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. But, oh, how she shined.
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.
God bless Uncle Daniel! If anyone can be generous to a fault it’s him, though Grandpa called it an open disposition and claimed that within the realm of reason there were people who would take advantage of such, which is how Uncle Daniel, attracting love and friendship with the best will and the lightest heart in the world, ended up with Grandpa in his new Studebaker sitting with old Judge Tip Calahan driving through the country on his way to the asylum in Jackson. From the word go Uncle Daniel got more vacations than anyone because they couldn’t find a thing in the world wrong with him, and he was so precious all he had to do was ask and he’d be on the branch-line train headed back to Clay County. Everybody missed Uncle Daniel so bad when he was gone that they spent all their time at the post office sending him things to eat. Divinity travels perfectly, if you ever need to know.
Pecan Divinity
It’s important to know that divinity, as with all recipes using whipped egg whites, is best made in dry weather. Having said that, boil three cups of sugar, one-half cup of Karo corn syrup, three-fourths cup of water to the hard ball stage. Beat the whites of two eggs with a teaspoon each salt and vanilla until stiff. Pour the warm syrup over the whites and blend in chopped pecans. When it begins to harden drop by spoonfuls onto wax paper or spread in a oiled pan and cut to shape.
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 distinctly onerous nature of sunlight in 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.”
The sun was well up, blaring over the trees when I parked in front of Rick’s apartment building. He stepped out of his door wearing his straw fedora and linen jacket, worn chinos, and canvas loafers, the picture of a dandy gone to seed.
Watching him wrangle his legs down the steep stairs, Ricky suddenly seemed frail to me, and I felt a pang in my chest. I’d known hm for less than five years, but in those years, I’d come to love him like a brother; he’d filled my losses, propped me up, and pushed me back into a life I could lead on my own. He claimed to be sixty-eight, but he said once he remembered seeing Elvis on Ed Sullivan, which added years to that claim.
He clambered into my old truck, and we headed to Linda’s market north of downtown. The market sits far back from traffic under a long tin roof, a colorful oasis in a dull, hot desert of asphalt surrounded by cars parked without regard to space or bearing. As we drew closer, we could hear the shuffling rattle of a homemade pea sheller.
Under the roof, our eyes adjusted to the shade and found melons mottled and striped, green-upon-green, blazing red cayennes, motley purple peas, and speckled beans. We paused over the corn, looking for fresh ears with tight shucks, green stem ends, and sweet-smelling tassels. We chose cucumbers that were slightly under-ripe, firm, and shading to jade.
The tin roof popped as the sun bore down. Ricky walked over to the peaches, rows of baskets filled with Chilton County Elbertas, saffron blushing to carmine, some with stems and leaves. Over these he lingered, walking back and forth, occasionally reaching down to brush one with his fingers, picking another up, holding it to his nose, and putting it down.
I brought him a paper sack and shook it open with a pop. “What do you look for?” I asked.
Ricky snapped out of his reverie, looked at me and smiled. “A dragon,” he said.
“When you’re a child, the world is full of magic things, wonderful things. A few of them amaze you so much you can’t get rid of them,” he said. “Those are the dragons, the ones you keep looking for long after you’ve been stomped on a time or two, and you can’t find the man in the moon anymore.”
“I remember this peach from a basket in Tupelo. When I bit into it, suddenly I couldn’t see, I couldn’t hear. That peach just sucked everything out of me, and all I could do was eat that magical peach, and I’ve spent the rest of my life buying lousy peaches chasing that dragon.”
We loaded our sacks in the truck. As we were pulling onto the highway, Ricky reached into the back, rummaged around and pulled out a peach. He wiped it with the handkerchief he kept in his back pocket, turned it around in his hand, then took a bite. I looked at him expectantly. He smiled and shook his head, rolled down the window, and threw it out.
“I’ll find it one day,” he said, and my heart broke.
Food–unlike guns, whores, or horses–rarely plays a significant role in fiction; food enters the narrative for a specific function.
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 predominate) 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 DeltaWedding again, if not for the first time.
In 1931, William Faulkner published his first collection of short stories, These 13, which in addition to some of his most acclaimed and frequently anthologized stories—“A Rose for Emily”, “That Evening Sun,” and “Dry September”—included “Divorce in Naples”, Faulkner’s most overt portrayal of homosexuality.
Faulkner had already broached the theme in the intimacy between Quentin Compson and his Harvard roommate Shreve McCannon in The Sound and the Fury (1929), and Jenny and Patricia as well as the openly gay lesbian Eva Wiseman in Mosquitoes (1927). He’d renew and expand his depiction of Quentin and Shreve and introduce a parallel relationship with Henry Sutpen and Charles Bon in Absalom, Absalom! (1936).
Simply put, the story depicts the relationship between two sailors, George (“Greek, big and black, a full head taller than Carl”) and the younger Carl (“with his round yellow head and his round eyes, looking like a sophisticated baby”).
‘THEY CAME INTO THE SHIP together at Galveston, George carrying a portable victrola and a small parcel wrapped in paper bearing the imprint of a well-known ten-cent store, and Carl carrying two bulging imitation leather bags that looked like they might weigh forty pounds apiece. George appropriated two berths, one above the other like a Pullman section, cursing Carl in a harsh, concatenant voice a little overburred with v’s and r’s and ordering him about like a nigger, while Carl stowed their effects away with the meticulousness of an old maid, producing from one of the bags a stack of freshly laundered drill serving jackets that must have numbered a dozen.
For the next thirty-four days (he was the messboy) he wore a fresh one for each meal in the saloon, and there were always two or three recently washed ones drying under the poop awning. And for thirty-four evenings, after the galley was closed, we watched the two of them in pants and undershirts, dancing to the victrola on the after well deck above a hold full of Texas cotton and Georgia resin. They had only one record for the machine and it had a crack in it, and each time the needle clucked George would stamp on the deck. I don’t think that either one of them was aware that he did it.’
One night Carl disappears. George, frantic, fails to find him. When Carl returns after three days, he reveals that he has been with a woman, and George kicks him out of their berth only to discover later, after their reconciliation, that Carl was too naive to have sexual congress with the woman, and
“ …two weeks later we were watching him and George dancing again in their undershirts after supper on the after well deck while the victrola lifted its fatuous and reiterant ego against the waxing moon and the ship snored and hissed through the long seas off Hatteras.’
Most of Faulkner’s examinations of same-sex desire focus on men; Faulkner had close relations with many homosexual writers and artists, including his townsman and fellow writer Stark Young and his childhood friend Ben Wasson as well as William Alexander Percy and Lyle Saxon. It goes without saying that while living in New Orleans he doubtless knew many others.
The story draws most directly on Faulkner’s experiences with William Spratling, a down-on-his-knees New Orleans fairy, in sailing to Europe on the West Ivis beginning July 7, 1925 and to Genoa on August 2, where after landing they celebrated their arrival by going drinking with the ship’s officers. The drinking bout turned into a brawl with “pimps and prostitutes”, after which Spratling was arrested and thrown into an Italian prison where during the night he had a “homosexual encounter”. (Rape is of course implied, but then again we don’t have any evidence that the encounter wasn’t consensual.) This event in Genoa provided the kernel for the story, and Faulkner himself was heard to joke at one point that he was jealous of Spratling.
With “Divorce in Naples” Faulkner presents an unmistakably gay male relationship fraught with stereotypical dynamics brushed with innocence and infused with out hunger for love.
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!”
The Ibbur
Sylvia’s annual acquiescence to the local ladies’ committee’s request that she show her historic house during the city’s pilgrimage (actually more of a command, since her house was easily regarded as one of the most iconic examples of the city’s 19th century architecture) was an ordeal for her, but she knew it had to be done, carried off with grace and style.
So every spring she hired a crew to clean the house from top to bottom, another to groom the grounds and provide colorful containers of thriving plants for conspicuous settings, another to fill the home’s pots and vases with fresh flowers and yet another to provide sweets and sandwiches as well as a punch to serve the afternoon her home was on tour. She also attended the beauty parlor that morning, and this year she even bought a new pair of persimmon pants, a matching pastel-patterned top and a silver necklace of pearl and crystal that she’d been admiring at that little boutique near her supermarket, but she wore her best pair of house shoes, since she knew she’d be on her feet for hours.
The tour extended from 2 until 5 on a sunny spring afternoon. The azaleas were in their full glory, blazing in every shade of red punctuated by brilliant whites. Tourists came in three groups of twelve or so, who followed Sylvia through the house while she recited a story (not hers) of the family who built it and lived in it during days when they were one of the wealthiest in the state. The house was of an Italianate design, which was unusual for the decade in this region, and by far its most spectacular features were two towers with abbreviated belvederes and a magnificent set of double stairs that swept upwards from the parquet floor like the wings of an earthbound angel aspiring to heaven.
“Daniel Bauer was a cotton broker,” she’d say. “His family immigrated to Charleston early in the 19th century, and his grandfather owned a grocery on Short Street, just north of Broad. This became the base of the family fortune. Daniel moved here after his marriage to a house on South Street, where their first children were born. He built this house in 1853.” Over time, Sylvia had learned that the question most people asked was why the house wasn’t burned when the federal army took the city. She always hesitated a bit before answering, because she knew the bit of drama would be appreciated.
“Yellow fever,” she said. “When the army came here three members of the family were sick, all but the youngest daughter, Rebecca. The house was quarantined, the family isolated. After her father, mother and older brother died, Rebecca was left alone in the house with the housekeeper Dotty, who was a free woman. The Bauer family never owned slaves. But she stayed with Rebecca, who died the year after the war was over. The house was sold then and turned into a boarding house, where Dotty worked as a cook until she died in 1900.”
The last group included Adelle Smith, the chairman of the pilgrimage committee, as well as her best friend, Mary Beth Langston, who trailed the rest, lingering in the foyer while the other ladies (and one gentleman in a seersucker suit) followed Sylvia into the parlor.
“Every year, she says she won’t do the tour unless she gets to tell what she calls ‘the whole story’ or ‘a better story’,” Adelle said to Mary Beth. “I don’t know how she makes this stuff up. The only documentation we have about the family, besides from the usual public records and old Daniel’s financial ledgers was a diary Rebecca kept starting when she was ten. She died six years later, so it’s mostly just the sorts of things you’d expect a girl her age to write about: birthday parties, visits from family and friends, new clothes, sewing and cooking lessons and schoolgirl crushes. She wrote little during the war years, most of that about everyone leaving and the food running out. She wrote nothing about the sickness and deaths; probably too painful for her, poor thing.”
“And Sylvia claims to know more?”
“Oh, Mary Beth,” Adelle said. “You know as well as I do that Sylvia never leaves this house; well, no more than she has to, anyway. Remember that fire she had three years ago? She burned her hands so badly she was in the hospital for two days. The firemen said it was started by a heater in a little room off the kitchen, and that room was the only room in the house that looked lived-in at all, and the cleaning people she has in before the pilgrimage say it takes them two days to get the dust and spider webs. Then she comes up with these crazy stories.”
“Like what?” Mary Beth asked. Adelle hesitated. “Mary Beth, how long have we known one another?”
“Since your cousin Randy married my sister Ruth,” Mary Beth said. “That was 1977. If you’ll remember, we met at the wedding at St. John’s. You were quite drunk.”
“And you looked like a fire hydrant in that red dress you were wearing,” Adelle replied. “It was also bad form for you to be flirting with the minister.”
“He married me, didn’t he?”
“Yes,” Adelle admitted. “The reason was quite obvious at the time. Mary Beth, Sylvia has always been what our grandmother Ross called ‘queer’, though that meant quite a different thing then than it does these days. Ever since she was a little girl, Sylvia’s always heard things and seen things that nobody else did, and she would have these spells, days at a time, when she’d stay in her room and play with her dolls, and barely speak to anyone else. Their maid used to say Sylvia had a hole in her head, but Granny Ross told us that what she meant by that was that Sylvia had an open mind when it came to spiritual things. She was the only one of us who actually liked going to church. She’d even take her Bible to school and read it in study hall.”
“A real little Goody Two-Shoes, huh?” Mary Beth sniffed.
Adelle looked at her sharply. “No,” she said firmly. “It was more than that. She wasn’t trying to impress anyone.”
Then Sylvia led the group back towards the door, said hello to Adelle and Mary Beth, gathered them all before her and thanked them for coming. “We’re all in our city so very proud to still have this beautiful house for you all to visit,” she said, nodding at Adelle, who nodded back. “I want you all to go to the big reception they’re having over at the old Union Street Lyceum. You’re going to meet some wonderful people, and eat the best Southern food you’ve ever had in your life.”
After a scattering of applause, the group filed out the door. Adelle lingered, waving Mary Beth on with the others. “Thank you, Sylvia,” she said. “The house is beautiful, and we so very much appreciate you opening it up for the public.”
“Adelle, you know I’m proud to do it, and I so hope that after I’m gone, you’ll take of it for me.”
“Me? Why Sylvia, I thought you were leaving the property to your nephew.”
“I’ve changed my mind. Adelle,” Sylvia grasped her hand. “Don’t let them tear it down. Don’t.”
Adelle stepped back at the look in her old friend’s eyes. Then she softened. “I won’t, Sylvia.” She hugged her and walked to the car where Mary Beth was waiting.
Once inside and the door closed, Sylvia heard a tiny, shaken voice from the top of the stairs. “Are they gone?”
“Yes, they’re gone, Rebecca,” Sylvia said. “Until next year. We have to do it again next year.”
Clara Curtis
“Clara has 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 that 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 Curtis, being of such an advanced age and of considerable 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 blazed golden and scarlet beneath a sweltering sun and in the fall castor beans towered in burgundy clumps over the thickening, multi-colored cockscomb. The coda of every year was a pirouette of the beautiful old delicate 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? Eighty? And sure, she got around just fine, called a cab when she needed to go anywhere, and 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 in the lingering heat of a long summer she died. Her driver was the one who alerted the authorities, who had to break through a window to enter the house. 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.
The Yampus
One morning Trudy Morgan found her bird feeder on the ground surrounded by the mutilated remains of two cardinals, three starlings and a squirrel. She was prepared to blame her elderly tomcat Horace for this slaughter until she found his eviscerated body under her gardenia.
“Dogs,” she thought, saying it aloud. It must be stray dogs. She had seen them wandering the streets in packs, scavenging in the alleys. How they got into her fenced back yard was a puzzle, but they must have gotten in, somehow.
Trudy lived in an old neighborhood of the city, in the house her husband George had built after he returned from Vietnam. They’d spent many happy years together there, had watched the neighbors’ children grow up and move away. They had none of their own. Now George was gone and most of the neighbors they knew had moved away, leaving Trudy among strangers. She didn’t mind; she had her garden, her job at the library, her parakeets Bess and Harry, and poor Horace.
She heard the doorbell ring, a sound she’d not heard in many years. When she opened the door she saw nothing other than a shivering ripple beneath the shrubs. Trudy closed and locked the door quickly, thinking somehow a dog had thrown itself against the ringer. She buried the birds, the squirrel and poor Horace against the back fence and went to the library. When she returned, the front door was open. She found the bird cage in a corner, and the only trace of Bess or Harry was a single speckled green feather on the sofa. Nothing else seemed disturbed, even the gold coins she’d had framed and foolishly kept on the wall in the hall. Trudy called the police. “It’s probably a raccoon,” they said, and gave her the number of an animal remover.
Before dawn, Trudy awakened and felt a weight upon her. She tried to shove it off and roll over on her side, but it was heavy. She opened her eyes and saw a bearded face with amber eyes looking back at her. Trudy was too scared to breathe, much less scream. She could feel his hardness against her gown. It licked its lips and began rubbing against her, kneading her breasts and twisting her nipples. Its movements and breath quickened; it grunted, and she felt wetness. It jumped off the bed and ran out into the hall before she could even think. She waited, frozen, until the sun came into the room; once washed and dressed, she ran to her car and drove to the café near the supermarket. She ordered coffee. The waitress, a plump young blonde named Sylvia, said, “Miz Morgan, you look like you’ve seen a ghost!”
“I don’t know what it was,” Trudy whispered, still dazed. Sylvia had ornate knotted tattoos on her arms and many rings in her ears. She looked at Trudy with lowered brows. “What do you mean?” Trudy told her about everything; the birds, poor Horace, Bess and Harry, the ripple in the hedges and, in a whispered rush, about the thing on her chest. She was still shaking, and held her coffee with both hands. Sylvia bit her lip. “Miz Morgan, you just sit for a minute. My shift will be over in a little bit. I can help you.”
“How?” Trudy asked.
Sylvia said nothing, but refilled her cup. When she returned, she had changed into a loose green blouse. She put her hand on Trudy’s and said, “You’ve got a yampus. They’re not really evil like a demon, just mean. It won’t hurt you, but it will kill everything you care for, more out of spite than anything. It will keep you and use you. I know these things. My granny was a voodoo lady. I follow a different tradition,” she said, glancing at the worsted tattoos on her arms, ”but a yampus is a yampus no matter how you look at it.”
Trudy just stared at her. She could still feel it kneading her breasts and smell its warm breath on her neck. “I can’t go home,” she said.
“Of course not,” Sylvia said. “You’re coming with me to my house, and we’ll deal with that yampus tonight. Now get your purse and follow me.”
Sylvia lived in a cottage near the divinity college not far from the library where Trudy worked. The house had a stone fireplace, a crowded library and handful of cats that took their time doing anything at all. Trudy bathed and changed into a housecoat while Sylvia made a light lunch and washed her clothes.
“You need to sleep, Miz Morgan,” Sylvia said, “So go to bed and don’t worry about anything while you’re here.” Despite the assurances, Trudy slept uneasily, but she did sleep, awakening when the sun was sinking. “Get dressed and let’s go,” Sylvia said.
Trudy looked at her, wide-eyed and questioning. Sylvia smiled. “I’ve done this before. Don’t worry.”
When they got to Trudy’s house, the door was still locked. Sylvia followed her in, carrying a brown valise. “I don’t have a stake and a hammer in here,” Sylvia said with a short smile. “Now show me to your kitchen, I’m going to make us some tea, and then I want you to get to bed.”
“I can’t!” Trudy said.
Sylvia took her hands. “Yes, you can. Listen to me. I know he scared you, but he won’t hurt you. He just wants to use you, and you know how he wants to use you. A yampus just wants one thing, and as a woman you ought to know what.”
“Oh, yes,” Trudy said, smiling thinly, remembering and growing warm with the memory. Sylvia looked at her, cocking a brow. “Well,” she said. “Let’s get ready. Dress for bed. I’m going to turn out the lights and sit in the spare bedroom. I’ll be able to hear him when he comes into the house. He’ll take no notice of me. I’m not the one he wants.”
Trudy went to her bedroom, undressed and went to her closet where she selected a silk nightgown and a satin negligee. She turned out the overhead light, folded back the bed and turned on the lamp atop her dresser. She sat, applied lipstick and blush, brushed her neck with perfume, and then climbed into bed. He came through the window, and the warm night air followed. She could hear him as he moved to the end of the bed. Suddenly he was upon her, holding her, moving his head against her, his hands on her body, touching and probing. He parted her clothing and she felt his lips upon her nipples and his penis pressing upon her stomach. She caught her breath as he entered her and began to move as he moved, as if she were telling him something. Suddenly he squeezed her with his arms, she gasped, and then she felt him finish and heard him whine as if he wanted more. Then he was gone, as suddenly as he had come, leaving nothing. As she lay there, she heard Sylvia’s voice. “I’ll be going now, Miz Morgan.”
“Yes,” Trudy said. “I’ll be in for coffee in the morning.”
Mr. Lilyfoot
Ruth Parker owned over two dozen dolls, and she knew every one of them by name. “This is Snagglepants,” she’d say, holding up a Raggedy Andy with a torn pocket. She called her big Raggedy Ann doll Phyllis and the little one she took everywhere Roo-roo. Ruth and Roo-roo were best friends. They had three tea sets between them, and if the other dolls were nice, Ruth and Roo-roo would have them for milk and cookies. “But you can’t have any peanuts because Roo’s allergic,” Ruth would remind them. Ruth lived with her parents in a big house on a wooded street. Aside from Roo-roo, her best friend was the housekeeper, Lena. Lena was tall and her cheeks were very full. As she cooked and cleaned, she sang songs and made cookies for Ruth and Roo-roo’s tea parties, but she always told them she wasn’t supposed to. It was Lena who told her about Mr. Lilyfoot.
Mr. Lilyfoot lived under a tree at the end of the path in the garden behind Ruth’s home. He had a green cap, red overalls and a long white beard. He always smiled. On nice spring days, Lena would sit in the swing with something to occupy her hands while she watched Ruth play in the yard. When she had to go inside to answer the phone or change a load of laundry, she’d tell Ruth Mr. Lilyfoot would watch after her. At first Ruth didn’t like Mr. Lilyfoot; he was stiff, not soft like her dolls. She’d hold her little Raggedy Ann up to Mr. Lilyfoot’s smiling face and say, “Roo-roo doesn’t like you!” But Ruth was a sweet child, and when she saw that Mr. Lilyfoot’s face was dirty, she asked Lena for a napkin so she could wipe it off because Mr. Lilyfoot’s arms were always behind him. Lena laughed at her one windy afternoon when Ruth tied one of her father’s socks around Ms. Lilyfoot’s neck and took care to hide the other one.
***
“Mommie, it’s cold outside. Can Mr. Lilyfoot come sleep in my room?” Janet Parker brushed her daughter’s dark hair. “Sweetie, who is Mr. Lilyfoot?’ “He’s in the garden,” Ruth said. “He’s wearing a hat, but I know he’s cold” “Oh, honey, I don’t want that nasty thing in your room,” Janet said. “He’s not nasty.” “Ruth, he lives outside. He’s an outdoor doll.” “He’s not a doll.” “Well, not like your other dolls, but he’s still a doll.” “Roo-roo says he isn’t. Roo-roo knows everything.” Janet cocked an eyebrow at her petulant daughter. “And what does Mommie know?” “I love you, Mommie!” Ruth launched herself into her mother’s arms and looked into the back yard through the window.
***
When Ruth awakened that afternoon, Mr. Lilyfoot, scrubbed by the ever-patient Lena and bright as a new penny, was smiling at her from the corner of her room. She and Roo-roo immediately arranged a high tea with hot chocolate and frosted cookies. When Janet looked in on her later she found that Ruth had arranged her favorite dolls around the little table, with Mr. Lilyfoot at its head. “Mr. Lilyfoot’s warmer now, Mommie. But Roo-roo’s tired,” she said, holding up the little rag doll. “Well, let’s put her to sleep,” Janet said. She gathered her daughter in her arms, made sure her doll was with her, and put her to bed. She glanced at Mr. Lilyfoot smiling from the corner, lowered the shutters and closed the door. When Janet brought Ruth’s tray upstairs that night, she heard her daughter laughing from the hallway. She found Ruth sitting up in her bed, clutching Roo-roo, and smiling. “What’s so funny?” Janet asked. “Mommie, me and Mr. Lilyfoot took Roo-roo to Magicland, and she had tea with the King!” Janet tucked a bib under her daughter’s so very thin neck and began feeding her with a spoon. “Did Roo have a good time?” “She was scared at first because the king was so high up and her legs are really short. But then the king asked her to dance, so she didn’t have to go so far up.” “Did you dance?” Janet asked. “No, Mommie,” Ruth said. “I had to help Mr. Lilyfoot make the band play. I’m tired.” Janet tucked her daughter under the covers, kissed her, climbed onto the sagging cot next to Ruth’s bed and closed her sad eyes.
***
Ruth and Mr. Lilyfoot, with Roo-roo in tow, went everywhere. The tea parties became a thing of the past. Instead, they took buckets to the beach where they collected shells. Another time they sailed the seas on a boat made of glass and rigged with silver, and once they found a mountain made of chocolate and topped with ice cream. The following morning they went to the moon and found big gold rocks that glittered under the smiling sun. That afternoon Mr. Lilyfoot rearranged the stars, and later they all skated on swirls of light through a sparkling tunnel into a warm, black night. “Don’t be scared, Roo-roo,” Ruth said. “Mr. Lilyfoot will get us home.”
***
It wasn’t long before Ruth’s dreams ended. Lena boxed up the lonely dolls for other little girls, and she returned Mr. Lilyfoot to the garden under the tree at the end of the path.
With The Dixie Limited, M. Thomas Inge fills a crucial academic niche in work on the Faulkner canon. Arranged chronologically from over the last eight decades in a collection of essays, articles, reviews, letters, and interviews by Faulkner’s contemporaries and their successors.
In his introduction Inge refers to a paper presented by Thomas L. McHaney at the 1979 Faulkner and Yoknapatawpha Conference at the University of Mississippi, “Watching for the Dixie Limited: Faulkner’s Impact upon the Creative Writer,” later published in Fifty Years of Yoknapatawpha (University Press of Mississippi: 1980), edited by Dr. Doreen Fowler and Ann Abadie. McHaney stated that “writers seem to have more in common with one another than with their own native literary establishments.” He continues to say that “the literary establishment, especially in the sense that it constitutes the best-seller and the major book-reviewing media, did not have as much to do with him . . . as did the other creative writers in English. His impact on them was immediate and sustained . . .” Inge’s thesis echoes—and subsequently amplifies—this assessment: “The novel has certainly not been the same since Faulkner, that much seems clear, and the intent here is to document some of the reasons by surveying the exact nature of what Faulkner has meant to his colleagues both in the United States and abroad.”
The title references a famous quote by Flannery O’Connor that first appeared in a paper she read in 1960 at Wesleyan College in Macon, Georgia. The subject of the speech, “Some Aspects of the Grotesque in Fiction,” notes a tendency to the grotesque in the “Southern situation” as well as the “prevalence of good Southern writers.” She then states, “The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.” Inge notes that O’Connor took heed of her own advice, and developed an original vision and distinctive style of spiritual and gothic austerity. Eudora Welty also cultivated her own talents in Faulkner’s looming shadow. “It was like living near a big mountain, something majestic—it made me happy to know it was there, all that work of his life,” she wrote. “But it wasn’t a helping or hindering presence.” She also said—with characteristic modesty—that “[Faulkner] wrote about a much vaster world than anything I ever contemplated in my own work.” She was not intimidated by Faulkner; she learned from him.
We often lose sight of Faulkner’s earlier works, situated as they are behind the towering edifices of his Yoknapatawpha novels, but he attracted the attention of other writers at the beginning of his career. The Fugitive poet and future Agrarian Donald Davidson found Soldiers’ Pay (1926) the product of “an artist in language, a sort of poet turned into prose,” and considered Mosquitoes (1927) grotesque, too heavily influenced by Joyce, yet admirable “for the skill of the performance.” Lillian Hellman read the manuscript of Mosquitoes (for publisher Boni & Liveright) and in an enthusiastic review for the New York Herald Tribune likewise found Faulkner at his worst under the influence of Joyce in overwritten passages, but the novel demonstrated to her a genius “found in the writings of only a few men.”
Following the publication of The Sound and the Fury (1929), As I Lay Dying (1930), Sanctuary (1931), Light in August (1932) and Absalom, Absalom! (1936), nobody with an eye to the landscape of American literature could ignore the emergence of William Faulkner as a dominant if not to say dominating presence. Sherwood Anderson, writing in an essay for The American Mercury in 1930—sixteen years after the editor, H. L. Mencken, published his searing denunciation of the state of southern literature, “The Sahara of the Bozart” in the New York Evening Mail—set the stage for the century’s most celebrated literary rivalry by saying, “The two most notable young writers who have come on in America since the war, it seems to me, are William Faulkner and Ernest Hemingway.” This comparison became even more unavoidable as the two barreled down, traveled the same track, or —in a perhaps more apt Hemingwayesque metaphor—faced off in the same ring.
As the century wore on, more and more writers, playwrights, and poets found it contingent upon them to weigh in on Faulkner’s looming stature. His impact in Britain was impressive, though mixed, with Rebecca West and George Orwell, who, as a champion of lucid style, condemning The Hamlet in 1940 as “fatiguing” and “certainly not worth a second reading to understand it.” Somewhat predictably, considering Faulkner’s own indebtedness to Proust in both style and theme, his reception in France was both spectacular and profound. Sartre declared in 1946 that Faulkner had “evoked a revolution” through his innovations in perspective, tonal monologues, and changing the “chronological order of the story” in behalf of “a more subtle order, half logical, half intuitive.” In a letter to Malcolm Cowley, Sartre wrote, “Pour la jeune France, Faulkner c’est un dieu.”
Inge delineates Faulkner’s deep impression on the literature of South America, saying, “By liberating these writers, and many others, from the traditional themes and methods of narration, and paving the way for new techniques in dealing with time and history and modern tragedy, Faulkner helped generate what may be the most vital writing in the world at the century’s end,” even going so far as to say, “It is indeed arguable that [Gabriel García] Márquez’s 1967 masterpiece, Cien años de soledad (One Hundred Years of Solitude), could not have been possible without Faulkner’s fiction to serve as inspiration and master instruction.” Inge also describes Faulkner’s global impact with contributions from writers in South Africa, Japan, and China.
In addition to the two above-mentioned, Dixie Limited includes a generous portion of women writers: Kay Boyle, Dorothy Parker, Elizabeth Spencer, Lee Smith, and others. Excruciatingly appropriate on several levels are selections from black writers: Ralph Ellison, Chester Gaines, James Baldwin, Toni Morrison, and Faulkner’s fellow Mississippian Richard Wright. Faulkner’s impact—and lack thereof—on political and social issues features prominently in Baldwin’s essay, “Faulkner and Desegregation,” and it’s also the theme of perhaps the most endearing essay in the collection, Roark Bradford’s “The Private World of William Faulkner” (1984).
Faulkner’s critics are not ignored. In addition to Orwell, you’ll find disparaging statements—in varying degrees and often at different stages in their own careers—from Ellen Glasgow, Booth Tarkington, F. Scott Fitzgerald, Thomas Wolfe, Katherine Ann Porter, John Barth, Truman Capote, John Steinbeck, and Vladimir Nabokov, as well as a generous helping of bile from Hemingway. Inge includes “one of the most damning assessments perhaps ever written about Faulkner” from Irish short story writer Sean O’Faolain, who concluded in a1953 address at Princeton University, that Faulkner demonstrated “More genius than talent.” You’ll find most of these in Inge’s remarkable introduction, which deserves reading and re-reading for only for those includes these poison pen remarks, but also for and also paeons from the likes of Katherine Anne Porter, Carson McCullers, William Styron, Shelby Foote, and Walker Percy, along with illuminating observations from Richard Ford and John Grisham.
Though The Dixie Limited is an academic work, it is important for the lay scholar as well, particularly those of us who grew up in the same milieu as that of the man many consider the most important writer of the Twentieth Century. Our proximity to Faulkner seems to have bred in us a nonchalant acceptance of his stature. This book provides us with perspectives for a more balanced appreciation of a literary figure of global stature who just happened to have been born in the wilds of North Mississippi.
It was mid-morning, late June, and Harlan’s truck was shaking, rattling, and rolling, knocking up dust on a snake-neck red gravel road two miles northwest of Big Creek, Mississippi, hauling ass over about a hundred square miles of nothing but hills and woods, heartache, hydrocodone, honky-tonks, bait shops and the occasional double-wide Baptist church perched next to a crumbling asphalt parking lot, making our way by fits and starts to the backwaters of Grenada Lake.
I was red-eyed from a blunt, grumpy and road-weary, but Harlan was ebullient behind the wheel, grinning like a Tartar, regaling me with his cynical and irreverent observations on the state of mankind and his critical assessment of my life as a microcosm thereof.
“I told you not to take up with that nigga Ricky, but did you listen? No, hell no, you had to move into that shit-hole duplex he shared with his sister.”
“People do stupid shit when they’re in love,” I said. “Case in point, what about that Miss Lauderdale County who threw the five-carat engagement ring you gave her out the window into Pontchartrain?”
He threw back his head and laughed, said she was worth every damn carat, and if he’d had any sense at all he wouldn’t had fucked her sister. Suddenly it occurred to me how little I knew him.
*****
Harlan is a tall, solidly-built man with a head full of thick, unruly greying red hair, a bright, lazy smile, and the kind of voice given to people who have little to say. He can talk his way out from between tiger’s teeth and gets his way into places most people won’t even go, like this farm in the middle of nowhere that grows the world’s most sought-after watermelon.
Harlan did a stint in the Navy, a PhD from Cornell and 32 years in USDA’s harness. Along the way he picked up enough knowledge to make him a recognized authority on watermelons, his consuming passion. He has traveled across the globe in search of rare ancestral varieties. On his farm in George County, Mississippi he grows a crop of Kalahari tsamma.
We were there because three weeks earlier, as Harlan explained it, “Some laid-back ass-lick who makes more money in a day than I see in a month working for a slick new regional called me up out of the blue and said he’d give me a dollar a word for an article about the Red Zeppelin.”
The fabled Red Zepp is a pearly green oblong averaging some twenty-five pounds. It’s most distinctive characteristics are the pale, subtly shaded zig-zag lateral stripes that gave the melon an illusion of ribbing. The Zeppelin is also distinguished—indeed ennobled—by a dense, velvety flesh of surpassing succulence.
Harlan’s source for these watermelons is on a sloping red sand dune with an ever weeping spring in indenture on the ridge south of the Schoona River in a remote and sparsely-populated county in north central Mississippi.
We’d been on the road a long time, and I was just flat-out tired from the long drive up from Jackson, tired of the road and impatient with Harlan, who seemed alternately fidgety and distant. I just wanted to get there, get the Zepp, and get the hell out.
*****
The sun danced on the rim of the world and shone in random rays over a country sculpted by loggers and downpours. The road looped over hills, plunged down hollows, and turn-rowed bottom-land crops, following the design of some sweaty, half-drunk supervisor to no rational destination whatsoever.
Then suddenly there it was, a gently sloping sandy hill, glowing and imposing, on the red side of gold, a washy bronze in the pale summer sun. as lyrically striated and undulating as a vineyard and punctuated by tiny glowing ovals situated like so many open whole notes up and down a page of symphonic notation.
As we grew closer I made out upon that terraced hillside a lithe figure in loose, faded red overalls with wearing a broad red straw hat with a billowing polka-dot ribbon gently hoeing a row of bouldered vines.
“That’s Royce,” Harlan said. “Let’s go on up to the house.”
The house was a solid dogtrot overlooking the broad Loosa-Schoona bottom with a wrap-around porch sheltering high windows that framed dangling melded Mardi Gras bead disks, swinging strings, mandalas and figurines of colored glass. Each line, angle and corner of every room of the house, glowed in turn with ruby, topaz, purple, aquamarine, and a hundred dozen colors in between, bending light into blades, spears, and arrows.
As we stood in the foyer, Royce came in. “Hey, daddy,” he said.
“Hey, sugar-booger,” Harlan said, giving him a sloppy kiss and a pat on the fanny. “Where’s Owen?
“He’s on his way back from Grenada. He’ll be here around dark. Y’all come get something from the refrigerator and we’ll sit on the porch.”
The winds were warm and shifty, the gloaming sky a bowl of scattered dirty cotton clouds. Around dusk, a light breeze sprang from the bottom. We could see the cloud pushing it sailing north up the river from the backwaters of the reservoir. A little slipper of moon dangled over the fading sun. Soon, we heard a car horn beeping in the distance.
“Here comes Owen,” Royce said, looking in the distance, and said to Harlan, “Where is she?”
Harlan exhaled, stretched, stamped his feet, and said, “In the back floorboard. I had a nice little box made, put a couple of photos in with her. One of us on our honeymoon in Daytona Beach. We both were wearing cut-offs. We were so happy. I put a picture of you in there, the one at the Sugar Bowl after the touchdown. She loved you, Royce. Don’t rob yourself of that.”
Royce smiled at him, and pointed to a faint star at mid-heaven. “There she is, Daddy. That little dot of light nobody can touch caught in the middle of the sky. Momma was a lightenin’ bug in a beer bottle, caught up in her own darkness.”
Royce leaned over and patted Harlan on the knee. “I’m settled with it, daddy. You ought to be, too. She always tried to keep herself pretty for you, even when she saw the end coming. Let’s go get her.”
Owen, dark and quiet, embraced Royce as we walked down the hill, the field around us shadowed under an open sky . We came to the east side of the hill; the crook of Leo embossed the heavens.
There in the shadows Harlan placed the glossy black box on a rough, flat red rock beside the weedy rill leading from the untidy spring. The wind rose.
“Bye, Momma,” Royce said. “Go home now. Don’t hurt anymore.”
Harlan began crying and we helped him back up to the house where we sat on the porch and drank and told stories about days we missed and days we didn’t until the noise of the night blanketed us, muffled our pain, and pushed us inside and abed.
*****
In the morning Harlan and I drove south under a blistering orange-red sun with a clutch of pearly rippled melons nestled in pine straw against the truck bed.
You asked me about the dog statue in the cemetery.
The statue is on the Guinn family plot. The Guinns are gone now, but they were well-known. Robert Guinn was an attorney who handled mostly small claims, but did well enough to own a house on President Street. He had a lovely wife, Rose, and a little girl, Doris.
All little girls should be pretty, but Doris wasn’t; her face fused improperly in the womb. There’s a name for the condition that I can’t remember, but it’s a cruel assessment of the divine to say that was God’s will, if you ask me. She was never photographed, but there was a portrait painted, and the artist aligned her features.
I saw it long ago; she had shining dark hair and a shy smile.
Doris in all other respects was a normal little girl; she had dolls and dresses and went to school with all the other little girls on the street. She also had a small dog, a spaniel of some kind that she adored. Her father had given her the puppy when she was five years old, so she named it after him. She called it Little Bob.
The dog would follow her to school, wait afternoons on the corner for her to come home, and was with her when she died at twelve. After that, Little Bob would go to the corner every afternoon and wait; at dark he’d go home until one day he couldn’t, and Bob Guinn went and got him, took him home.
Oh, there was a fuss about putting a memorial to a dog in the graveyard, much less his bones, but Robert Guinn took it to court and won, all said his finest hour before the bench.
So that’s Little Bob there with little Doris. He was a good dog.
