Tag Archives: literature

Voices in the Walls 13

Chapter two, continued

It was a long, uncomfortable night. Every time I fell asleep the swaying coach threatened to throw me to the floor. Fortunately the seat opposite us was empty, so I got Sarah stretched out there and held her in place by sitting with my heels braced against the edge of her seat, with her shoulder wedged against the sole of my boots. I doubt that Mrs. Davison would have approved.

We arrived at Gettysburg late the following morning. Sarah was awake, but irritable. I left her standing on the platform while I watched the porters take her trunks out of the baggage car.

The arrival of the train is a major event in any small town. The brightly colored engine and tender, the noise of the whistle and the rolling steam from the pistons, make a sight that few can resist. Children and dogs rushed wildly about. A teamster stood by the heads of his horses to keep them from panicking when the train pulled out again. I asked him about Aunt Rachel’s house and found out that it was on a farm two miles south of Gettysburg on the Emmitsburg Road.

The teamster’s name was Dreyfus. He looked me over with distaste, and allowed that he was heading down the Emmitsburg Road himself after he had loaded up. I was wearing a dark suit and riding boots, and looked like a Southern gentleman’s son. He was dressed in ragged shirt and trousers, with shoes that might have belonged to someone else before him. He didn’t like me, but he was willing to take my money to let us ride along with him.

When the train had pulled out and he had maneuvered his wagon up to the platform, I hung my coat on the brake lever alongside his battered hat and lent a hand with the loading. There were heavy crates of shovels and hoes, and bags of grain and seed potatoes. I think he was surprised that I chose to help him, and even more surprised that I stood up to the work. At least, when we threw Sarah’s many trunks up on top of his load, he did not make the cutting remarks I had expected.

Sarah, on the other hand, had had enough. She stood with her hands on her hips looking at the teamster’s wagon and refused to go.

“I’ve been on that old train for a whole day and a night, and I’m tired. I hurt all over and I don’t intend to go anywhere in a wagon that smells like – like what cows do! I’m going to stay right here until Aunt Rachel comes to pick us up.”

Dreyfus rolled his eyes and spat tobacco juice. I was tired myself, and in no mood for spoiled brat behavior, so I told her sharply, “Aunt Rachel doesn’t know we are here. I see no reason for Mr. Dreyfus to take your trunks out to the farm and have Aunt Rachel quit whatever she is doing, hitch up a team, and drive out here because you don’t like what his wagon smells like.”

She sat down on the edge of the platform with a theatrical flounce and pouted. All I could think of was Mrs. Davison, and I really hadn’t liked the woman all that much.

I went to the wagon, made a nest for Sarah out of empty feed sacks, and then hoisted her aboard. She squealed in protest, but I paid her no mind, except to say, “If this wagon is good enough for Mr. Dreyfus and for me, it’s good enough for you.”

Half a mile out of town, the teamster spat over the side and laughed. “Mr. Dreyfus! Man, that’s prime.”

Voices in the Walls 12

Chapter Two

It was a long journey to Pennsylvania. Sarah was excited to be riding a train for the first time, but after hours of clinging to the narrow seat while the coach danced on the uneven track and breathing a heady mixture of soot and cinders, she fell asleep nestled against me.

To be truthful, I was as excited as she was. I had traveled by carriage from Waterside to Washington City several times, and from Washington to Baltimore by horse, but I had never gone toward the west. It was exciting just to know that I could travel by the train all the way to the Mississippi if I were free to do so. I remained alert on into the afternoon, watching the valley of the Potomac slip by at the astonishing rate of twenty miles an hour.

It was nearly nightfall when we reached the great bridge at Harper’s Ferry. On our left as we approached, one half of the bridge carried horses and wagons, while the right side carried the tracks of the railroad. As we passed beneath the roof of the bridge, the smoke from the engine boiling in through our open windows became almost unbearable.

I left Sarah asleep on the seat and stepped out onto the platform to look around. Just a year ago Harper’s Ferry had been the center of the nation’s attention as the crazed abolitionist John Brown raided the Federal arsenal there.

John Brown had not raised the slaves to revolt. He had only killed a few innocent people and they had hanged him three months later. Yet even in failure, he had succeeded. After John Brown’s raid, the South had looked northward with even greater distrust. It had made compromise even harder than before. Now the widening split between the two halves of America had led to the election of the one man the South could not tolerate.

Now, as I looked on the place where the nation’s fate had been sealed, I had no idea that I would return there in so few months. Nor, in my wildest dreams, could I ever have imagined the circumstances that would draw me there.

*****

Historical novels require accuracy, but the bar is somewhat lower than historical non-fiction. Either type of literature is subject to error. Perfection is not possible, and historians are always correcting one another.

It comes down to a balancing act between a desire for accuracy and the needs of the story, refereed by the likelihood of reader catching your error.

In this case, I sent Matt and Sarah’s train through Harper’s Ferry because I wanted to bring it into the story early. The railroad is real; in fact the Harper’s Ferry train and wagon bridge is well known among enthusiasts of early railroads. When I later found an early railroad atlas which showed that the sensible route from Washington to Gettysburg left the B & O before Harper’s Ferry, I retained the error in order to get John Brown into the story early, along with a foreshadowing of coming events.

In point of fact, Matt may not pass through or near Harper’s Ferry in chapters yet unwritten. I know he is going to return to the South on a mission he can’t even imagine at this point of the story, but his route at that point is uncertain to me now. If he doesn’t pass through Harper’s Ferry, it will be a simple thing to come back and make a slight change in this part of the ms.

93. Genesis of Race

          My well meaning California friends can’t understand why white supremacists actually believe what they believe. I have no problem understanding, because I grew up in the culture, or at least a watered down version of the culture. Maybe this will help them to see.
          As I’ve said before, don’t shoot the messenger. I’m just telling how it was. SL

I can’t tell you what it was like to be black in the fifties. I wasn’t there, and it isn’t my story to tell, anyway. I can tell you how Christian whites on the edge of the south justified their beliefs in white supremacy. I was there. Happily, I escaped.

First of all, the people I’m talking about also believed that God created the world in six days and rested on the seventh. Why? Because it’s in the Bible.

“God said it, I believe it, and that’s the end of it!”

These people also believed in the Flood. They didn’t enjoy knowing that God had killed off tens of thousands of people and millions of animals in the Flood, but they belived it.

My father believed all of the above, and believed that the separation of the races and the inferior position of blacks was God’s plan. I don’t think he was very comfortable with his understanding of race, but he wasn’t about to argue with God, just as he never yelled at God for drowning all those animals during the Flood.

The Flood, in fact, was where race began, since Adam and Eve were clearly both white. Here is the story of what happened, as told in Genesis. (King James version, of course. Chapter and verse given.)

{9:18} And the sons of Noah, that went forth of the ark, were Shem, and Ham, and Japheth: and Ham is the father of Canaan.

{9:19} These [are] the three sons of Noah: and of them was the whole earth overspread.

{9:20} And Noah began [to be] an husbandman, and he planted a vineyard:

{9:21} And he drank of the wine, and was drunken; and he was uncovered within his tent.

{9:22} And Ham, the father of Canaan, saw the nakedness of his father, and told his two brethren without.

{9:23} And Shem and Japheth took a garment, and laid [it] upon both their shoulders, and went backward, and covered the nakedness of their father; and their faces [were] backward, and they saw not their father’s nakedness.

{9:24} And Noah awoke from his wine, and knew what his younger son had done unto him.

{9:25} And he said, Cursed [be] Canaan; a servant of servants shall he be unto his brethren.

{9:26} And he said, Blessed [be] the LORD God of Shem; and Canaan shall be his servant.

{9:27} God shall enlarge Japheth, and he shall dwell in the tents of Shem; and Canaan shall be his servant.

That’s what it says. Here is how it was interpreted. Shem was the father of the white race. Jepheth was the father of the yellow race, including the Jews. Ham was the father of the black race. Ham came upon his father when he was naked and laughed at him. (I know, it doesn’t actually say that, but that was the belief.) Then Noah cursed Ham (after he sobered up) so that he and his children would always be subservient to the other races.

It was not necesary to feel guilty because blacks were in inferior positions. God did it through his prophet Noah. A man could say, “Don’t bother me about it; I don’t tell God what to do.”

Of course, the question we might ask today is: how many men believed in black inferiority reluctantly, out of  Christian faith, and how many used a qestionable interpretation to further their own ends. We will never have the answer to that question.

Voices in the Walls 11

Before we move on to Chapter two, here is a longer “note to self” that I dropped in with no intention of sharing it with anyone. I normally think in long, convoluted sentences and my first drafts – depending on the day and my mood – sometimes become quite dense. I spend a lot of time chopping the weeds out of my sentences so that only the grass remains.

In this brief piece, I have only cleaned things up enough to tone down the worst of the confusion.

The tone and tenor of this story will depend in part on how old Matthew is when he tells the story. If it is told as if we were looking over his shoulder as he experiences it – as it mostly is now – then it will have a callowness and lack of depth due to his immaturity. If he is looking back from age 20ish, as if he were narrating at the age he is in the prolog, it will have greater maturity. It will now have a greater sense of the depth of time, but will lose some immediacy. If he is telling the story to his grandchildren at age 70ish, he will have to explain some things to them which will be beneficial to the modern young reader, and will take away some of the stiffness and the feeling of dialect in the voices of the slaves.

He might, for example, say, “Bonnie, I know no one says Massah anymore. That’s cause there aren’t any slaves any more. It sounds funny? No there was nothing funny about it.”

This could smack of Conrad’s “Ah, youth. Pass the bottle.” but despite that it is still legitimate form of storytelling and it gives that distancing effect, that storytelling effect, that allows the author to comment on old mores, which is something the narrator can’t normally do.

If the Conrad reference is unfamiliar to you, Joseph Conrad’s story Youth is told in flashbacks by a narrator during a drinking bout some years after the events it describes. The narrator’s calls of “Ah, youth!” and “Pass the bottle!” become tedious and eventually laughable. Don’t let that scare you off, though; it is a minor flaw on a fine story.

Something I did not discuss in the “note to self” is person. Voices has to be first person; it is about Matt’s internal struggles, and no other form would work.

I normally prefer third person for its flexibility, and because it allows me to comment on the protagonist. The only other first person novel I’ve done is Raven’s Run. If I had made it third person, it would have an entirely different tone, less reflective and more hard edged. I like it like it is, but in third person it might be easier to sell.

My first real novel, Jandrax, was written in first person. It didn’t work, so I rewrote the whole thing into third person and Ballantine snatched it up. I did cheat a little. I managed to leave two chapters in first person, one as a narrated flashback, and the other presented with the feel of a folk tale.

Voices in the Walls 10

Chapter one, concluded

“But we will have to fight for our freedom,” I said, “and I could hardly call myself a man if I let others do my fighting for me!”

“I understand your feelings, but listen: Lincoln doesn’t become president until March. The southern states won’t wait for that to happen. They will begin to secede immediately, and it is possible that President Buchanan will let them go with only a token show of resistance. It could all be over before Lincoln ever comes to the Presidency.”

“I don’t see how that changes anything.”

“Son, you are still fifteen. Give me your word that you will stay with your sister in Gettysburg until your sixteenth birthday, and I will release you from any further obligations. By that time we will know better what is to happen, and I will trust you to act on your own conscience.”

???make this 16 & 17???

(I love computers. They allow me to drop little “notes to self” right into the text where I can’t forget them. Of course this would be a disaster if you were the type to send off first drafts unchecked.)

I did not want to give my word. The South had no navy. That meant that if it came to war, they would be fitting out privateers and I wanted to be in on the action. If my father’s predictions were right, I might miss the whole thing by waiting until April to enlist.

Yet, when I looked at my father’s face, I could not refuse him. I said, “I will wait.” He shook my hand on it. Then he reached into the side pocket of his coat and handed me a package wrapped with paper.

“Don’t open that until you get to Pennsylvania,” he cautioned, “and then do so in secret. You will find a pistol, caps, power, and shot inside. Load it, then hide it. Don’t let your Aunt Rachel know about it. As a Quaker, she is not supposed to force her ideas on anyone, but she might refuse to have it under her roof. She is a strong willed woman, and a foolish one sometimes. If you ever need to defend your sister or yourself, I want you to have the means.”

I slipped the heavy package into my pocket. More than anything so far, it brought home the seriousness of our situation. I said, “When will we see you again?”

“When God wills it, if he ever does.”

Then he put his arms around me briefly, and I confess that I had to wipe moisture from my eye before I turned to face Sarah again.

*****

So ends chapter one. I’ve reread the chapter dozens of times, tweaking little things, and I am still not satisfied with it. It is full of exposition necessary for the coming story, and full of conversation between a father and son who are just a bit stiff and distant with one another, during a formal historic era.

If this were science fiction, or fantasy, or a thriller, I would chuck the whole chapter and start over. Or, to be more precise, I would have written it differently in the first place.

There are two things at play here. The story I am trying to tell in a tale of morals, and much of the most important action is internal. Nevertheless, the story has to move, or readers will simply close the book and go on to something else.

Beginning with chapter two, things speed up a bit. When I complete Voices, I will leave chapter one as is and drive on the the last page. Events that have yet to be written may change my view of this first chapter and make changes easier.

Here is a rule to live by: Chapter one doesn’t have to be perfect while you are writing a book, but it had better be perfect before it heads for the publisher.

Chapter two is two posts away. Next post, a diversion.

Voices in the Walls 9

Chapter one, continued

Eventually the tour ended and Sarah was brought out. She ran into Father’s arms, then greeted me with a curtsey and a shy smile.

Sarah was six years younger than me, so I had rarely played with her when we were young. The Kemp twins from the plantation just down the river were my age, and we spent our childhoods together, with no time for little sisters.

Sarah was a baby and I was six when mother died. Father was a U. S. Representative by that time and had little time for us, so Sarah went to live with Father’s sister in Richmond and I was sent to a boarding school in Williamsburg. Father would bring us both back to Waterside with him when Congress was not in session. That remained the pattern of our lives for a decade.

Sarah was my sister, but she was a stranger. Except for our few months at Waterside each season, I had not lived in the same house with her for some years.

Now I looked closely at her. Her hair was blonde and done up in ropy curls. Her eyes were more gray than blue. The dress she wore was tight in the bodice and flared at the hip, well tailored and trimmed with lace. Her clothing, her stance, and the look on her face were all designed to make Mrs. Davison feel that she had produced a perfect little girl. I had no idea what was really going on inside her head. I’m sure Mrs. Davison knew even less than I did.

We went out to the carriage with Sarah between us, holding each of our hands. She was chattering gaily, but after the first five minutes I stopped listening. It was all about the life she lead at Mrs. Davison’s and the daily crises and intrigues of her playmates. James took the reins, snapped the horses into motion, and we pulled away. Sarah had both of Father’s hands in hers now, as if she were trying to squeeze the juice out of every second she would be with him.

At the train station, Father left Sarah with James long enough to take me aside. “Son,” he said, “I don’t know what the future holds for any of us, but it does not look pleasant. It will certainly be war. The question is how hard and how long the North will fight. I am hoping that the whole thing will be over by mid-summer. I would prefer that you stay out of the fighting if you can.”

I knew that my father had been no war hawk, but this advice sounded strange to my ears. I said, “Father, that hardly seems honorable.”

Father frowned and asked me, “Do you remember Representative Collins?”

I did. Collins was from Ohio; he and Father had been friends for years and he had visited Waterside several times, although they had drifted apart recently.

“Arthur Collins has a son just your age. I would not care to have you looking down a rifle barrel at his son, nor would I want his son firing at you. We have been members of the same nation, however quickly some men forget.”

“But we will have to fight for our freedom,” I said, “and I could hardly call myself a man if I let others do my fighting for me!”

Voices in the Walls 8

Chapter one, continued

Father had much to say to me. He was telling me the things I would have to know if he died before we met again, and we both knew it.

When I finally made it up to my room, I was drugged with sleep and sadness. All my life, I had planned to go to sea. It was a family tradition. My great-grandfather had been captain of a privateer during the Revolutionary War. Our plantation was bought with prize money from his three cruises. My grandfather was a lieutenant on the Constitution when she captured the HMS Java in 1812. Even Father had served on coasting bugeyes when he was a boy, before he had run for office. I had been about to follow in their footsteps. With an appointment to the Naval Academy, the dream had been so close I could almost touch it. To lose it now seemed too much to bear.

But . . . when the southern states seceded, they would surely need a navy. That thought cheered me considerably.

(Even though it doesn’t seem so now, this is a precursor of things to come. The fact that Matt’s family has seen a world beyond the South is instrumental in preparing for his later change of heart. He will contemplate this himself, in coming chapters. Having this paragraph here both shows his present state of mind and prepares the reader for changes which are to come later.)

*****

The next morning James readied the carriage and drove Father and me across town to the boarding school to pick up Sarah. Until a few months ago she had stayed with Father, but during the hopeless battle to keep Lincoln from being elected President, he had not had time for her.

Apparently Father had sent instructions ahead, because there was a pile of trunks on the ground outside the carriage house. We left James and one of Mrs. Davison’s slaves to load them while we went inside. (We associate Washington, D. C. with Lincoln and the Union, but at this time it was a city full of slaves.) The house was full of the early morning sounds of young girls awakening and getting ready for the day. We could hear scurrying and laughter in the rooms above, and the hallway where we waited was full of the pleasant smell of bacon and grits.

Mrs. Davison was short and round, in a hoop skirt that made her look rounder still. Cosmetics made her cheeks red and her eyelashes long and black, even so early in the morning, and her hair was elaborately done up. She was full of sighs and flutters, gesturing with her fan and declaring how she “didn’t know what she was going to do without Sarah. The girl was such an angel!” If she had been twenty years younger and sixty pounds lighter, she would have been the picture of a southern belle; instead she was a parody of one.

Since Sarah was still eating, Mrs. Davison took us on a tour of the lower part of her house. Father endured it gracefully, but I could see it was hard for him to listen. The nation was falling apart around him; all he wanted was to see his little girl off on her way to safety so he could get back to the business of saving what could be saved. Father’s strained courtesy made Mrs. Davison even more silly in my eyes.

Eventually the tour ended and Sarah was brought out. To my relief, she was sensibly dressed for traveling, in a dark dress of linen with no hoops to get in her way. She ran into Father’s arms, then greeted me with a curtsey and a shy smile.

89. Guess Who’s Coming to Dinner

You can learn a lot from television, if you are alert, and usually not what they want you expected.

My local oldies station has been running Guess Who’s Coming to Dinner incessantly for about a month. I’ve watched the whole thing several times and bits and pieces here and there as well. If you don’t remember the story, in 1967, a very handsome, very black man (Sidney Poitier) wants to marry a very pretty, very blonde white girl (Katherine Houghton). They spring this on her liberal parents and complications ensue.

I like the movie despite its obvious problems. I even forgive that it ends with a fifteen minute monolog by the grumpy, old white guy (Spencer Tracy), as he puts everybody else in their places.

The movie is dated and excessively, even simplistically, sweet. It is unrealistic that the black guy in question is such a moral superman and so terminally handsome. Never mind; the movie’s heart was in the right place and it probably did some good. And it was 1967, after all.

But there’s something else to be learned from this movie beyond what the producer intended. The next time you see it, take a look at Dorothy (no last name, played by Barbara Randolph), a minor character, assistant housekeeper and a drop-dead gorgeous black girl.

Or is she? Stand her up in your imagination half way between Poitier and Houghton. She is half as black as he is, and half as white as she is. How did that happen! And why do we accept her as black without even thinking about it?

The whole movie is based on the shock that everyone feels when Poitier and Houghton decide to marry, but no one even takes notice of the obvious product of four hundred years of interracial sex, married or otherwise, strutting her stuff in the background.

Hummmm!

Voices in the Walls 7

Chapter one, continued.

Father led me back into the parlor and motioned me toward a chair. “You know Lincoln was elected. You know war is coming.”

“Yes, I know, but might be a year before it begins. Or President Buchanan may let the South go peaceably, before Lincoln is even inaugurated.”

“Perhaps, but I doubt it. And Lincoln will fight.” 

There were men who would welcome this war. Senator Jacobs was such a man, but my father was not.

“What do you want me to do?” I asked.

“I am sending your sister to stay with your aunt in Pennsylvania. I want you to take her there and stay with her. I want you to protect her.”

“Pennsylvania! In the North! What about Waterside. Why aren’t you sending us back home?”

Father said, “Waterside will be a battleground when war comes. All of Virginia will be. There will be no safety there as long as the fighting continues.”

He looked sharply at me and said, “Matt, you are the only one I can depend on to keep Sarah safe.”

I was hurt by his doubt. I said, “You know that I will keep her safe. I would keep her safe wherever we were, in Waterside as well as in Pennsylvania.”

“How, Boy? If I sent you back to Waterside, how would you keep her safe from Federal troops? How would you explain to our neighbors if you stayed at Waterside while all their sons were going off to war? How could you resist when they came to recruit you? Could you stand by when they called you a coward?”

He was right. I could hardly stand hearing the word here, now, from my father. I could certainly never stand to have it hurled at me in anger by a neighbor. For a minute there was no sound in the room but the ticking of a clock. Then I said, “If I go North with Sarah, won’t that be the act of a coward?”

“No. You will just be taking your sister to safety.”

“And I will be taking myself to safety,” I answered. “I can’t do that. You wouldn’t do it! Father, I have always done what you said, but this time you are asking too much. Tell me why you are sending me away from my home to live with the enemy when war is coming. Convince me that you have good reason and I will go, but I won’t go just because you tell me to. Not this time.”

There was irritation in his face, but some pride, too. He said, “Yes, you may have to fight. But not yet. The war is not here yet. Take your sister to your aunt’s and stay there with her as long as you feel that you can. See to her safety, and then do what you must.”

He had much more to say to me. We sat for hours as he brought me up to date on the details of Waterside. He told me what fields were under what crops, how the shipyard on the James River was doing, and what slaves he had assigned to which jobs. It chilled me to listen. He was telling me the things I would have to know if he died before we met again, and we both knew it.

88. John Henry

I have always wondered why John Henry is a folk hero.

Maybe it’s just a folk song. Maybe it isn’t supposed to make sense. I never worry about the fact that Stewball “never drank water, he only drank wine”; I do have a tendency to overthink things.

But let’s look at the facts. John Henry is big, strong, uneducated and very black. Symbolically black, even. As a ”little bitty baby” he picks up a hammer and accepts his fate. He works himself to death for white folks, while they stand around and bet against him. Then his wife takes over when he’s dead, and the story goes on unchanged.

Sounds pretty damned Jim Crow to me.

A technical point here, so it all makes sense. As a “steel drivin’ man”, John Henry is not spiking down rails to ties. He is digging tunnels. He is swinging a doublejack, a two handed medium weight sledge hammer. He is hitting a star drill, which is a steel rod about a yard long ending in a hardened cross bit. Every time John Henry hits the drill, another inch of rock is pulverized in the bottom of a hole. Between each stroke, his assistant turns the drill an eighth of a turn.

Men with John Henry’s job spent their days drilling holes in the face of a tunnel. Those holes were then filled with black powder or dynamite, depending on the era, and blasted. Then the drill men moved back in to do it all over again.

Imagine working in near darkness, covered with sweat and stone dust, breathing in the fumes from the last blast, damp and cold in winter, damp and hot in summer. Tough for John Henry; terrifying for his assistant, holding the drill steady, turning it only in that moment when the hammer is drawn back, and knowing that if John Henry ever misses, he’s dog meat.

It gets worse.

It is useful to those in power to have a large population of the powerless and hungry. Slaves fit that bill very well; so do new immigrants. Today we have the working poor, who are kept humble by the myth that if you can’t make it in America, it’s your own fault. You aren’t working hard enough (see post 5.).

Immediately after the Civil War, white southerners found a way to get back some of their power and some of their slaves. They simply arrested and imprisoned newly freed blacks, then rented them out. They invented the chain gang. If you are trying to find historical reasons why blacks fill our prisons and why our police are so often corrupt, chances are pretty good your research will lead you to those events.

What does this have to do with John Henry? In searching for the man behind the legend, writer Scott Reynolds Nelson’s* discoveries suggest that John Henry was one of these convict-slaves.

John Henry was a man who could not break his chains, but was still a man for all that. His status as a black hero makes sense.

Still . . ., if I were borrowing all this to make a story, I would rewrite it so that John Henry used his hammer to brain the overseer. But, of course, the real John Henry could never do that, and today’s black community would not accept such a cheap answer, or such an easy road to freedom. It would not match up with their own experiences.

History is usually uglier than anything we novelists can invent.

*Scott Reynolds Nelson. Steel Drivin’ Man: John Henry, the Untold Story of an American Legend.