered with God-knows-what else. But this was bound to be her last one, they nodded. After all, she was what? Nearing ninety? And sure, she got around just fine, called a cab when she needed to go anywhere. She’d had a string of regular drivers from the company over the years, the current one a wiry, sullen young man with a shaved head and tattoos who watched over her like a hawk and helped her in and out of the cab.

“I’m sure she tips him very well”, they’d say with more knowing nods. Her alone in that house without a soul in the world, but all the money! That church itself would have folded a long time ago if it hadn’t been for her. Mr. Curtis had that (much younger) half-brother, of course (a drunk, a wastrel, but handsome as Satan they said) who would probably lay claim to some money, but they knowing Clara and her tight fist knew he wouldn’t get a penny.

Still she was getting on, and it was in October, in the lingering heat of a clinging summer, she died. Her driver, who had to break through a window to enter the house, alerted the authorities. They found Clara downstairs in the basement with a dead puppy in her lap surrounded by not three, but five freezers.; written on the first were Cleatra, Rose, Milo and a dozen others; on the second Ophelia, Casper and Rue in the same number; on the third was Mr. Callahan, the fourth Mr. Jones, and in a far corner, Mr. Curtis.

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Tarzan in the Garden

Many gardeners in Mississippi are familiar with Jewels of Opar, though with varying degrees of fondness. While the plant—native to tropical America—isn’t a noxious invader, Talinum paniculatum seeds lavishly, and once established persists.

The plant was discovered on the “sea cliffs of Martinique and Santo Domingo” by Dutch botanist Baron Joseph von Jacquin during his travels to the Americas in the mid-18th century. Jacquin described the flowers as “small, numerous, red, and odorless,” likely the source of its common name in other parts of the world, “flame flower,” which brings us to our riddle. How did this modest little flower acquire a name so closely associated with one of literature’s greatest adventure heroes, Tarzan of the Apes?

Tarzan and the Jewels of Opar (1916) is a novel by American author Edgar Rice Burroughs, the fifth in his series of twenty-four books about the title character Tarzan. As conceived by Burroughs, Opar is a lost colony of Atlantis located deep in the jungles of Africa, in which incredible riches have been stockpiled down through the ages. Tarzan first visits Opar in Burroughs’ second Tarzan novel, The Return of Tarzan (1913), and returns to the city time and again to replenish his personal wealth, for the second time in The Jewels of Opar, again in Tarzan and the Golden Lion (1923) and Tarzan the Invincible (1930).

If Burroughs had described the jewels of the lost kingdom of Opar as “small, numerous, and red” we would have a more substantial link with the plant in my garden, but, alas, he only writes that Tarzan saw only as “a great tray of brilliant stones.” No mention of color, no mention of size, though he does say that some were cut, some not. Perhaps an enterprising nurseryman out to sell dozens and dozens of delicate little flowers that came up in his greenhouses just happened to be a fan of Edgar Rice Burroughs and bestowed the exotic name on them in an effort to make them more appealing to gardeners. Such things are known to happen.

I hope that the reason an insignificant flower collected on the volcanic slopes of Martinique became named for a “tray full of brilliant stones” from a fabled Atlantean kingdom remains rich for speculation.

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Mississippi’s Cid Sumners: from Page to Screen

In 1949, Twentieth Century-Fox released Pinky, a film that would have a lasting impact on the American film industry. The movie was based on Quality, a novel by Mississippi native Cid Ricketts Sumner.

Ricketts grew up on North State at a time when Woodrow Wilson wasn’t even a president, much less a street. She taught at both Jackson High School and her alma mater Millsaps College (where she graduated summa cum laude at the age of 16) before attending medical school at Cornell University. There she took classes under James B. Sumner, who shared the Nobel Prize for chemistry in 1946. They were married in 1915 and divorced in 1930. They had four children. Sumner’s first novel was published in 1938. Her second, Quality, was published in 1946; her third, Tammy Out of Time, was published in 1948.

According to film scholar Melanie Addington, “Pinky premiered in the same year (1949) as Intruder in the Dust. Both films and novels explore legal and societal racism. Mississippi novelists at that time were helping to create some of the earliest arguments against racism and Hollywood was enamored with the idea. While Pinky may have its controversy that could limit its effectiveness, like casting a white actress (Jeanne Crain) as the lead instead of a black star like Lena Horne, the film reaches into the center of American sentiment and finds a way to move us,” Addington says.

Variety reported that Pinky was one the top-grossing films of 1949 and observed that though the story “may leave questions unanswered and in spots be naive, the mature treatment of a significant theme in a manner that promises broad public acceptance and box office success truly moves American film a notch forward in stature and importance.”

Addington says that though an aristocratic white woman helps Pinky move towards pride in being a black female, “This leads to a more interesting conclusion for the film, given the patronizing attitude that she would listen to a white woman and not her own grandmother. Ethel Barrymore’s character (Miss Em) notes, ‘Nobody deserves respect as long as she pretends to be something she isn’t,’ and the line resonates with Pinky. Hearing the truth about ourselves from strangers often helps us stop perpetuating our own myths.” When she dies, the enlightened despot Miss Em leaves her estate to Pinky, and rumors swirl that Pinky may have killed her. Accused, she stands trial. “Much like Lucas Beauchamp in Intruder in the Dust,despite her innocence, society still finds a way to shun Pinky for ‘causing trouble’,” Addington says. “This is evident in the hushed courtroom as she slowly makes her way to freedom. Pinky, in love with a white man from the North, must choose to leave but instead realizes that she must remain in the South to claim her identity.”

Pinky stays and turns the estate into a nursing school for black women. “The film falters in the final scene, which shows Pinky standing alone and misty-eyed,” Addington says. “The adaptation avoided the ending that made Quality such an interesting original story. In the book, the home is burned to the ground by the Klan, a much stronger and more dramatic ending. The studio scrapped that outcome to provide a ‘tragic heroine’ ending that left audiences feeling good about racial issues in the South. Ricketts, not Hollywood, actually got it right with a much darker truth to an ending that sadly was too real for too many.”

Pinky was the first big studio picture to troop into race issues. The movie garnered Academy Award nominations for the three female leads, Jeanne Crain, Ethel Barrymore and Ethel Waters, who played “Pinky’s Granny”. “It also led to an appeal before the United States Supreme Court in Gelling v. Texas, a victory for the local movie theater owner who screened the film over a local decree censoring it from public viewing. The June 3, 1952 edition of The New York Times reported, “The Supreme Court today struck down a motion picture censor ordinance by which the city of Marshall, Texas, disapproved the showing of the film Pinky.”

Sumner’s third novel, Tammy Out of Time (1948), an unabashedly romantic tale of a Mississippi girl, was a significant departure from the tense realism of Quality, but doubtless due to the success of Pinky, the studios took a look, and between its pages found an iconic figure for mid-century America, and its heroine. Tammy Tyree, provided a generation of young ladies with a smart, charming role model. One critic described the film adaptation, Tammy and the Bachelor (1957) as a “whimsical romance for middle America, which started Hollywood’s last series of proletarian family appeal before the family was entirely forsaken for four-letter words.”

Sumner’s three “Tammy” novels provided fodder for four films as well as a television series over a ten year period. Tammy was played by both Debbie Reynolds and Sandra Dee, and the supporting casts of the films included Leslie Nielsen, Walter Brennan, Fay Wray, Adam West, Macdonald Carey and (in his first feature role) Peter Fonda. Denver Pyle, who played Uncle Jesse in “The Dukes of Hazard”, portrayed Grandpa Tarleton in the television series (1965-66).

Writer Jill Conner Browne says, “As I was writing the first book (The Sweet Potato Queens’ Book of Love), we decided that a modicum of anonymity regarding some of the tales might be in order, so we decided to select stage names for ourselves. As it turned out, since we are all Of A Certain Age and grew up watching and loving all of Tammy’s exploits (she was way better than Cinderella and seemed much more attainable to our young minds) we ALL wanted to be “Tammy.”  Believing that it was unfair for one to be allowed to use the name that ALL wanted, we simply decided that we would ALL be ‘Tammy.’”

The movie also spawned an eponymous Top 40 hit in 1957. Music historian Brian Hargett says, “The song has music by Jay Livingston and lyrics by Ray Evans. Reynolds herself described it as a ‘sweet, simple ballad.'”

The song went to #1 for three weeks beginning August 26, 1957. The #2 song that week was ‘Teddy Bear’, by a young man from Tupelo named Elvis Presley. “At the onset of the youth revolution, it was possible for a 25-year old like Reynolds to have a hit record sung rather simply without studio gimmickry,” Hargett says.

“Until the Beatles came along, record companies happily recorded talent like Debbie Reynolds. After 1964, ‘older’ acts like Reynolds were quickly dropped off record company artists rosters.”

“The studio first recorded ‘Tammy’ with just piano backing, but Henry Mancini sweetened it with strings, and Hollywood liked it enough to put it in the movie,” Hargett says. “The Ames Brothers sang it as the thematic introduction to the film, and they had a fair hit with it, too.” The song was also nominated for an Oscar.

Though the movies based on the works of Cid Ricketts Sumner are noteworthy, Sumner’s literary achievements seem more than modest by Mississippi standards; she garnered no literary laurels, and she is largely forgotten, even in her hometown. Still, she was a remarkable woman. She married a Nobel laureate, wrote 13 books, toured Europe on horseback, and when she was 64 she was the only woman in a group of eight who made a 31-day rafting trip down the Colorado River.

Sumners was bludgeoned to death at the age of 80 in her home in Duxbury, Massachusetts. Her 16-year old grandson, John R. Cutler, was charged with her murder.

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Dahomey

He was born to wealth, with a wife and children in a mansion on St. Charles, land from Natchez to Memphis, a man of taste and discretion, well-schooled in the ways of the world. She was born in poverty, with a red leather trunk containing everything she owned, a woman/child knowing nothing but footlights.

One night she plucked out his heart and held it in her hand. For an ethereal week, he kept her in an apartment on Ursuline. Then the revue—a musical comedy, ‘In Dahomey’—swept her away to Chicago, Manhattan, London, and Paris, into the arms of others. When he bought 24,000 acres in Boliver County the next year, he named the land for her face, radiant in the lime light, and her body, warm beside his in the morning sun.

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A Lambence from Olympus

Light in August is in many if not most ways Faulkner’s darkest work, dealing with madness, alienation, miscegenation, murder, and sexual mutilation.

The title has inspired a great deal of speculation. Some consider it simply a reference to the onerous sunlight of a Mississippi August; others would have us understand that the title refers to the light cast by Joanna Burden’s burning house.

Then there are careful readers who point to Reverend Hightower’s observation of “how that fading copper light would seem almost audible, like a dying yellow fall of trumpets dying into an interval of silence and waiting” while scholars with a regional bent so note that the phrase “(to be) light in August” is a Southern slang term for pregnancy, concentrating on Lena Grove.

The story that would eventually become the novel, started by Faulkner in 1931, was originally titled “Dark House” and began with Hightower sitting at a dark window in his home. But after a casual remark by his wife Estelle on the quality of the light in August, Faulkner changed the title, and later affirmed this inspiration:

“…in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times. It might have fauns and satyrs and the gods and—from Greece, from Olympus in it somewhere.

It lasts just for a day or two, then it’s gone…the title reminded me of that time, of a luminosity older than our Christian civilization.”

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A Picture of Dorian Greene

Let’s begin with the hat.

A misty rain was falling on Bourbon Street outside the Night of Joy nightclub where Our Hero, Ignatius Reilly and his mother, Irene, had sought refuge from the police after a chaotic entanglement in front of D.H Holmes. Among the bar’s few customers was “an elegantly dressed young man who chain smoked Salems and drank frozen daiquiris in gulps”.

This fop happens to be Dorian Greene, who spills his daiquiri on his bottle-green velvet jacket. When Irene calls to the bartender for a rag, he tells her not to bother and added, with an arched eyebrow, “I think I’m in the wrong bar anyway.”

It soon becomes clear that Dorian is indeed in the wrong bar. In fact, we soon begin wondering how Dorian could have made the mistake of wandering into the Night of Joy at all.

The few other customers in the bar included a man who ran his finger along a racing form, a “depressed blonde who seemed connected with the bar in some capacity, and a snarling bartender. When Irene suggests that he should “stay and see the show” (“see some ass and tits,” the blonde prompts), he “rolls his eyes heavenward,” and in their ensuing conversation—prompted, somewhat, by her insistence on buying him a drink to replace the one he spilled—it becomes obvious that “tits and ass” are the last things Dorian Greene is interested in. Irene persists in engaging the young man.

“‘That’s sure pretty, that jacket you got.”
“Oh, this?” the young man asked, feeling the velvet on the sleeve. “I don’t mind telling you it cost a fortune. I found it in a dear little shop in the Village.”
“You don’t look like you from the country.”
“Oh, my,” the young man sighed and lit a Salem with a great click of his lighter. “I meant Greenwich Village in New York, sweetie. By the way, where did you ever get that hat? It’s truly fantastic.”
“Aw, Lord, I had this since Ignatius made his First Communion.”
“Would you consider selling it?”
“How come?”
“I’m a dealer in used clothing. I’ll give you ten dollars for it.”
“Aw, come on. For this?”
“Fifteen?”
“Really?” Mrs. Reilly removed the hat. “Sure, honey.”
The young man opened his wallet and gave Mrs. Reilly three five-dollar bills. Draining his daiquiri glass, he stood up and said, “Now I really must run.”
“So soon?” “It’s been perfectly delightful meeting you.” “Take care out in the cold and wet.”
The young man smiled, placed the hat carefully beneath his trench coat, and left the bar.

The young man is not a dealer in used clothing. When he and Ignatius meet again—much later—he reveals that the hat “was destroyed at a really wild gathering. Everybody dearly loved it.” He later reveals that he goes by Dorian Greene. “If I told you my real name, you’d never speak to me again. It’s so common I could die just thinking of it. I was born on a wheat farm in Nebraska. You can take it from there.”

When Ignatius arrives at Dorian’s address on St. Peter Street to attend the kick-off party for what appears to be global gay insurrection, he discovers a three-story yellow stucco building.

Some prosperous Frenchman had built the house in the late 1700s to house a menage of wife, children, and spinster tantes. The tantes had been stored up in the attic along with the other excess and unattractive furniture, and from the two little dormer windows in the roof they had seen what little of the world they believed existed outside of their own monde of slanderous gossip, needlework, and cyclical recitations of the rosary. But the hand of the professional decorator had exorcised whatever ghosts of the French bourgeoisie might still haunt the thick brick walls of the building. The exterior was painted a bright canary yellow; the gas jets in the reproduction brass lanterns mounted on either side of the carriageway flickered softly, their amber flames rippling in reflection on the black enamel of the gate and shutters. On the flagstone paving beneath both lanterns there were old plantation pots in which Spanish daggers grew and extended their sharply pointed stilettos.

When Ignatius asks Dorian where the money comes from “to support this decadent whimsy of yours?” Dorian replies, “From my dear family out there in the wheat. They send me large checks every month. In return I simply guarantee them that I’ll stay out of Nebraska. I left there under something of a cloud, you see. All that wheat and those endless plains. I can’t tell you how depressing it all was. Grant Wood romanticized it, if anything. went East for college and then came here. Oh, New Orleans is such freedom.”

Yes, Dorian found freedom in beautiful, decadent New Orleans, as have so many thousands of gays from the hinterlands. John Rechy, in City of Night (1963) echoes Dorian with his description of the annual gay pilgrimage to New Orleans during Carnival season:

“. . . fugitives will have felt the stirring of this call to brief Freedom. New Orleans is now the pied piper playing a multikeyed tune to varikeyed ears. In those same dark cities equally restless queens, wringing from their exiled lives, each drop of rebellion, will fell the strange excitement . . . Hips siren curved, wrists lily-delicately broken, they will stare in defiant demureness from theater screen and home screens all over the country; and those painted malefaces will challenge—and, Maybe, for an instant, be acknowledged by—the despising, arrogant, apathetic world that produced them and exiled them.”

And, so, Dorian Greene. A comic exaggeration? Yes. A gay stereotype? By any standards, most certainly. Yet Dorian, in Ignatius Reilly’s New Orleans, and, as it so happens, so many other gays in the New Orleans we all know, has found the freedom to be who he needs to be. And Toole’s acknowledgement of this freedom for gays in the city he portrays provides evidence if not of his own sexuality, then of his intimate knowledge of the city he loved.

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Menu for a Delta Wedding

Food–unlike guns, whoring, or horses–rarely plays a significant role in fiction; most often food works as an aspect of character.

Adam Gopnik lists four kinds of fictional food: “Food that is served by an author to characters who are not expected to taste it; food that is served by an author to characters in order to show who they are; food that an author cooks for characters in order to eat it with them; and, last (and most recent), food that an author cooks for characters but actually serves to the reader.”

As an example for a writer who uses food in fiction to illuminate character (and they seem predominant) Gopnik serves up a soupcon of Proust. “Proust will say that someone is eating a meal of gigot with sauce béarnaise, but he seldom says that the character had a delicious meal of gigot with sauce béarnaise—although he will extend his adjectives to the weather, or the view. He uses food as a sign of something else.”

Similarly, Welty, in Delta Wedding, employs food to signify the collective character (social status) of the families as well as to highlight individuals. Though three main meals are described–a rehearsal supper, the wedding feast itself and a picnic afterwards–people are eating all the time on almost every page of Welty’s book. This listing could very well be offered as a textbook example of foods served in a well-to-do household in the South during the Coolidge administration.

Coconut cake, sugared almonds, cold biscuits with ham, sugar cane (likely left on the porch for the children to peel and chew), homemade fudge, wedding cake (made in Memphis), chicken salad, “Mary Denis demanded a cold lobster aspic involving moving the world . . . of course we moved it”, stuffed green peppers, hoe cakes and ash cakes, chicken broth, Coca-Cola, barbecue (most likely pork), the patty cake gift for George Fairchild (made with white dove blood, dove heart, snake blood and other things; he’s to eat it alone at midnight, go to bed and his love will have no rest till she comes back to him), licorice sticks, crusted-over wine balls, pink-covered ginger Stage Planks, bananas and cheese, pickles, a mousse (probably chocolate), chicken and ham, dressing and gravy, black snap beans, greens, butter beans, okra, corn on the cob, “all kinds of relish”, watermelon rind preserves, “that good bread” (likely yeast bread), mint leaves “blackened” (bruised) in the tea, whole peaches in syrup, cornucopia (horns of pastry filled with cream or fruit), guinea hen, roast turkey and ham, beaten biscuits (an “aristocratic” Eastern seaboard recipe: i.e. blistered biscuits), chicken salad, homemade green and white mints, fruit punch, batter bread and shad roe, ice cream, chicken and turkey sandwiches, caramel and coconut cakes, lemon chiffon pie, watermelons and greens.

As much as I want to call this a complete list of a Mississippi sideboard, it’s likely not. When it comes to Welty, who is subtle, understated, and knows food as few writers do, it’s easy to miss things, which is an excellent excuse (should you need one) to read Delta Wedding again, if not for the first time.

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Faulkner’s Writing Habits

This is an excerpt from Bitterweeds: Life with William Faulkner at Rowan Oak, a memoir written by his step-son Malcolm Franklin and published in an exclusive edition by The Society for the Study of Traditional Culture in 1977. Franklin, who became a herpetologist of all things, is himself a capable writer.

One of the most frequent questions that people ask me about Faulkner is about his writing routine and writing habits. Pappy really had no set routine. He worked in an apparently erratic manner. I do know one very important fact. He never carried a notebook or made any notes. He did not at any time carry a pencil or paper. He seemed to work largely from memory and observation.

He had a small portable typewriter that was presented to him by an old sailing friend, Jim Devine, whom he had known in New York in the late twenties. To this very day it remains in what is now known as Pappy’s Office at Rowan Oak. I always associate it with Pappy’s noisy periods, the ones that let us all know Pappy was at work. During what we referred to as his silent days, he used pen and ink. On such days you could not be sure whether he was writing or not. It was all very quiet. No telephone, no radio and no doorbell! These were forbidden items. All you could hear were the sounds from the woods beyond the formal gardens and the barnyard. The dogs would bark. A rooster who had lost the time of day might unexpectedly crow. Cows would occasionally let out a low moo reminding those in charge that milking time was near. Otherwise, only silence; for we were too far from the road and out of the way for the sounds of traffic to interfere.

Then there would be the times I would see Pappy walking along the driveway, perhaps headed for a walk down Old Taylor Road, in the direction of Thacker’s Mountain, some six miles away. It was not out of the ordinary for Pappy to cover the distance between Thacker’s Mountain and back in one afternoon. Quite often I would go along, riding the small quarter horse that Pappy had given me, Dan Patch. Pappy, of course, walked through the woods, and by the time I reached Thacker’s Mountain by the road, there would be Pappy sitting on top of one of the large boulders, perfectly still, not saying a word. I would ask, “Pappy, would you like to ride Dan Patch back and let me walk?” “No,” he would always answer, preferring to go through the woods rather than by the road. Upon returning to Rowan Oak he would not say a word. Instead he would go straight to the library, or to his bedroom, where he had a small writing table. And then you would know he was writing. Even in the silence.

Another trait of his which took him outdoors but was still connected with his writing was squirrel hunting. Every fall, on Saturday and Sunday mornings, and often on weekday afternoons, too, Pappy and I would hunt squirrels—always at least one mile from Rowan Oak. The squirrel we were after in particular was the fox squirrel. Unlike the ordinary gray squirrel, who carelessly slits about, the fox squirrel demands great patience from the hunter, for he will sit perched motionless on a limb for long intervals at a time. The hunter must outsit the fox squirrel. If he waits long enough, in absolute silence, the squirrel will show himself in a vulnerable position. It was during these long periods of utter silence that I believe Pappy did a great deal of his thinking about the plots and characters he was writing about. He never said anything about it. However, many times when we arrived back at Rowan Oak he would say to me, “Buddy, would you dress out my squirrels? Or have Broadus dress them out for me?” I would reply, “Certainly, Pappy,” and then he would disappear, and I would hear the typewriter going for the rest of the morning. Other times he would come on back and dress out the squirrels with me.

We would never have more than two or three each at the most. Pappy brought me up never to kill more than we would need. Further, to make our stay in the woods longer and more of a sport, Pappy and I had a pact where we would only shoot for the head. We kept an old tin tobacco box with a slit in the top. Either of us who hit a squirrel anywhere but the head had to put a quarter in the tobacco box. When it was full, we bought a bottle of bourbon with it. Preferably Jack Daniel’s. Despite the fact that there have been many stories told about Faulkner’s drinking habits, including the statement, in many cases, that he was an alcoholic, he was not. It is a fact that he was a hard drinker. But only on occasion. And during a period of twenty-five or more years of close association, I never observed Faulkner’s drinking heavily while he was actively writing.

Faulkner gave a well-deserved reply to columnist Betty Beale of The Washington Star, whose society gossip column was widely read. She asked for the largest number of words he had penned on one day. His answer, printed in the June 14, 1954 column, clearly showed his attitude when he was asked a stupid question He gave an absurd answer: That he had climbed to the crib of the barn one morning with his paper, pencil and a quart of whiskey, and pulled the ladder up behind him; when daylight began to fail, he realized he had torn off five thousand words. In our barn at Rowan Oak there was no crib overhead—only a hay loft with no retractable ladder.

When he had completed a particularly long and involved piece of writing he would take a Sabbatical, indulging heavily in his favorite bourbon. Perhaps it might last a month or six weeks. Quite often the last week of his binge I would spend driving him around Lafayette, Marshall, Yalobusha and Panola Counties. In the summertime we would drive in my jeep. In the wintertime the excursions would take place in a closed car. He would sit there in the front seat, viewing the countryside. But sometimes he would carry on a very animated conversation with me in which he showed his love for and knowledge of that section of North Mississippi. He would point out places he had drawn on for certain incidents in his books or stories. Thus, I know exactly the location of As I Lay Dying, which is southeast of Oxford on the south side of the Yocona River. The location of one of his best stories, “The Hound”, is northeast of Oxford in the Tallahatchie River bottom, in a locality known as Riverside. On one long drive we made together in my jeep, he said, “This is where ‘The Bear’ took place.” We were passing through the old Stone place, between the Sunflower and Tallahatchie Rivers, some seventeen miles southwest of the old river town known as Panola, situated a few miles north of Batesville in Panola County. It was in the late fall, I believe, and we had been hunting at Mr. Bob Carrier’s plantation, where Pappy took Clark Gable to hunt once in the late 1930s.

On our return trip to Rowan Oak that evening, we travelled along an old, dusty road. Cotton stood on either side of the road, but much shorter and scrawnier than that we had passed earlier, around Batesville and Clarksdale in the Delta country.  Pappy had noted there that some of the cotton had been picked by hand, some by machine—this was one of the earliest occasions, if not the earliest, that we had seen machine-picked cotton fields. Now from the road we could glimpse the tops of the trees in the river bottom beyond the fields—just a faint outline against the fast fading evening. From Pappy’s silence I realized, as we had rolled along this country road, that he was headed towards his typewriter again, and that soon I would be hearing once more the tap-tap sounds that so often penetrated the quiet darkness of Rowan Oak at odd hours during the night.