What compels writers of great works for adults to write for children? For whatever reason, many do, and some titles are familiar: C.S. Lewis’ Narnia series, Tolkien’s The Hobbit, E.B. White’s Charlotte’s Web, and T.S. Eliot wrote a series of whimsical poems published under the title Old Possum’s Book of Practical Cats, a childhood favorite of composer Andrew Lloyd Webber.
More obscure are Joyce’s, The Cat and the Devil, Twain’s, Advice to Little Girls, Woolf’s, The Widow and the Parrot, Mary Shelley’s The Fisher’s Cot, and then we have these little-known children’s books by two of Mississippi’s brightest literary lights; Welty’s The Shoe Bird and Faulkner’s The Wishing Tree.
In 1927, Faulkner gave the story that was to become The Wishing Tree to Victoria “Cho-Cho” Franklin, the daughter of his childhood sweetheart, Estelle Oldham. Faulkner was still infatuated with Estelle and had hopes of her leaving her current husband and marrying him, which she did in 1929. Faulkner typed the book on colored paper, bound it himself and included a lyrical dedication:
To Victoria
‘. . . . . . . I have seen music, heard Grave and windless bells; mine air Hath verities of vernal leaf and bird.
Ah, let this fade: it doth and must; nor grieve, Dream ever, though; she ever young and fair.’
But Faulkner made copies for three other children as well and when Victoria tried to publish the book decades later, copyright had to be worked out between the four. In 1964, Faulkner’s granddaughter Victoria, Cho-Cho’s daughter, got Random House to publish a limited edition of 500 numbered copies, featuring black-and-white illustrations by artist Don Bolognese.
The Wishing Tree is a grimly whimsical morality tale, somewhere between Alice In Wonderland and To Kill a Mockingbird. Dulcie, a young girl, wakes on her birthday to find a mysterious red-haired boy in her room who whisks her, the other children, the maid Alice, and a 92-year old man through a “soft wisteria scented mist” to find the Wishing Tree. They wish, and they unwish, and at the end they meet St. Francis who gives them each a bird–a little winged thought. The Wishing Tree is about the importance of choosing one’s wishes with consideration. “If you are kind to helpless things, you don’t need a Wishing Tree to make things come true.”
On April 8, 1967, a version of the story appeared in The Saturday Evening Post. Three days later, Random House released a regular edition, which went through three printings that year alone and no more. The book is now regarded as a literary curio from the man who put an Ole Miss coed in a cathouse in Memphis.
Eudora Welty finished what was to become The Shoe Bird in 1963 under the working title Pepe to fulfill a contractual obligation to Harcourt Brace—and to put a new roof on her house. She sent the final draft to Diarmund Russell in March, and he was enthusiastic: “totally charming—something all ages can read.” Eudora readied what was now entitled The Shoe Bird for publication in early 1964 with illustrations by Beth Krush, dedicating it to Bill and Emmy Maxwell’s daughters, Kate and Brookie.
The Shoe Bird is Arturo, a parrot who works in The Friendly Shoe Store “in a shopping center in the middle of the U.S.A.,” helping Mr. Friendly greet customers and bringing him a match for his end-of-the-day pipe. Arturo’s motto is: If you hear it, tell it. One day, a little boy who was leaving the store said, “Shoes are for the birds!” and after the store had closed Arturo, true to his motto, repeats the phrase and all the birds in the world—including a dodo and a phoenix—gather at the shoe store to be fitted for shoes. The Shoe Bird is a nice little story with lots of puns, but it’s heavy-handed with the moral of speaking for oneself instead of just repeating what others say.
Reviews in adult publications were “cordial but restrained,” while reception among children’s literature commentators was either negative or—as in the case of the influential Horn Book, nonexistent. Kirkus Reviews described the novel as uneventful and concludes: “the overly wordy result is so obscure that readers are likely to want to leave dictionaries as well as shoes to the birds.” An orchestral ballet was composed by Welty’s friend Lehman Engel and performed by the Jackson Ballet Guild in 1968. A 2002 choral piece was also commissioned by the Mississippi Boy Choir and composed by Samuel Jones.
As to what compels a writer to write for children, can it ever be as simple as to win over a childhood sweetheart, or to roof a house? It’s never that simple, and it’s not that easy.
This past week the web was hopping with a vid of kangaroos frolicking in the snow—not something you see every day—a reminder that while here in Mississippi we’re sick of the heat, down under in New South Wales it’s the dead of winter. This December, when we’re beginning to have our first heavy frosts, people in Australia and New Zealand will be getting ready to celebrate Christmas in balmy sub-tropical breezes. We’ll be making fruitcakes, but they’ll be making pavlovas.
A pavlova is meringue base or shell filled with whipped cream and fruit, a dessert, light as a ballerina, and this patronym is the only thing about the dish that’s agreed upon. Australians claim that it was invented in a hotel in Perth, and any respectable Kiwi will bristle at the thought. Then there are those who will tell you that a pavlova meringue should have a soft center while others insist it should be dried and crisp throughout. Suit yourself.
Meringues have a reputation for being tricky and if you’re clumsy they are. The egg whites mustn’t contain a bit of fat, so make sure no yolk remains, and don’t whip them in a plastic bowl. Bring the whites to room temperature before whipping (use a mixer, trust me on this), and while back in the day humid weather could make a meringue heavy, in air-conditioned homes it’s not a factor. Vinegar or lemon juice helps stabilize the froth, and don’t add sugar until the soft peak stage. See? What’d I tell you? Not tricky at all.
While the Chinese gooseberry—renamed the kiwi fruit by New Zealanders in a brazen attempt at origin status—and passion fruit are “original”, strawberries and blueberries are traditional, but any fruit can be used. Pavlovas can also be made with chocolate and caramels, candies and nuts. We’re getting in the best peaches of the year now, which make a beautiful pavlova.
Preheat oven to 325. Line a baking sheet with parchment paper and draw a circle in the middle. parchment paper. For one meringue base, whip four egg whites until the peaks are soft. Gradually add one cup confectioner’s sugar, a spoonful at a time, until the whites are glossy, then gently blend in a teaspoon each vanilla extract and lemon juice and two teaspoons cornstarch. Spoon meringue onto the parchment paper circle. Working from the center, spread mixture toward the outside edge, leaving a slight depression in the center. Bake for half hour, more if the center feels squishy. Top (or layer) with whipped cream and fruit. Chopped pistachios are a nice touch.
My grandmother Monette was a woman of many parts: a wit and a wag, a poet and historian, she raised two children who became remarkable people in their own right. She belonged to a generation of women who entered the workplace in time of war, and unlike her mother or daughter she never became a good cook. She along with millions of other women relied more on any given product’s “recommended recipes” than hand-me-downs or innovation. As a result, my Southern Baby-Boomer cuisine—for which, I might add, I barely qualify—is peppered with dishes fabricated in test kitchens.
Green bean casserole is the most popular of these concoctions, but there are dozens of others, including lemon icebox pie. Many early recipes include the word “magic”, as if cooling ingredients for preparation were more metaphysical than heating. Ingredients usually include canned milk of some sort, sweetened or not, as well as meringue or whipped cream, either in the filling or lightly-baked as topping. This recipe is from The Country Gourmet, distributed by the Mississippi Animal Rescue League in 1983, which includes a short forward by Eudora Welty ending with the marvelously ambiguous: “Guarding and protecting, trying to save, all life on earth is a need we all alike share.”
Beat six ounces of whipped topping with a thawed can of lemonade concentrate and a can of condensed milk. Pour into a graham cracker pie crust and chill one hour before serving.
A decade after the trauma of the ’60s, Oxford was a laid-back, picturesque Southern academic backwater, full of good people with great ideas. The art scene was strong, and the town was full of bright, ambitious young businessmen. Oxford’s flowering of culture in the ’80s was seeded in that time. Those years were halcyon years for me, as they were for many other people, and the Hoka was very much a part of it for us all.
The Hoka from the southwest, late 70s. The mural of the dancers was painted by Jere Allen. Photo by Douglass Boyles.
Ron Shapiro opened the Hoka in 1974. The theatre was located across a parking lot from the Gin, one of the first restaurant and bar to open in Oxford after Lafayette County voted “wet”. The theatre was set up in a long, corrugated building with a walkway that extended perhaps 2/3 its length on the west to street level north. A single door was at that end; midway was a short-roofed porch with a paned double doorway. To the left of those doors was the Hoka logo, a winged Chickasaw princess. The auditorium seated perhaps 150-200 people, though our audiences were usually much smaller. The projection booth was up a short flight of stairs from a tiny untidy office, and the concession stand sold candy, popcorn and soft drinks. We sold tickets from a roll atop what looked like a rough-hewn pulpit at the top of the sloping concrete floor. Inside the projection booth was a table for processing incoming film–checking it for tears, bad splices, twists, or crimps–and the projectors were twin 1936 carbon arc machines, which took a lot of practice with a complex procedure involving levers and foot pedals to switch from one reel to the other. A typical film might be on five or six reels.
Ron and me at the drive-in, summer of 1978.
I began working at the Hoka in 1977. Typically, in the early days, we’d have two showings, an early movie that started around 6 or 7, and a later feature beginning at 8 or 9, depending on the duration of the first. Later we started showing X-rated flicks at midnight, which caused quite a stir at the time, but were very popular and, of course, profitable. Films were rented for three to four days, shipped in bulky hexagonal aluminum containers holding anywhere from one to three reels of 35mm film. Most often they were shipped by bus, and we’d pick them up at the Greyhound station on the corner of 10th and Van Buren, but at times we’d drive to Memphis. Once in the theater, the film had to be checked for tears, mended if needed, and then loaded on our projector reels. Ron was a good boss; pay could be erratic, but if I needed money, he’d give me enough to get what I needed or do what I wanted.
Photo of the Hoka from the southeast, likely early 80s.
Ron also taught me a lot, and I do mean a lot, about movies. At that time, in that part of the world, movies were still considered by most people to be nothing more than entertainment, but for Ron, as they were for many others like him who operated small independent “art cinemas” across the country, cinema was the leading form of art in the 20th century. When we first showed The Rocky Horror Picture Show, the audience–and the projectionists, I might add–stared open-mouthed at the screen, and when the audience began throwing rice at the wedding, hollering phrases at the screen and doing the Time Warp, we just eventually joined in the fun. Ron also showed a lot of great movies by cutting-edge artists like John Waters, Russ Meyers and William Castle. Several years later, Betty Blair Allen opened the Moonlight Café in the Hoka, and it became a very special sort of place for dinner and a movie.
At a time when film was just coming into its own as an academic medium, Shapiro introduced generations of Ole Miss students to the works of Fellini, Wilder, Woody Allen, Capra, and Chaplain, to name a few, and brought to light (literally) unknown images: Dietrich in The Blue Angel, Lang’s electric automaton in Metropolis, a leather-clad Brando leaning on a jukebox in The Wild One. For me, this is the essence of Ron Shapiro’s legacy: the Hoka brought film as an art form to Mississippi.
Local history is the beggar at Clio’s feast. In the hierarchy of history topmost are works on great wars, empires and cultures; next histories of countries, commerce and important cities; then finally—after a considerable gap—comes state and local history, the latter often denigrated as nothing more than amateur obsessions.
State and local histories command little professional attention because they receive the least academic funding, the fewest and least government loans or grants, and the smallest lectern on official and scholastic stages. In those the folklorist with his dancing palette and anthropological basis commands more respect. Professional historians deride local history as poorly-researched, ill-written and hopelessly insular. This criticism can and is levelled at history written on any level; simply read The American Historical Review for confirmation.
Yet who can scorn research as insufficient when conducted with so little material in place? How often does Gibbon himself sound as if he’s labored far too late and drunk far too much port? Who can say that the storming of the Bastille isn’t local history to Parisians, or an account of the Beer Hall Putsch isn’t to Bavarians? The least parts of history come together to form the whole, and in the smallest arenas of mankind we can discern a microcosm of the whole.
Let us treasure those who, compelled by their love of place, put before us a likeness of how it was before our time, teaching us who we are, revealing how our little part of the world shapes our lives and strengthens our hearts.
A History of Greater Belhaven is available at the Greater Belhaven Neighborhood Foundation office for a donation of $20 (or more). Copies may be obtained by contacting Casey Creasey at (601) 352-8850 or email her at ccreasey@greaterbelhaven.com.
A History of Greater Belhaven by Bill and Nan Harvey
When we saw Polk’s driver Michael Newton making a delivery of Red Rose Sausage to Froogel’s Supermarket on Fortification in Jackson, Mississippi, we had to get a photo. Since making the first post on red rose sausage over three years ago, people across the country have been contacting Mississippi Sideboard about this product, which they all say–in one way or another–that they remember with fondness from growing up in Mississippi, and our posts on red rose sausage receive the most consistently heavy traffic year after year. Thank you, Michael!
In the Memorial Hall Foundation Museum in New Orleans sits a chunky Chickering “square” parlor piano manufactured in Boston in the 1840s. The piano, the former proud possession of the Cooper family of Jackson, Mississippi, once helped to shore up a Civil War redoubt facing south along the Jackson Railroad line. The fortification was manned by the Fifth Company Washington Artillery, part of General Joseph Johnston’s Confederate “Army of Relief” defending Jackson against the forces of Union General William Tecumseh Sherman.
On the sweltering morning of July 12, the Confederates began playing the piano, oblivious to the Federal line advancing on their position. The men sang songs of home as their skirmish line was pushed back behind the redoubts, and while the men were called to their guns, the pianist, Private Andrew Swain, began playing “You Shan’t Have Any of My Peanuts.” The attack began, but the Confederate line held, and Swain resumed his place on the piano to play “Oh, Let Us Rejoice.”
The saga of the Cooper family’s piano is just one of the many wonderful stories that enrich Jim Woodrick’s The Civil War Siege of Jackson, Mississippi, an account of Sherman’s little-known and less-documented attack on Mississippi’s capital after the fall of Vicksburg in July, 1863. The Siege of Jackson, as Terrence Winschel observes in his introduction, was “the final, yet seldom mentioned scene of ‘the great drama’—i.e. the campaign for control of the Mississippi River.” The capital of Mississippi became, for that week, a battlefield. Its capitulation capped Grant’s victory at Vicksburg, put a black band around the Confederate war effort, and reduced the nascent city of Jackson to smoking ruins.
In the spring of 1863, the war in the west focused on Vicksburg. Lincoln told his civilian and military leaders, “Vicksburg is the key!” Confederate President Davis was of the same mind: “Vicksburg is the nail head that holds the South’s two halves together.” In Confederate hands, Vicksburg blocked Union navigation down the Mississippi and allowed communications and reinforcements from Confederates to the west. The natural defenses of the city led to its nickname, the Gibraltar of the South.
Earlier in the Vicksburg Campaign, Union General Ulysses S. Grant became convinced that Confederate forces assembling in or near Jackson might be stronger than he had initially supposed. The eradication of Jackson was essential for two reasons: first, Jackson was a focal point for the relief of Vicksburg, with a railhead and the entire Confederacy behind it; secondly the destruction of the capital city of President Davis’s home state presented a significant opportunity to demoralize Confederate leadership and the Confederacy itself.
In a torrential downpour on May 14, 1863, Grant’s men drove through Johnston’s weak defenses and captured Jackson. To conserve his forces, Johnston abandoned the city and withdrew to Canton. Weeks later, after Grant besieged Vicksburg, Confederate Secretary of War James Seddon urged Johnston to relieve the river city. Seddon, however, refused to send Johnston reinforcements, and Johnston declared that “saving Vicksburg is hopeless.”
Nevertheless, in mid-May, when General William Loring and some five thousand Confederate troops entered Jackson, Johnston set about organizing a relief column. On June 28, he began moving west, and advanced as far as the Big Black River only to discover that Vicksburg had fallen on July 4. Johnston retreated to Jackson, fortified the city, and by July 10 was invested by greatly superior Union forces under William T. Sherman. The siege of Jackson had begun.
Map by Howard Bahr
For Jackson readers, The Civil War Siege of Jackson, Mississippi—hereafter, The Siege of Jackson—brings the violence of a hundred and fifty-six years ago to street level. Novelist and historian Howard Bahr observes that few current residents of Mississippi’s capital city are aware of the dramatic events of July, 1863: “The reader may well be surprised, as I was, by the scope of this operation and the great violence and loss of life that occurred on the ground we walk over every day. Jim Woodrick’s account, well-written and meticulously researched, offers for the first time a detailed, comprehensive narrative of the weeklong siege supported by maps, period drawings, an Order of Battle, and photographs. The account is enlivened by humorous anecdotes and, more important perhaps, a focus on individual participants and the personal tragedies of soldiers who died far from home.”
The Siege of Jackson is very much a work of scholarship. Terrence Winschel, author of the introduction, has recently retired as the Chief Historian of the Vicksburg Military Park; Woodrick, a native of Meridian, graduated from Millsaps with a degree in political science, was active in the Jackson Civil War Round Table, and is currently the Deputy State Historic Preservation Officer at the Mississippi Department of Archives & History.
Woodrick said he decided to write The Siege of Jackson for two reasons.
First of all, only one book has been previously published that covered the Jackson campaign and the subsequent siege, and that book, published in 1980 by the Jackson Civil War Round Table, combined the siege with the May 14, 1863, battle of Jackson, When I first started exploring the possibility of a book on Jackson, it was actually intended to be an updated version of that book with one of the original co-authors, Warren Grabau. Unfortunately, Warren passed away before we could tackle that project and the idea went to the back burner for a time.
But the idea of writing about the Siege of Jackson stayed with me,” Woodrick said, “and the more I studied the campaign the more I felt it deserved to be studied on its own. Considering that I work next door to the Old Capitol Museum – essentially in the middle of the siege lines – I thought it fitting that I be the one to tell the story of the approximately 70,000 men – blue and gray – who fought for a week in July 1863 for control of Mississippi’s capital city.
Woodrick’s retelling of the siege is a significant upgrade from that of Bearrs and Grabau, who primarily concentrate on military aspects of the action. Woodrick’s version is far more inclusive, incorporating, vivid descriptions of the action, details of the terrain, conditions and armaments and profiles and accounts of individual soldiers and commanders. It is an essential book for Jacksonians interested in the city’s history and is highly recommended for anyone interested in the Civil War.
Woodrick went on to say:
When I started working on the book, I was perhaps most interested in the two army commanders involved in the siege,” Woodrick went on to say. “Sherman and Joseph E. Johnston would meet again, but the Jackson Campaign is actually the first time they faced each other, and the siege of Jackson is, I think, an interesting look into their leadership abilities at this point in the war.
A re-enactor as well as a military historian, Woodrick writes for readers interested in military history and tactics, a demanding audience indeed. Woodrick rises to the occasion by describing in detail the most significant—and bloodiest—action of the week-long siege: Union Brigadier General Jacob Lauman’s calamitous assault on Breckinridge’s Division in the Confederate redoubt southwest of the city where the entrenched Washington Artillery manned two James rifles, four Napoleons, and a Chickering piano.
Woodrick ensures the book’s broader appeal by positioning the siege of Jackson within the framework of the Vicksburg Campaign, which is—to Mississippians, at least—the most familiar military action of the Civil War. Woodrick underscores the importance of both the Battle of Jackson (May 14, 1863) and Siege of Jackson as components of Grant’s successful Siege of Vicksburg and Union domination of the Mississippi, in both instances to eradicate Jackson as platform for Confederate forces. Woodrick says:
In a cursory sense, I suppose the campaign could be viewed as simply a rearguard action, but I think that’s selling it far short. In reality, the Siege of Jackson is the exclamation mark at the end of the Vicksburg Campaign. Having finally achieved the long-sought goal of capturing Vicksburg, Grant simply could not ignore Johnston’s still-intact army looming to the east, and in that sense, I think it was critical to the ultimate success of the Vicksburg Campaign. Unfortunately, because of events in Pennsylvania (i.e., Gettysburg), the Jackson Campaign in many ways gets overlooked by historians (and at the time), especially since the siege didn’t end in a grand charge or the capture of an army (as at Vicksburg). That doesn’t diminish the importance of the campaign, however, in finally securing the Mississippi River for the Union.
The fall of Jackson affected Mississippians viscerally. Jefferson Davis wrote in July, 1863, “In these times of disaster, when my relations and nearest friends are the objects of most cruel animosity, when my beloved Mississippi is being overrun by the invader, I deeply feel my want of that sustaining power which had in times past upheld the just cause, and given to the weak the power to defend the strong.” Even after Vicksburg’s capture, the fall of Jackson sent a shudder throughout the Confederacy.
While Sherman and Johnston are key players in Woodrick’s bloody drama, the central player is the city of Jackson itself. “As the book progressed, I think the most interesting ‘character’ to emerge was the city itself and, of course, the stories of the common soldiers who served here and–for some–who died here,” Woodrick said.
One of the main points that I intended to make when I began the book was to disprove, once and for all, the story of “Chimneyville”. Based on a number of factors, I was convinced that the oft-told stories of Jackson’s destruction were in large part myth. As I looked closely at the evidence, however, I discovered that the opposite was true–that Jackson and her citizens did indeed suffer catastrophic losses as a result of the siege, both from Union soldiers and Confederate troops. As a result, Jackson was in large part reduced to rubble.
Charred ruins of Bowman House Hotel with Capitol Building.
Sherman’s signature scorched earth policy was initiated in Jackson. Bruce Catton, in Grant Moves South (1960), writes, “every installation which might conceivably be of use to a struggling Confederacy were destroyed with grim effectiveness. Sherman reported to Grant that ‘Jackson cannot again become a place for the assemblage of men and material with which to threaten the Mississippi River.’ private soldiers looked at the wreckage and gave Jackson the descriptive name of ‘Chimneyville,’ and on July 23, Sherman pulled his army back and prepared to give all hands a rest. He left a desert behind him.”
Contemporary accounts of the devastation are hyperbolic. Although Sherman assured Mayor Manship and a committee of twenty prominent citizens that “all citizens acting in good faith will be respected by me and my command,” George Whitman, a soldier in the 51st new York Infantry and the younger brother of poet Walt Whitman, reported, “Soon after we entered [the city], the western troops began to come in and they ransacked and plundered completely.” Another Union soldiers reported, “I never saw or heard of a city being so thoroughly sacked and burned as this place.” Contemporary newspapers also confirm the devastation. The New York Herald: “As our men would reach private dwelling houses they would enter them and in a short time scenes of the most unmitigated plundering took place.” The Memphis Bulletin: “Lazy, contemptible stragglers could be seen. . . engaged in dividing their ill-gotten plunder, which consisted of fine silks, shoes, ladies’ bonnets . . . my pen can never record what outrage was done that day.
The following eyewitness account appeared in the Canton American Citizen while Sherman’s troops were still tearing up the railroad: “One must visit Jackson to learn the extent of the destruction it has sustained. It is a mere wreck of its former self . . . look in whichever direction you may from the front of the Capitol, ruins meet the eye. The numerous chimneys still standing upon burnt districts and the undisturbed debris of charred walls and destroyed wares will remain until the end of the war, silent but terrible monuments to the devastating inroad of the vandal hoards. . .”
Woodrick’s portrait of pre-war Jackson at the outbreak of hostilities in the 1860s reveals it to be a provincial town that became a capital without ever becoming a city. Jackson had barely begun to build before it was destroyed. By 1866, “Chimneyville” was on the mend. Woodrick includes a panoramic photograph of Jackson taken from the cupola of the state capitol in 1869 as documentary evidence of an “expanding but still somewhat rural city” and dismisses doubts the photograph might raise about the actual extent of damage to the city by reference to the “overwhelming number of primary accounts and evidence of rebuilding found in newspapers of the period.” Finally, Woodrick provides us with what few physical reminders of the siege that remain, and concludes, elegantly:
Jackson has not changed to such a degree that the battlefield cannot be understood, and there are areas throughout Jackson where interpretation could be used to explain what took place. Such an effort would in some small way help in remembering the sacrifices made by the men in blue and gray during those hot days in July 1863. We owe them nothing less.
On February 27, 2013, the beaten and burned body of Marco McMillian, the first “viable” openly gay candidate for public office in Mississippi, was found near a levee in rural Coahoma County, almost thirty-five years after Harvey Milk was assassinated in San Francisco.
“Breaking Through” (www.breakingthroughmovie.com) documents the brutal struggle of gay, lesbian and transgender American citizens for the acknowledgement of their basic civil rights, more specifically their ongoing efforts to find open representation and responsibilities in the political arena. This film provides the stories of men and women who occupy positions of leadership in public service by having overcome both overt and embedded obstacles. As these people speak, historic newspaper headlines and photographs flash across the screen, emphasizing antagonism and threats yet stopping well short of the ruthless details of murders, beatings and ostracism which could easily have been offered. The camera cuts from left to right in the interviews as these people tell of being open but not publicly open, of living life half-in, half-out, describing the crippling limitations homophobia held for them and still holds for present and future Americans.
These stories provide a record of the challenges inherent in everyone’s desire to be a member of the family of mankind. See this documentary, and as you watch it, bear Marco McMillian in mind. The struggle isn’t over; not by a long shot.
The opening of Tennessee Williams’ A Streetcar Named Desire on Broadway at the Ethel Barrymore Theatre on December 3, 1947 proved to be a watershed in the history of American theatre. The cruelty, agony, gritty dialogue and smoldering eroticism shocked the audience, but they responded with prolonged, enthusiastic applause to Williams’ “poignant and luminous” story that, coming on the heels of his pathos-ridden The Glass Menagerie established him as the foremost figure in American drama and transformed Jessica Tandy as well as the then relatively unknown Kim Hunter and Marlon Brando into stars of the first magnitude.
Williams’ masterpiece, considered by many to be the finest American drama of the 20th century, became an international sensation with a string of dazzling national debuts in Mexico City and in Brussels in December, 1948, and the following year in Amsterdam and Rome—with sets designed by Franco Zeffirelli—in January; in Athens and in Gothenburg, Sweden—directed by Ingman Bergman—in March; and in Paris in Jean Cocteau’s adaptation, and in London—directed by Laurence Olivier—in October. (Olivier, apologetically, wrote to Tennessee: “I honestly think the play is a little long.”).
When Streetcar closed on Broadway in 1949 after a run of 855 performances, two distinguished road companies continued to bring the play to cities across the nation. The first road company starred Anthony Quinn as Stanley and Uta Hagen as Blanche (the film version with Vivian Leigh was released in 1951); the second road company, which staged the Mississippi premiere, featured Ralph Meeker and Judith Evelyn. Meeker assumed the role after a highly successful run as Henry Fonda’s understudy in Mister Roberts and went on to star in Inge’s Picnic (1954). His most memorable film role is of Mike Hammer in Robert Aldrich’s film production of Mickey Spillane’s Kiss Me Deadly (1955). You might remember Evelyn as Miss Lonelyhearts, the alcoholic spied on by James Stewart in Alfred Hitchcock’s Rear Window (1954).
The Mississippi premiere of Tennessee Williams’ A Streetcar Named Desire was held on December 12, 1949 at the Jackson City Auditorium. The performance was reviewed by the inestimable Charlotte Capers, the principal architect and most distinguished director of the Mississippi Department of Archives & History as well as a literary light in her own right. Capers’ review catches the power of the performances (though thinks Meeker’s Stanley as “too simian”), and after giving an Aristotelian justification to questions of, “Who would write such a thing?” (to achieve “a catharsis of the soul”) states that:
“To the audience that complained about the theme of the play, we would suggest that before buying tickets, they check the subject. Certainly it was not an evening of entertainment, and anyone who went expecting to be entertained was disappointed. There were a few moments of intense pity, shattered by misplaced laughs. We couldn’t place the blame here, perhaps the cast, perhaps the audience.”
With this Capers testifies that theatre-goers in Jackson were just as shocked as those in the seats at the Ethel Barrymore (almost precisely) two years before, and while perhaps not as enthusiastic, experienced the same catharsis of soul, the same revelations theatre provides in its highest forms.
In 1927, Faulkner gave the story that was to become The Wishing Tree to Victoria “Cho-Cho” Franklin, the daughter of his childhood sweetheart, Estelle Oldham. Faulkner was still infatuated with Estelle and had hopes of her leaving her current husband and marrying him, which she did in 1929. Faulkner typed the book on colored paper, bound it himself and included a lyrical dedication:
The Wishing Tree is a grimly whimsical morality tale, somewhere between Alice In Wonderland and To Kill a Mockingbird. Dulcie, a young girl, wakes on her birthday to find a mysterious red-haired boy in her room who whisks her, the other children, the maid Alice, and a 92-year old man through a “soft wisteria scented mist” to find the Wishing Tree. They wish, and they unwish, and at the end they meet St. Francis who gives them each a bird–a little winged thought. The Wishing Tree is about the importance of choosing one’s wishes with consideration. “If you are kind to helpless things, you don’t need a Wishing Tree to make things come true.”
Eudora Welty finished what was to become The Shoe Bird in 1963 under the working title Pepe to fulfill a contractual obligation to Harcourt Brace—and to put a new roof on her house. She sent the final draft to Diarmund Russell in March, and he was enthusiastic: “totally charming—something all ages can read.” Eudora readied what was now entitled The Shoe Bird for publication in early 1964 with illustrations by Beth Krush, dedicating it to Bill and Emmy Maxwell’s daughters, Kate and Brookie.
Reviews in adult publications were “cordial but restrained,” while reception among children’s literature commentators was either negative or—as in the case of the influential Horn Book, nonexistent. Kirkus Reviews described the novel as uneventful and concludes: “the overly wordy result is so obscure that readers are likely to want to leave dictionaries as well as shoes to the birds.” An orchestral ballet was composed by Welty’s friend Lehman Engel and performed by the Jackson Ballet Guild in 1968. A 2002 choral piece was also commissioned by the Mississippi Boy Choir and composed by Samuel Jones.
