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Pay attention not only to the cultivation of knowledge but to the cultivation of qualities of the heart, so that at the end of education, not only will you be knowledgeable, but also you will be a warm-hearted and compassionate person.


~ HH the 14th Dalai Lama

11/08/2009

Researching fiction (NaNoWriMo update #3)

Here I am at the end of day 8 of NaNoWriMo.  My current total word count is 25, 504. 

I know that makes it seem I've spent every waking moment of the past week writing, but really, I've managed to work in more than my share of reading and research, and I have this week learned a fantastic amount of information, some vital and much trivial and some deceptively important but tiny in size, all of it necessary to the novel I'm writing for NaNoWriMo. It seems like a lot of work for what is supposed to be a haphazard and frenetically composed string of text, but this is an historical and regional novel, and the details of time (the US Civil War) and region (the bayous, reed brakes and prairie grasslands of southwest Louisiana) and culture (predominantly Cajun, but a watered-down, Anglicized Cajun) are indispensible to the progress of the novel. And besides, I love to learn. This wouldn't surprise my father, who used to share volumes of the Bathroom Trivia Books with me until I began reciting passages from them at random and often inappropriate occasions. Nor would it surprise my wife, who once patiently suffered through my reading nearly half the text of The Left-hand Turn Around the World to her aloud in bed just because I found it so damned fascinating. This is what I do: I learn, I distill, and then I share, in this case through writing.

So as a result of the writing the first half of my NaNoWriMo novel, I now know the following (I've omitted links so you can do your own research):
  • how to build a variety of traditional Acadian and Cajun houses from the ground up, using traditional materials and antique tools
  • how to build a variety of crawfish traps of both wood and net, and what is the best bait to use in which season
  • what a rougarou is and how to defeat it
  • what weaponry and clothing and other gear were common among both Union and Confederate troops in the late US Civil War--and the slang they used to describe it
  • a whole slew of Cajun slang and a handful of truly fantastic Cajun names (my favorite, and the name of a character in my novel: Hippolyte)
  • a little bit about flora, fauna, and geography of southwestern Louisiana, including the reed brakes, the marshes and swamps, the prairie grasses, and the cherniers (a delightful name); several marsh birds and gulls, and the beautiful but now-endangered red wolves, and
  • a great deal more than I ever thought I would about every hurricane season from 1856 to 1865. (You thought 2005 was bad--you should have seen 1860!)

My friend Tom Franklin's first novel, Hell at the Breech, was an historical book (so was his second novel). He often is invited to conference panels and workshop discussions to discuss the research process in composing an historical novel, but his comments usually boil down to two points: 1) He doesn't like doing research. It feels limiting in some ways, and he claims he only really was able to break into his first novel when he set aside the historical facts and just wrote the damned book. But, 2) he loves historical detail for the authenticity it adds. In his award-winning story collection, Poachers, he littered his fiction with such authenticity, regional and cultural details he referred to as "STP stickers" (as in, "None of my trucks had STP stickers on them, and I knew I needed to add them. That’s not a detail you can make up. That’s real."  These comments are from interviews I did for my masters thesis on his work, back in 2001). With his historical fiction, Franklin likes to tell people, he picked up a reprint copy of the Sears catalog from around the period her was writing about (the late 1890s). In those days, Franklin explains, you could buy almost anything through a Sears catalog, from razors and flower vases and clothes to shotguns and automobiles and even houses. So if he ever found himself stuck in the novel and unsure what to write next, he'd simply pick up the Sears catalog and find something interesting and start describing it, then how it might be used, and assign it to a character and let him or her use it, and the fiction would pick up from there.

I've long admired Tom Franklin and am not shy about taking my cues from him, and on this novel I've been doing something similar. Today, for instance, I sent my old woman character out in the marsh to collect crawfish from her traps. I had some sense of the process, having come from a fishing family on one side and a gaggle of half-Cajuns on the other, but I'd never set nor collected the traps myself and decided to stop the fiction with the woman in midstride, and I set to researching crawfish traps. I found information not only on what the traps looked like but also how to build them by hand, how to set them, and how to collect from them. I researched contemporary traps as well as antique traps. I looked into the variety of baits used, the best types of traps for different bodies of water, how the season and the temperature affects crawfishing. I watched videos of crawfishers out in their pirogues or wading through the shallows of a creek, hauling in their lines--I listened to the comments they made about the crawfish and to the accents, the patterns in their voices. I looked into recipes for crawfish both contemporary and historical. And then--and only then--I sat down to write. That research resulted in fewer than 200 words of prose, but that's 200 words of prose I didn't have before, 200 words where previously I'd had two dozen, and the passage is packed with details I hope will sound authentic. Better still, I now am armed with the information to reuse it later if I need to--that old woman has returned with her catch of crawfish but she hasn't yet cooked them, and I might yet pull a half a page or more out of a crawfish boil supper if I need to.

Tomorrow the Civil War ends in my novel, but the story carries on, and I intend as much as possible to look up details of the aftermath of the war in southern Louisiana, to read scholarly articles and contemporary letters in the Times-Picayune and to look over photographs and epitaphs and anything else I can find, but I have half this book yet to write and a lot of authenticity still to build into it.

And I'm loving every minute, every word of it.



Speaking of every word.  Here are some excerpts from the past few days (from now on my excerpts will get fewer and farther between as I push through the last half):


from day 5:

The old woman stepped from the plank into the marsh where they’d killed the cavalrymen and she waded out till the water was at her chin, then she swam until she could touch again. There the sodden weeds deep in the marsh sucked at her feet and whenever she came this way now she grew nervous, worried that the bodies they sunk in the marsh instead of dumping down the well as she preferred had not forgotten her transgressions and waited there in the murk to pull her down to their revenge. She swam a ways further with her knees bent high and her toes curled, her gaunt arms pulled hard on the water and the salty marsh lapping up her chin to her lips. But finally she could dogpaddle no more and she let down her feet into the soft bottom and mucked up through the weeds to crawl ashore on the sandy bank beyond. She jogged panting up the grassy ridge of the cheniers and paused at the top where she gazed across the marsh to the thin line of the Gulf out beyond. Even from here the soft crash of surf was audible and she could smell the pungent piscine scent of the beach. She put up a hand to shade her eyes and scanned the flat line of the horizon till she found the light blot she was looking for on the rim, and she wallowed out across the marsh toward it. For several long minutes there was only lighter salty marshwater sluicing her ankles and her own huffing breath to match the lick of surf, but after a while she climbed a shallow rise and walked it till she met the girl, standing at the lip of a tidal cove, tossing baited lines out into the water. She wore a boy’s breeches with the legs rolled up and a wide straw hat. Beside her a bucket clacked with a half dozen angry crabs scrabbling inside, seeking purchase enough in the soft wood to escape but never succeeding. The woman said nothing for a while, only watched and caught her breath. The girl’s arm jerked slightly and she sorted among the lines in her fist until she found the one with tension and hauling it in, hand over hand, to collect the small crab that clung there.


from day 6:

A sharp gust rocked them on their small ridge and they were awash in the dueling rush of the rustling trees back on the chernier and crashing Gulf before them. The girl reeled in another crab and dropped it clacking in the bucket. Out on the horizon a bank of clouds was rising up in shades of indigo and steel, a feathery brush drifting down from the lip to the edge of the Gulf. The woman raised an arm and passed her hand over the horizon as though petting the clouds, trying to smooth them out.

You remember the year before the war, all them storms we had?

I remember. It was one them storms brought my family here and another made me near an orphan.
That was a hell of a year, girl. Three hurricanes in two months, just poured on over us like the flood of Noah. God’s own wrath, like we was being prejudged for what only he alone knew we was about to engage in. Did you know the first one hit on the very anniversary of that Last Island catastrophe in fifty-six? You wasn’t here then, of course, but Last Island is a story they was still telling and then here come that trinity of storms. There must be a reason to it, that first hurricane hitting on the same day as its predecessor. Didn’t hurt us much beyond all the wind and rain, was just a rowdy storm but it scared us and we’d no idea what was coming.

The girl reeled in a crab. She sorted the empty lines from her fist and handed them to the woman to coil and tie. She said, Our ship come in to land ahead of the storm, beached our ship right up here in these salty marshes and unloaded us into the water. That old captain must have had some idea. I think I must have had some idea, sick as I was on that ship and glad for land even if it was this old marsh. I don’t recollect, though, was you and yours among them that came to help us up the chernier and into the brake, out to town?

I was among them though I don’t remember you, girl. Hippolyte and Remy was out in the canes doing what they could though it was fool’s work, nigger’s work. I think those boys must have gone into Leesville to get theirselves a drink, though, because I don’t imagine how else he could first have seen you. I didn’t allow no drinking in those days, not in my house.

You still don’t.

Not having any drink about ain’t the same as not understanding the need for one. Times like these change a body’s perspective.

Why was your men out in the canes anyway? You said ain’t no one knew what was coming.

I meant we didn’t know the magnitude of God’s plans, but we sure knew it was something. Like when you was little and knew you’d got in trouble but your mama told you to wait till your papa gets home, and then all that day you know he’s coming but can’t imagine in your child’s head what he’s gonna do. The weather that summer it’d been awful hot, the air so think you’d think it was smoke not just the humidity, and both sunrise and sundown alike was heavy with mist and bloodred in the coming or dying light. We knew for certain the sky was going to break open sooner or later. There here come that cloud, one great one like God’s own anvil somehow floating around up there and waiting to fall on us. They was some strange light in that cloud, not like no lightning I ever saw, not just the blue or yellow flashes you see but all sorts of colors including colors I ain’t even got words for and utterly silent, no thunder ever to reach our ears. And then it just passed on. Weren’t no wind nor rain, just a show of what we was in for. So we all knew something was coming.

from day 8:

They stepped out to the front of the hut, sat in the steamy night on a stump and an upturned bucket. The sky glowed an eerie shade of burnt ocher, a thick quilt of cloud slung low in the sky and the evening light unearthly over the marsh. The air soupy and astir with cricketsong. The old woman rubbed her neck and looked about.

Shoot, the air's so thick now they ain't no breeze.

No, the girl said.

They listened to the song a while, the girl staring seemingly into nothing but her gaze to the sky near the direction of Buford’s house. The old woman watched her watching the brake, and she thought of something to say. Finally she closed her eyes as if in memory and then looked at the girl.

I was dreaming earlier, the woman said. Dreamed Remy come back from the war.

The girl looked at her. You miss him something terrible, don't you.

Don't you?

Sure, mother, I miss him.

You ain’t never even cried over him, I noticed. Ain't you sad your husband is dead?

The girl glowered at the woman, tightened her fingers over her bare knees.

I am sad, yes maam. But he ain't coming back. You and me learned enough about death these last few years to know they ain't no use in pining. They don't come back, they don't even hear you.

The woman leaned on her stool to touch the girl’s hand on her knee. The girl pulled it back and stared hard at the woman.

I'm sorry, the woman said, I am. I didn't mean to accuse you of nothing. And I know you must be lonely, too. An old woman ain't no kind of company for a girl such as yourself. She closed her eyes, then she opened them bright in and smiled at the girl.

I tell you what. I'll find you a good husband. Soon's this war is over I'll go on into Leesburg with you, we'll go to that hotel again and we'll find you someone good to marry.

The girl looked hard at her then out across the brake, in the direction of Buford's house.

The woman continued undeterred.

When this war ends the men'll come back, not just the deserters and the ruffians but the officers, good men of some distinction. We'll find us such a one from among them and get the cane fields going again. Them's part yours now, you know.

I don't know nothing about no cane fields.

You'll learn, we'll find you a good sugar farmer and you'll learn.

The girl made to shake her head but then they heard loud reports out in the distance and they bolted upright, the bucket toppling over. A faint orange glow in the clouds and a black plume of smoke rising out to the west. Another explosion and the rapid pop of riflefire.

Damn, they's fighting out there!

The woman grabbed her by the arm, tugged her toward the hut.

We best get started that direction. We can't wait no more for them to come wandering in to us, we got to get closer.

They dashed inside and dressed quick and silent in the darkest clothes they had, grabbed their various weapons, armed heavier than they'd ever been, and they rushed out into the night, racing stealthily through the rushes toward the ominous glow in the clouds.

11/04/2009

Writing in the middle (NaNoWriMo update #2)

When I was doing doctoral work at UNT, my writing professor Barb Rodman once commented that I could write more story in to less space than anyone she'd seen in a long while.  "I'm always surprised when I finish a story and I look at the page count to see how short it is.  Your fiction feels longer than it winds up being."  It wasn't necessarily a compliment--she was trying to get me to expand my writing--but I took it as one and still do.  But it's becoming a problem for me now, as I work on my NaNoWriMo novel.  I have a clear outline and know the things I need to get done in the book, and that outline has allowed me to become extraordinarily productive, which I love.  I'm currently wrapping up day four but my word count--11,544--is at day-seven levels, so in that sense I'm way ahead of the game.  Except I'm running out of story to write.  As I mentioned in the previous post, I'm moving through my outline faster than I'd thought, and today I realized I'd finished a third of the story I've set out to write.  That means I'm going to run out of novel before I hit 50,000 words--I'm actually writing a novella. 

One solution, of course, is to simply over-write, to ramble on with as much verbosity as possible and try to fill out the last two-thirds with enough text to make the final word count.  And I intend to try that.  But I am taking this novel seriously and would like it to turn into something useable in the near future.  So I'm also thinking of writing it the way I'd normally write it: get through the outline, regardless the word count, and then go back and fill in gaps where I need to until I hit 50,000.  I already know of several significant gaps I need to fill with historical or regional information.  Technically, though, this is revising and therefore against the guidelines governing NaNoWriMo, but I don't think it's necessarily against the spirit of the challenge since I will only be adding, not cutting or changing text.  And this is what a novelist does, or this novelist anyway, so I now have a back-up plan.  I'll write all I can to the end of the story and then I'll just keep writing and sort of turn a blind eye to where in the story the new text appears.

That said, here are the first paragraphs I wrote yesterday and today, typos and all:


from day 3:

As dusk shadowed the brake and the sky glowed hot and gloomy like fired iron, as the cicadas set in and far off the frogs began a song, a spectral figure emerged hat and shoulders from the rippled surface of the backwaters. He carried a long walking stick with which he plumbed the path before him, and tied to the top of the stick hung a heavy black sack. He pushed his way through the weedy murk and emrged onto the damp ground of the brake dripping and naked save the wide black hat on his head. He leaned against the stick and felt carefully over his flesh in the last of red light, picked a few dangling leeches like mutant teats of blood from his wiry thighs and knotted buttocks, then he untied the sack which was in fact a preacher’s cassock looped over a heavy Bowie knife and rotting string of beads. He removed the hat and hung it float atop a clump of reed and he draped himself in the cassock, tied his waist with a rope and hung the beads from the front of the belt and slipped the knife into the rope to hang at his back. He donned the hat and inspecting first the sky and then the dark ground before him, he discerned some sense of direction and struck out through the unseen trails in the reeds. He meandered for some time, the night falling heavy around him till he could no longer distinguish the hem of his cassock from the black ground below it. His own hands seems to float in space like incorporeal spirits guiding him through the marsh. At last he pushed aside a stand of reeds like curtains and stepping into a small clearing of hard earth in the back of which nestled of burrow of reeds with a door. A drift of smoke rose less dark than the darkness around it in a thin cloud from a lifted hatch in the roof. He looked around the rest of the clearing but so no other markers and checked the sky for his bearings but could make out no stars for guidance. He bent low to the ground and laid his stick gently there, then slipped the knife from the rope behind him and crept up on the hovel.



from day 4:

Buford’s shack tilted in the reeds and listed one side half down a slope into the water. It had fallen off its thick cypress blocks. In the night it looked like some giant angular concoction of the marsh slinking back into the muck and water whence it had come. As he approached the side with his knife in his fist to peer in the one side window he still could reach he half-expected to find the blazing eyes of a rougarou leering back at him through the paneless frame, the hot wolfen breath through the dripping teeth the breath of the swamp itself. He saw nothing inside but smelled it nonetheless, though it was a form of death he’d known already these last few years and nothing supernatural about it. He slid down an embankment into water up his ankles and bent to prise open the door, had to wrench askew and climb over the corner of it just to enter. He crouched and waited for his eyes to adjust to the deeper darkness inside. He heard a scuttle of some creature and felt the matted grizzly fur of a muskrat scrape past his foot but he held his ground and waited still. When nothing else moved he reached into a fold and pocket he’d stitched into the cassock and popped a match with his thumbnail. The inside of the shack wavered in the yellow light like it was underwater, but nothing else moved. A wreck of moldering reeds in one corner, the scent of scat by the wall that cantered into the marsh. His lantern bent and glassless still hung on a nail by the door but it was drained and wickless, pilfered long ago. A pole warped along the far wall, some shards of crockery and some bones he’d collected in his youth and never saw fit to discard. Nothing else remained. His few utensils, his table and two chairs and his bedframe, his old cookstove, everything pillaged. The match expired on his thumbtip and he hissed. He shuffled into the corner where he’d remembered seeing the pile of reeds, popped another match and reached for the bent pole to poke among the damp wreck but nothing emerged save a few insects. He blew out the match and shook it to cool then pocketed the last of the stick, stirred the nest with the pole till he was satisfied whatever had called it home had now absconded, and then he kicked the reeds together into a loose mat and fell back on it to sleep. He lay instead for some hours just staring up into nothing.

11/02/2009

NaNoWriMo update #1: So it begins.

I'm now two days into November and so two days into my new novel for National Novel Writing Month.  So far I'm off to a strange but delicious start:  I've had a very clear vision for this novel for about four years now, so at the outset of this project I set myself up a relatively detailed outline.  Then I upped the page count (NaNoWriMo requires about 175 pages, but I was shooting for 210) and divided it as well as the word count by the 30 days of November, and then I synchronized the whole thing to my outline so I'd know not only how many words I should write each day (1,667) but also where I should be on my outline each day.  Strangely, I've already fallen a handful of pages behind my outline, yet I'm more than a thousand words ahead on my word count.  Conclusion:  This is going to be a longer novel than I'd planned, and I might wind up completing NaNoWriMo without having finished the novel. 

Not that there's anything wrong with that.

For those friends and scattered readers who might follow this blog but aren't participating in NaNoWriMo, I'm going to post periodic updates here.  Today I'm also posting the synopsis and the two excerpts I've included on my NaNoWriMo page, so I'll tell keep the rest of this short and simply report that I've hit 4,500 words so far.  I wrote about two hours yesterday and another two and a half today, so I'm average 1,000 words an hour, which is good for me.  Of course, I spent another four hours yesterday and another two or so today doing background research (I am writing an historical novel, after all), so when you factor in that time I'm probably running slower than some of my fellow NaNo-ers.  Still, I'm happy with my progress and I'm still getting work done on other fiction as well, so everything's rolling along smoothly so far.

And now, the synopsis and excerpts.

Synopsis:
During the Civil War, a mother and her son's wife eke a living out of the Lousiana bayou by robbing the bodies of passing soldiers. Sometimes they kill the soldiers first. Into this comes a neighbor deserted from his regiment and hiding in the reed brakes where they live; he brings news of the son's/husband's death. Now both women enter a silent, unacknowledged war of lust and jealously trying to possess the runaway hermit.


For the excerpts, I've simply pasted here the first paragraph I wrote on each day of writing.  I can't keep this up or my "excerpt" will wind up book-length itself, but this should give you the gist of where I'm headed:

from day 1:

For days on end the only sound in the reed brake was the wind in the rushes. There would be other sounds for those who knew how to discern them, the soft crash of a gator slipping from the prairie grass into the muck and water, the rustle of ducks breaking for the sky or the dip of a heron beak as it fished the shallows. But all kept quiet enough that by day few sounds were louder than the sighing of the reeds, and at night the baritone croak of the frogs was cheerless and departed. The two women listened anyway, silent and languid themselves in their meager chores, and when at last they’d catch out of the hot breeze the long-off reports of canonshot or riflefire, they would set aside their baskets of wash and reel in the crawfish traps and the few lines they’d laid, and they would gather their one musket with its fixed bayonet and a long stiff cane they’d sharpened and wrapped with a grip, and they would crawl out into the marsh to lie in wait.



from day 2:

They took almost half an hour to drag the men to the forgotten well in the marsh by a long abandoned homestead where now remained only the well and a packed foundation they alone would recognize. They dragged their pairs of legs to the low stone wall of the well and propped the naked ankles atop the rim. With such a ramp created from the dead legs they bent and rolled the third man like a log up the bodies until his rump hung over the lip and they pushed so he bent in the middle and fell into the well. Echoing up from the maw came a wet crunch of various limbs when he landed in the deep below, the bodies down there already risen past the water line. A cloud of gnats ascended to behold them that had disturbed the deep, and with the gnats came a stench of swollen meat and festered gases like the reek of hell itself. They paid the not gnats nor the stench any heed, bent already to the second body and hauling it up by the shoulders. The girl held the man steady while the old woman shifted the legs until the knees caught and held the rim. They together they lifted his back and pitched him headlong into the well. They did the same for the last body, and the cloud of gnats followed in a descending vortex like a school a fish chasing a proffered meal. The women did not notice; they returned to the trampled and bloodstained clearing to collect their piles. They stuffed what they could into the haversack then slung the straps of the sack over two of the rifles like poles for a spit. The old woman hung the third rifle crossways over her shoulder , the strap bisecting her pendulous breasts, then both women bent and rested the rifle-ends on their shoulders to raise the haversack slung between them. The girl in the lead and carrying the musket and cane pike while the old woman steadied their load. Neither had said one word the entire time, all their deeds by habit unspoken.

10/31/2009

Bleeding regions; plus, NaNoWriMo and happy holidays!


Still working on the Texas writers list, though it's looking more and more impossible. Where do I put an author like Katherine Anne Porter, for instance? She was born in South Texas, lived a long time in Central Texas, and one of the major writing contests that bear her name is headquartered in North Texas. And a lot of her fiction isn't even set in Texas. So which region gets to claim her? I'm consciously focusing most of my recent fiction in the Texas Hill Country, but as I've written before, I've lived just about everywhere in Texas and have set stories in the Pandhandle, in North Texas, and down in the Valley, a lot of my Hill Country fiction includes references to or even drifts into San Antonio, and I have plans for work set in East Texas....

See, here's what I think about Texas regionalism: unless a writer is dogged about it, most of us Texas writers are going to move around the state a little, because Texas is so damned big we almost feel obligated to spread out and touch the edges of whatever region we're in. And much as the media and, to be honest, the "Lone Star State" tourism industry sometimes like to portray some unified simple-cowboy-oilman image of Texas, Texans like to celebrate the diversity of the state. (If you've ever been to a Six Flags in Texas, you know that the chain started there to celebrate the cultural and historical diversity of state, each flag representing a national status that Texas once or currently enjoys, though it often ignores Fredonia, Texas, which, as a one-time independent city-state, actually gets to claim seven flags.) So it works the other way round, too--those regions that border our own like to bleed into ours whenever possible and influence us a little, just to remind us they're there. A friend of mine from high school, now a chef in North Texas, the other day reminded me that he sees the same phenomenon in the culinary world, observing that great West-Texas steak is easy to come by in his own North Texas region.

This bleed-over effect is why Cormac McCarthy can write his Border Trilogy set by turns in West Texas, South Texas, and an occasional foray into the Hill Country--often in the same book--as well as set scenes in New Mexico and drift down into Mexico itself, and still remain a (new, or "repatriated") Texas regionalist. On the other hand, my chef friend also commented that good Mexican food is rare his North Texas because the vast region of Central Texas separates Dallas-Ft. Worth from the great Tex-Mex food down in the Valley. Sharing border culture is common in Texas, but getting across a region to share with the other side of the state is a difficult prospect. In literature, too, it's pretty rare--and I'm speaking off the cuff here, so this isn't gospel truth--to find a Texas story or novel leave its own regional borderlands. You wouldn't find Rick Bass, for instance, move from Houston to Amarillo in a single story, but you could easily see him move from Houston to San Antonio or even Houston to Waco if he was daring. This is because Texas is, as I've written in a short story, "too big to get out of in a day," so any literary attempts to cross more than your own borders is going to ring false. Even a rambling cross-country road trip novel like Tim Sandlin's Sorrow Floats, which takes us across Texas on its way from Wyoming to the North Carolina, can't bring itself to cross more than the Panhandle before slipping into Oklahoma and leaving Texas behind. I couldn't swear to this, and I plan to look into it more sometime in the future, but speaking from my own experience, I'd say it was probably true that we writers have problems crossing too much of Texas at once, and therefore blending too much of Texas culture.

But this, like the regional authors thing, is fodder for a future post. Today I am gearing up for National Novel Writing Month, and to make things more complicated, I'm setting my new NaNoWriMo novel in Louisiana. This might seem a shift away from my own professed regionalism, but to be honest, the new book will be set in southwesten Louisiana, where my mother was born and one of her brothers still lives, so I'm not straying too far.

I'll be posting occasional updates on my progress in NaNoWriMo, but if you want to sign up and sacrifice all your spare time to the project like the rest of us fools, my NaNoWriMo user name is simply Snoek-Brown, and you're welcome to follow my progress at the website.

Happy Halloween and Festival of Samhain! And if I don't get back online tomorrow or the next day, happy All Saint's Day and Dia de los Muertos too!


10/22/2009

Y'all is from where?: Texas regionalism


This is LONG overdue, but since my last post, I've been thinking a lot lately about regionalism and my identity as a writer. This has been an ongoing internal discussion for me, but lately, as my friends list expands in Facebook and I reconnect with old pals from across the state of Texas but especially back home in Boerne, I've started thinking of my own work in explicitly regional terms. Many of the friends I've recently reconnected with have noticed my profession and my current focus on writing, and they've asked me for some of my work. I've linked them to a few pieces online (like "Coffee, Black," "Distance," and "How Long My Bruises Will Last"), but right now I'm heavily into a story collection set entirely in Texas and mostly in and around Boerne, so to appeal to our common background in the Texas Hill Country, I've started sending them drafts of stories set there, and this has got me thinking once again about what sort of writer I am and how I am presenting myself. It turns out, I think, that I'm a regionalist. But then, aren't we all?

I've had regionalism in the back of my mind ever since early grad school, when I began studying the then-new author Tom Franklin a full year ahead of my masters thesis on him. Back then I was primarily concerned with Southern regionalism and spent a great deal of time exploring various definitions of the literary South, paying special attention to Joseph M. Flora's division of the South into eight subregions (this from his introduction to Contemporary Fiction Writers of the South, 1993). I was working to explain what Franklin meant when he called the swamps of southern Alabama "my South," but in the process, I started wondering what exactly my south might be. Flora sets aside an unconventional region of the South he calls the "Southwest," which includes at its westernmost edge Louisiana and parts of woody East Texas, the childhood stomping grounds of Rick Bass. My parents come from this region, my mother born in the bayou of southwestern Louisana and my father born and raised in Port Arthur, Texas, and I spent a significant part of my childhood there either living in nearby Port Neches, Texas or visiting my granparents in Groves and Nederland. So, I figured, this must make me a Texan writer.

But I've always felt at odds with the old home state, and to complicate matters, as I studied more I learned that Texas has no signular regional identity. Rick Bass, whose brilliant The Watch is set in the southeast Texas where some of my cousins still live, has since moved several times and is now as identified with Colorado or Montana as he is with Texas. Cormac McCarthy, whose popular fame depends on his novels written in and set in Texas, is technically an Appalachian writer (according to Flora) since he and his style hail from the hill country and mountains of Tennessee. And there are plenty of anthologies and literary journals that lump Texas in with the Southwest instead of the South, and with Texas's self-promoted cowboy identity and heavy Mexican influences, it does seem more at home there.

There are some who argue that Texas is in fact both Southern and Southwestern, the dividing line between the regions as easy to find at I-35. I don't recall the source, but I remember reading somewhere that Dallas and everything east is Southern, and Fort Worth and everything west is Southwestern, for the simple reason that you can grow cotton east of Dallas but you can only grow cattle west of Fort Worth. Despite the wide expanses of Panhandle cotton fields I'd pass on the long drives from San Antonio to Canyon when I was in grad school, the distinction made some sense to me, and explained why Flora included only East Texas in his "southwest" region of the South. When I was living in Denton and spent my weekends hanging out in Dallas and Fort Worth, I became convinced, because despite their mid-mitosis ameobic abutment, the disparity between Big D and Cowtown is unmistakable.  (For a great illustration of this dialectical divide, check out this page on American dialects.)

That left the question of which side I wanted to toss my lot with: South or Southwest? The answer turned out to be neither. A lot of people have argued that because Texas is somehow both, it winds up being neither, and thanks to its size (and sense of self-importance), it deserves to be a region unto itself. Readers of Texas Monthly, or the Texas Review, or those bumper stickers that declare Texas is "a whole other country," would certainly agree. But those same Texans will also recognize the diversity within their own "other country": Cattle ranchers in the Panhandle have only a little in common with the dairy farmers of East Texas, less in common with the German goat farmers of the Hill Country, even less in common with the oilmen of Southeast Texas, and nothing at all in common with the artists, musicians, film-makers, and self-professed "freaks" of Austin. In fact, when governor Rick Perry falsely claimed Texas had a constitutional right to secede (again) from the US and set itself up as its own country (again), the clause he was actually thinking of was a provision for the massive state to divide itself into five separate US states, each reflecting the distinctive regions that exist in Texas.

So, like Flora and his eight-fold partitioning of the South, I want to acknowledge the regional divisions of Texas and place myself among them, and this is what I've been thinking of since that last post. My own divisions are for now largely dependent on demographics and linguistics, since I've studied as a hobby some of the Texas dialects and accents and since I've lived in most parts of the state. In a future post, I'll list some of the authors from these regions, but doing so is going to be hard because, big a state as Texas is, people tend to move around in it a lot. I've lived in every region but West Texas, for instance. Also, this list isn't conclusive or even necessarily concluded--I might move some things around once I get a better feel for the kinds of fiction coming out of these regions--but for now, here they are:


  • East Texas: On the border of Louisiana, from the Piney woods and dairy-farming country down into Southeast Texas, and including Houston and the Gulf Coast as far as Galveston.
  • South Texas: the heavily Spanish- and Mexican-influenced region the Rio Grande Valey up to San Antonio.
  • West Texas: despite my masters alma mater's claim on the name, I'm using this to refer mostly to the mountains and deserts west of the Hill Country and south of the Panhandle. I might consider Lubbock as the bordertown between West Texas and the Panhandle.
  • The Panhandle: Lubbock north, with the capital--of course--as Amarillo.
  • North Texas: I'm going to lump DFW together in this and let it run from Wichita Falls in the west to Greenville in the east, from the Red River down to Waco.
  • Central Texas: The dead center of the state, from San Antonio north to Waco, and from Killeen to Katy. It's a strange region because it's hard to define in terms of culture--it seems to bleed its culture from the regions that border it, with the great liberal donut hole of Austin setting itself apart entirely. Still, if Texas had a "heartland," this woulod be it.
  • The Hill Country: My stomping grounds, mostly the old German farming communities and the leftovers of the German Freethinkers movement, this tiny pocket between South, Central, and West Texas is distinct enough to deserve its own definition. Just ask LBJ.

7/23/2009

The Hill Country Years

I've spent the last few days running around my old home town, taking pictures and scribbling notes, overtly to document scenes in some of my stories and to refresh memories I rely on for my fiction, but also, I admit, just to relive some of my childhood. It's a weird feeling, really, because I spent so much of my adolescence and even a lot of my young adulthood disparaging this town and region, complaining of the staunchly conservative folk who live here, or of the absence of any worldly culture, or simply of the oppressively hot, humid weather (of which we've had plenty this trip!). Yet, in the face of how much has changed around here in the last decade or so, I have been forced to look beneath the surface of the Texas Hill Country to find what I remember, and in doing so, I have uncovered a lot of charm I had, as a teenager and young college student, refused to acknowledge: the folksy simplicity and quiet pride of heritage in the people here, the unique and unexpectedly varied history and artistic culture of the region, and the fun of the surprise summer shower rolling over the scraggly hills.

Also, in noting how much has changed around here, I have realized how much I remembered--and apparently relished--from my childhood, because the Texas I write about in my fiction is always the Texas of my youth. The other day, I ventured down into the woods behind my parents' house to relive some of the hikes that informed my long novella about two boys spending a summer in the woods, and I had to search hard to find those memories under the changed terrain and through the new neighborhood construction. On various drives through town I searched for businesses and homes and even streets that feature in various short stories, only to find the businesses and streets changed, or gone. And yesterday, driving up to Kerrville on an impromptu trip, I toured my old campus--which makes an appearance in the story I'm working on now--and stopped at the bridge over the Guadalupe in Center Point--which provides the final scene in what is probably my best story--and I found both wildly altered.

The bridge was almost unrecognizable, and if anyone were to visit it looking for the final scene in my short story, they'd likely drive over it and move on, searching for the bridge I describe. It's no longer there. In fact, the bridge as it appears now renders the final scene in my story impossible, which was at first a bit annoying. (If anyone asks, that story is now officially set "in the past.")

My old college campus, though, is a different matter. There are certainly a lot of changes, with a huge new student center, a new welcome center, and a large new science building, as well as a massive building (I'm guessing a dorm) currently under construction. Yet when I reached the heart of campus--which, to my great relief, is still the old academic building and the library--I found very little changed. The quad and its surrounding buildings, like squat brick professors paternally but benevolently overseeing their students, looks so precisely as they did a decade ago that when I posted the new photos of them online, a former classmate thought they were old photos.

I am reminded of Tom Franklin's essay, "The Hunting Years," with which he opens his debut collection of short stories. In it, he returns to his old stomping grounds in the woods and swamps south of Mobile, Alabama. He had gone there to revisit some of the scenes in his stories, seeking fresh details to enliven and finalize his fiction. Instead, he encountered a man with a rifle, warning him off a public trail so the man could hunt in peace. This begins a reverie for the South that Franklin remembered, one in which hunting was a communal, not a solitary, event--a South in which friendly manners were more important than private land. Yet he, too, found less changed in his South than in himself, and he was not only able to access and use the details from his old home area in exactly the way he'd hoped, but he also was able to see his South in a new light, through a fresh perspective, in a way that lent his fiction greater depth.

I have to admit that some of this trip back to my own hometown, I modeled after Franklin's journey home. I, too, hoped to find new details and refreshed memory. But I also knew, from Franklin's essay, that other possibilities existed, that new opportunities might present themselves. I might have thought that knowing--and expecting--such an outcome would have prevented it, because I shouldn't be able to recreate what was for Franklin a spontaneous and unexpected realization. But such is the depth of the Texas Hill Country, that even knowing what I'm looking for, I can find surprise and insight nonetheless.

7/13/2009

On a life, our liberty, and the pursuit of reading: a reflection on the life and work of Judith Krug

Two years ago, I had the great privilege of eating dinner with Judith Krug. My wife was giving a two-hour presentation on librarians in film at the annual conference of the Wisconsin Library Association, and as a member of WLA's Intellectual Freedom Roundtable, she also got to meet and work briefly with Judith Krug, the founder and director of the American Library Association's Freedom to Read Foundation and a co-founder of Banned Books Week. Krug was always looking for fresh voices in her passionate campaign for intellectual freedom and First Amendment rights, so after their work was done, she met for dinner with several librarians, including my wife; they graciously invited me to tag along. Krug was the center of attention, of course--she is an icon among librarians, practically a superhero and a living embodiment of the dearest ideals and values of librarians everywhere. She also was a charming woman, witty and outspoken and stylish, both engaging and engaged--she even expressed some interest in my own work, asking after my creative writing and, when the evening was over, wishing me luck on my dissertation, which I was then deep in the process of finishing. She was a delightful, impressive figure even to me, a library proxy who usually only gets to enjoy these sorts of evenings because I was smart enough to marry a librarian, and since that dinner I came to admire and respect her a great deal.

My wife admired and respected her even more, not only because she is a fellow librarian but because Krug later invited Jennifer to join ALA's Intellectual Freedom Committee, a position which allowed Jennifer to occasionally work with Krug more closely. She frequently speaks of Krug with a kind of reverence, as though speaking of a mentor; indeed, the more librarians I meet, the more I think many people--and not just librarians--viewed Krug as a kind of de facto mentor.

On April 11 this year, Judith Krug died. The nation mourned. (President Obama sent her family a letter of condolence.) But a nation also celebrated her life, none more enthusiastically than librarians and, among librarians, none more than Krug's friends and colleagues at ALA.

Last night, the Freedom to Read Foundation celebrated its 40th anniversary, as well as the life and legacy of their founder and hero, Judith Krug, with a gala at the Modern Wing of the Art Institute of Chicago. My wife, of course, attended as a member of the IFC, and I--ever the grateful adjunct to my wife's library adventures--joined her as a guest. During the course of the evening, book lovers of all sorts chatted over drinks while enjoying a balcony view of Millennium Park and later gazed at the astounding modern art collection (Picasso's The Old Guitarist is nothing short of breathtaking in person, but I also was stricken by the stark emotion in the early Kandinsky paintings), though, to be honest, the highlight of the gallery was a brief meeting with Judy Blume. Blume was browsing the art with her publisher and with Judith Krug's husband, but she was kind enough to greet all the admirers who crowded around her, my wife and I among them. We shook her hand and praised her speech in Madison, WI, which I have written about elsewhere--she said her husband thought the speech was disjointed and rambling, but I strongly disagreed, much to the delight of Blume's publisher--and Jennifer told Blume how much librarians everywhere, including Jennifer's mother, love and admire Blume. Finally, we left Blume alone and descended to a wide reception gallery to gather at small round tables, to eat and celebrate.

After dinner, the Foundation presented a series of awards, including two to Judith Krug--both awards had been announced prior to her death, and the latter, the William J. Brennan, Jr. Award, given by the Thomas Jefferson Center for the Protection of Free Expression, was a rare honor indeed: the award has existed since 1993 but has only been given five times. The second, the FTRF Founder's Award, was in fact created in her honor, and was presented by Krug's long-time friend and fellow champion of intellectual freedom Judy Blume, who cried during her speech--as did many of the rest of us (yes, including me). Later, we heard a long but pleasant speech by Chicago lawyer and author Scott Turow, of Presumed Innocent fame, and some delightful closing remarks by the FTRF's treasurer, James G. Neal, but though both men had broader purposes in their speeches--to support the freedom to read and the FTRF's important mission of promoting First Amendment rights--neither could help praising Judith Krug's legacy as well. As the founder of the FTRF, long-time director of the Office of Intellectual Freedom, outspoken advocate for readers' rights, and dedicated warrior librarian fighting censorship everywhere she found it, Judith Krug was, in every way imaginable, literally the reason we had all gathered last night.

These were not the first of Krug's awards and accolades--she collected pages of them in her life, all to honor her dedication to fighting censorship and promoting the freedom to read--nor were they the first of Krug's memorial ceremonies at this year's ALA conference, and they are unlikely to be the last of either. In his letter to Krug's family and friends (published in the evening's program), President Obama writes, "I trust that her spirit and strength will continue to serve as a guiding force for everyone who benefited from her life and her life's work." The fact is, if you have ever read a book or visited a library, you have benefited, whether directly or indirectly, from Krug's life and work. That's how far-reaching and how important Krug was, and how deeply important she remains, to all of us.