Tag Archives: memoir

86. N——

Be sure to drop in to Serial where I am presenting a piece about a boy coming to grips with racism on the verge of the Civil War.

There it is, the N—– word. Everybody in America is afraid of it. When Paula Deen admitted using it during her youth (at a time when everybody in the South was using it freely), they almost crucified her. Granted, a lot of people were just waiting for a chance, but that was their excuse.

I could write it out plainly. It’s my blog; nobody is going to censor me. I feel a little foolish writing a letter followed by dashes, as if eveybody didn’t know what it meant. But if I spelled it out, I would feel like a little kid cussing in front of his parents, then pretending he didn’t know they were there.

I grew up whiter than white (see  posts 46. and 81.), in a black-free community. So how do you learn to hate or fear someone you never see?

Easy. You listen to your parents and their friends, and absorb their attitudes. I didn’t come to hate, in part because my parents didn’t hate. But they did fear.

Black folks seeking freedom during the sixties taught my mind and my heart not to fear them. But the gut takes longer. Forty years later I wrote a poem to confront the fear that lingered.

          Mother Tongue

               I saw a calf born.
His mother, in her need to clean him,
Knocked him over on his first rising,
And on his second rising.

In her need to make him safe,
she drove him to his knees.

               Words are like that –
A mother tongue that overwhelms us,
That makes us what we are,
and sometimes, what we should not be.

*****

When I see a black man, I hear “nigger”
Spoken sharply in my father’s voice.
I step back, my eyes grow tight,
Suspicion fires my blood,
And for one moment he is my enemy.

Then reason returns,
And I am shamed.

It is my father’s fear.
I would leave it in my father’s grave,
If I could . . .,  but I cannot!

I can only drive it down;
And bury it deep in shameful, hollow places.

If reading can remake our thoughts, writing can do even more. Making this poem a decade ago and facing my shame largely removed that inherited fear.

84. Homegrown Terror, 1989, (3)

In 1989, I was writing a novel about being a school teacher and mirroring my story against real events when a school shooting took place in a nearby city. I wrote reality into the novel. This post is the third in an excerpt from Symphony in a Minor Key.

*****

Neil drove to the mall after school and went to a department store where he had seen racks of televisions on display. He had no TV himself and he did not want to watch this with Carmen. He could either watch it alone, or in the anonymity of a public place, but not with someone he loved. He arrived at the store just in time to see the whole bloody scene on the news. All normal business had stopped in the store as clerks and customers stood riveted by the horror of it.

A second channel picked it up and Neil watched again. His fascination was like a private shame. He hated the newsman for the way he shoved his microphone into a child’s face to ask her how she had felt, but he could not turn away.

The next morning the Modesto Bee devoted five full pages to the tragedy. Neil, who did not subscribe, went out early to buy a copy and read it all. Five dead. Thirty wounded. That would be half of the kids he taught. And all the rest, the other three hundred students, would never feel safe again. Like a rape, it would tear them out of their childhoods and plunge them into a mad, adult world long before their time.

What would he say to his own students today?

*****

As it turned out, he didn’t have to say very much. Less than half of them were aware of what had happened, and few of them were very interested. They were talking about it when they came in from the buses; those who had seen the news were telling those who had not. But it had come to them through the plastic reality of the television. It was no more real than a drug bust, famine in Ethiopia, or oil spills. Or Miami Vice. It was just another part of the endless effluvium of human suffering that washed about them every day; with marvelous sanity, most of them remained unmoved.

A few of them were affected. Tanya Michelson looked as if she had been crying when she came in and stayed unnaturally quiet all day. Lisa Cobb jumped at every sound. Oscar Teixeira had been thinking hard about what it all meant. He went straight to the fact that the children who had died had all been Asian. With a clarity of thought all out of proportion to his age, he made the connection to the celebration of Martin Luther King Day just before the shooting. Of course he did not speak of irony – not at eleven years old – but he did recognize the juxtaposition.

*****

I taught for twenty-seven years – about 4000 students by my best estimate. Most of them are a blur now, but when they were with me, they were a joy that filled my room and my life. Black (there were a few), Anglo or Mexican, or the very few of other ethnicities, all were precious.

I grew up in a time and place when everyone looked alike, sounded alike, and went to the same church. As I said on Monday, the black people who marched in Selma showed me another way of thinking.

This memory of the assassination of Asian children has inserted itself into a series of posts largely on black history, just as it inserted itself, most unwelcomely, into the novel I was writing in 1989.

It’s all part of the same story.

On Monday I’ll tell you in more detail how a white guy came to be writing on race.

83. Homegrown Terror, 1989, (2)

If you didn’t read yesterday’s post, this will make no sense. Slide on down to post 82. We’ll wait.

The non-Anglo students at my school were Mexican or Mexican-American. I never knew which were native to the U.S., which were legal immigrants, and which were illegals. No one told me, no one told me to ask, and I didn’t need to know. I did try to teach equality and tolerance whenever the opportunity arose, like my alter ego Neil McCrae.

*****

Neil had not had a good day. He had obtained a video of Martin Luther King’s “I have a dream” speech to show to his students in connection with the holiday. His morning class had responded with very little enthusiasm when he tried to get them to discuss what it meant. There were no black children at Kiernan, and Neil had not been able to convince them that the civil rights Dr. King had fought for were for all of them. To these children the events of the fifties and sixties were another world, as foreign as ancient Athens. They were indifferent to it all.

His afternoon class was even worse. He had almost reached the point of giving up in disgust and trying some other tactic, when Bill Campbell came to the door of his classroom and motioned for Neil to join him outside. The look on Bill’s face alerted Neil that something serious had happened.

“I just got a phone call from Elaine Sanders. There has been a shooting at one of the elementary schools in Stockton. Apparently, there were a bunch of dead and wounded. Elaine wanted us to be on the alert.”

Bill’s words were just words. The reality of them did not hit Neil at once. He said, “On the alert for what?”

“I don’t know. Strangers on campus; anything like that.”

Since the American Navy had accidentally shot down an Iranian airliner the previous summer there had been talk of terrorist reprisals, and American schools were one of the targets being threatened. If that was the case, and the school which had already been struck was so close . . .

Neil found himself searching the playground with his eyes, and at the time it did not seem melodramatic. He said, “What do you want me to do?”

“Don’t say anything to your students, but be on the alert. Join Tom and me out front when the buses come to pick them up. It’s late enough in the afternoon that we probably won’t have any parents coming in to pick up their children because they heard it. If some parent comes in, get their child out of the classroom without a fuss. If we can manage it, I want to get these kids home with their parents before they hear about it.”

Bill went on to pass the word and Neil returned to his classroom. Bill’s words “a bunch of dead and wounded” rang in his head as he sat down and looked at his kids. Little Randi Nguyen with her boundless energy; Rabindranath who was calm and bright and utterly without a sense of humor; Lisa Cobb with her erratic behavior and terrible puns; even Jesse Herrera. Dead or wounded . . .; he had to shake his head to drive the vision away.

The bell for the last break of the day caught him by surprise and he jumped. Somebody laughed, then hid his laughter. The students all rushed for the door. Neil was on his feet in an instant and out the door to pace the playground in paranoid fear. All of the other teachers were out, exchanging worried glances and saying nothing.

When the buses came, a phalanx of teachers was there to protect their students from an enemy who never appeared.

This excerpt concludes tomorrow.

82. Homegrown Terror, 1989, (1)

“Life is not a well told tale.  Things come out of nowhere, and in their wake, everything is changed.”

On the day after Martin Luther King day in 1989, terror struck Stockton, California. I was teaching in a small middle school about forty miles away and writing a novel about being a middle school teacher. As I said in post 35, I had decided to have events in my novel mirror events in the real world, not knowing what a trap I had laid for myself. The next three posts are an except from that novel. For factual research, I had only to open the day’s newspaper.

Terror

Life is not a well told tale.  Things come out of nowhere, and in their wake, everything is changed. There is frequently no warning, and even afterward, those events may make no sense.

In Stockton, thirty miles north of Kiernan School, at about eleven thirty in the morning, a distracted young loner named Patrick Purdy parked his car outside Cleveland Elementary School. As he left his car, he used a fourth-of-July sparkler to light a pipe bomb in the front seat, and entered the school yard through an unlocked gate in the fence. He crossed a grassy field, rounded a classroom building and waited there watching the playground where the students were at recess. He was wearing a 9mm automatic pistol and carrying an assault rifle.

Purdy had attended that school for four years when he was a child. At that time it had been a white, middle class neighborhood. Now the community was filled with southeast Asian refugees. Most of the children in the playground were Asian.  Purdy had told acquaintances how much he hated Asians.

Two things happened almost at once. The bomb Purdy had left in his car exploded, and the bell ending the recess period rang.  The children turned from their play and ran back toward their classrooms. Purdy raised his AK-47 and calmly, matter-of-factly, fired a burst of thirty rounds into the mass of students. They fell, screaming and bleeding, or silent and already dead.

He replaced the ammunition clip and fired again.  A teacher herding her children toward safety was shot down, and more students fell. Teachers inside the building at Purdy’s back huddled on the floor with their students, but he did not turn in their direction. He walked to his right, crossing in front of them, still firing into a school yard now littered with huddled heaps of the dead and wounded.

He rounded the far corner of the building just as the first sirens began to sound in the distance. Laying aside his assault rifle, he pulled out his pistol, put the barrel of it to his chin, and fired once.

He was dead when the first officers arrived at the scene.  Five students lay dead. Twenty-nine students and a teacher lay wounded.

*****

Terror was not invented on that day, nor did it end with Stockton. However, no other event ever struck so close to home for me. I went back to school the following day in a school little different from Cleveland Elementary. Our ethnics were Mexican, but so what? Mexican, southeast Asian, or Black – or, in other decades, Polish, Japanese, Irish, or Italian, so what?

I didn’t want to write about Purdy and his handiwork, but I did. It did not exploit the children of Stockton, but honored them by not hiding the truth.

More follows in the next two posts.

81. Whiter Than White

Today is Martin Luther King day, separated from Black History Month by two weeks. I plan to combine them into a six week period devoted largely to black/ethnic history. Non-related posts will intervene – Jan 27, for example, gets special treatment as the anniversary of the Apollo One fire. Most of the posts, however, will be on ethnic subjects.

Why so much time devoted by a white guy in a blog largely about writing science fiction? This post and next Monday’s will explain.

Whiter than White

I loved my father. Whatever else I say, don’t lose sight of that. He was a good man by the standards of his day, but that day has passed. He wasn’t a racist by the standards of his day. By today’s standards, he would be.

Of course he changed over the years, and if he were still alive, he would still be changing. We all do. But I am thinking of 1966. When Negroes (people didn’t use the words black or African-American yet) marched in Selma and elsewhere, my father shook his head in dismay and said that if the troublemakers would just leave the good colored people alone, everything would be fine.

If that shocks you, let me offer a taste of history – at that time, most of the country agreed with him.

I didn’t have an opinion yet. I had never met a black person. There was one black man who farmed somewhere in the area. I saw him go by in his pickup once in a while, but that was as close to a black person as I had been. (See post 46.)

I had never met a Jew. I had never met a Spanish speaker, nor an Italian, nor a Mormon. Certainly not a Muslim; actually, I had never heard of Muslims. There was one Catholic boy who attended our school briefly. He wasn’t well treated and he didn’t stay.

You get the picture. Not just white – WHITE. And not just Protestant, but Southern Baptist. And not just Southern Baptist, but small-town-Southern-Baptist; not like those liberals down in Tulsa. There were so many Baptists in town that the local high school didn’t dare have a prom. No dancing was allowed.

There were just a few families in the town, each one much like the other. You couldn’t throw a rock in any direction without hitting a Logsdon, or a Logsdon’s inlaw.

But then those black people went marching, and were met with clubs and dogs and firehoses. And when my father (and everybody else’s fathers) said it was their own fault, I couldn’t buy it. When I saw them bloodied and beaten, yet standing firm for freedom and dignity, I knew they were right and we were wrong.

When they fought for their own freedom, they also gave this Oklahoma white boy his freedom. They gave me a new way of looking at the world, and I am grateful to this day.

73. Your Own Language

    YOL 1 Welcome to 2016. I have been dense-packing this website with nine posts per week since mid-2015, in support of the upcoming release of Cyan, the novel which signals my return from the graveyard of forgotten writers.
     Science fiction readers tend to be closet or would-be writers themselves. With that in mind, the next eight posts in A Writing Life will be an unabashed how-to series.

Your Own Language
first post of 8

I have spent the last fifty-five years perfecting the ability to write in a dead language – grammatical English.

Before you close me out without reading further, let me assure you that I fight back against English grammar as much as anyone else who deals with it daily. The grammar books of my childhood and youth were of little use in learning to write well; the ones I saw during my years as a teacher were positively harmful. Most of what they taught needed to be unlearned to avoid becoming a mental cripple.

I have come to these two conclusions about English.

  • Those who slavishly follow grammatical rules end up sounding like pretentious fools.
  • Those who ignore grammatical rules end up sounding like ignorant fools.

As Kirk said to Spock, the truth lies somewhere in between.

I grew up on a farm outside a tiny town in Oklahoma. The version of English my people spoke did not follow Strunk and White, but it still had rules. You would never say to a friend, “Y’all come over after work.” Only ignorant Northerners said that when mocking us. You would say, “Come over after work,” or, “Would you like to come over after work.” In the South, you is second person singular and y’all (you all) is second person plural, a grammatical nicety far superior to the way standard English collapses singular and plural into a single word.

It wasn’t standard grammar, but it was grammar nonetheless, and if you didn’t follow the rule, you looked ignorant.

If I had planned to be a farmer, I would simply have talked like everybody around me. It is a valid dialect, capable of great expressiveness. But I had decided to go to college to become a scientist, so I had to master standard English.

Try that is a tiny town in Oklahoma in the fifties. I dare you.

Fifty-some years, two master’s theses, and many novels later, I’m still working at it. Here are some of the things I’ve learned along the way.

  • There is no such thing as Standard English.
  • What I took for Standard English and spent a lifetime mastering was only a snapshot of a continuously changing scene.
  • The language I made my own, has largely disappeared.
  • What typically passes for English today is as chaotic as a bowl of alphabet soup, but . . .
  • If you choose a typical passage written in 1950, or 1900, or 1850, or 1800 it will be equally chaotic.
  • Chaotic or not, readers read and understand the writing of their own era. And pay for it, if it’s interesting or exciting.
  • Generally speaking, so-so writers make more money than really wonderful writers, if they are also excellent storytellers.
  • You have to create your own version of English.

Prince of Exile, 1, introduction

Welcome back to Serial in its normal form. I did not want my fantasy short story Prince of Exile broken up by a change of year. Beginning tomorrow, it will appear in eleven additional posts, with this post as an introduction.

I have been writing fantasy of one kind or another since the beginning. In 1972 I wrote the opening lines of Valley of the Menhir, (post 39) three years before I decided to try my hand at novels. Most of the fantasy I’ve written has been in that universe; the Land of the Menhir has become almost a second home to me.

This story stands separate and a lot further along the continuum from medieval to mythical. It takes place adjacent to a land of Kings and barmaids, and in that land at the same time – sort of. The Prince is more than a little hard to pin down.

The initial rush of emotion that told me I had a story crying to be written came when I first heard the Doors’ performance of Celebration of the Lizard on their 1970 album Absolutely Live. When I heard . . .

Brothers and sisters of the pale forest
Children of the night
—–
Tomorrow we enter the town of my birth
I want to be ready.

. . . I knew I had to take those words, absorb them, transmute them, and bring them back again. The story that emerged did not contain the words of the poem; nevertheless, they are its genesis and essence.

(Pardon the brevity of the quotation; I am punctilious about not stealing other artist’s words.)

Two other fragments were necessary to this story; I am a fan of Michael Moorcock and of Elric, but Stormbringer always repelled me. In part 2, I decided to offer my anti-Stormbringer in rebuke.

The second fragment comes from childhood, from a book called Wild Animals I have Known by Ernest Thompson Seton, which I bought when I was about twelve. In one of his stories, all based on real events, Seton says, “Every true story ends in death.” Or so my mind constructed his meaning; I still have the book, but I have never since been able to find the passage that affected me so deeply. Most likely, I had rebuilt his actual words, “The life of a wild animal always has a tragic end,” which is a subtly but critically different observation.

Over the years, while recognizing the reality of Seton’s statement, whatever words he actually used to convey it, I have also come to realize that the opposite is equally true. No action, for good or ill, ends with the actor’s life. All the things we do have reverberations that long outlive us. In other words, “No true story ever ends.”

In Prince of Exile, I finally found the right place to use that conundrum.

You might guess from the length of this introduction that Prince of Exile is something special to me. I may be my favorite among all the things I’ve written. Although it would be hard to rank Prince above something I’ve spent years polishing, at least pound for pound it ranks first.

There is one flaw in the story, which I have no intention of fixing. If you were to read it cold, you would  expect to find that the prince is the king’s son. No. The King is a king; the Prince is the prince. Not related the way you would think at all. Logically, I should change one or the other, but I can no more do that than Ursula LeGuin could change Ged’s name because someone might think she meant God. Anyway, structural flaws don’t mean so much in a story that comes from this deep.   Prince of Exile begins tomorrow.

71. New Year, New Century

DSCN4794The end of the year is my favorite season. Whether you are Christian or not, the story of the birth of the Christ child is also the birth of hope, the birth of joy, and the birth of innocence. We need all those things in our world. I have come to love this season more now than I did when I was a child.

Add a sense of the world’s renewal at the turning of the year that comes to us from the pagan roots of our Christmas festivals, and it all becomes pretty magical.

I have already spent time celebrating the year’s end as we Westerners see it. Now, on the last day of the year, I would like to turn toward the East, to a land beyond the land of the Magi.

*****

Rabindranath Tagore is a Bengali writer who won the Nobel prize for literature in 1913. He is largely unknown in America, and for good reason. His work is hard going – not because of difficuty of language (there are plenty of translations), but because it is the product of a spiritualism that is beyond the American norm. America loves it’s gurus; we all know that. But the ones who make it here tend to have a gift for sound bites, an easy pop-psych message, and a face the camera loves.

Tagore was glitz free.

When I was studying Anthropology, my subject area was South Asia. I ran across Tagore’s poem Sunset of the Century in a textbook, and was so taken by it that I quoted part of it when I wrote A Fond Farewell to Dying, and quoted it again as the sub-title of this website.

At sunset, December 31, 1899, Tagore looked at his land, crushed under a hundred and fifty years of British domination, and looked forward to the new century which he hoped would bring India its freedom.

Here is the excerpt I quoted in Fond Farewell:

Be not ashamed, my brothers, to stand before the proud and the powerful.
With your white robes of simpleness.
Let your crown be of humility, your freedom the freedom of the soul.
Build God’s throne daily on the ample bareness of your poverty.
And know that what is huge is not great and pride is not everlasting.

That last line is probably my favorite quotation of all time. The complete poem is in today’s Serial post.

70. The War is Over

240px-Wildfire_near_Cedar_Fort,_Utah Every era has its terrors. Throughout my childhood in the fifties I was deeply aware of the likelihood of nuclear war. I was fifteen during the Cuban missle crisis. When I went to college, Viet Nam was well underway.

As I mention today in Serial, I tried my hand at folk music. I even wrote a song, which no one has heard for the last 45 years. I wish I could call it the melancholy thoughts of youth but, sadly, it’s still spot on.

The War is Over
Syd Logsdon

Now that the last war is over
Now that the violence is done
Search through the rubble for mourners
You will find — not a one.

Now that the green grass is dying
Now that the trees are stripped bare
The sounds of the forest are silent
The brooks have no laughter to spare.

The moon still hangs sad and silent
The stars fill the heavens with light
The sea rolls so dark and so lonely
Over cities where ruins now lie.

Look for your friends in the mountains
Or your enemy’s spoor on the plain
Run through the corridor shelters
Seek a companion in vain.

Cry out your soul for a songbird
But none will answer your call
Search for your friends and your loved ones
But they’re gone — one and all.

Search for the one called the victor
Through the still smoking rubble and ruin
Now that the violence is over
Now that the war has been won.

Innisfree

hiatusYeats is one of the great poets of the English language and The Lake Isle of Innisfree is among his best known poems. I was introduced to it through folk music.

I arrived at college just at the end of the folk era. It had basically passed me by in my country-western Oklahoma life, and I was hooked as soon as I discovered it. One of my roommates had been in a high school folk group in Minnesota. He quickly found a girlfriend who could sing (beautifully) and a fellow guitarist, and started playing in the local coffee houses. I borrowed his tenor guitar to learn on, then got a six string, and I was just getting reasonably good when folk music disappeared overnight and psychedelic rock became the rage. Timing was never my strong suit.

My roommates and I were always short on cash, so we shared our stash of records. One of my favorites was Hamilton Camp’s Paths of Victory, but it went with my roommate when college was over. Camp took Yeat’s Innisfree and wrote music for it, and a sweeter song was never sung – at least until Judy Collins sang it a cappella to his music a year later.

This is one of the two or three songs I catch myself singing whenever I am alone and can harm no one. Chances are you already know the poem, but I suggest that you Google judy collins innisfree and hear it sung on U-tube. Or, if you are old enough to enjoy an early Dylan sound-alike, Google hamilton camp innisfree.

  It isn’t hard to find. Clearly, I’m not the only one who loves it.

The Lake Isle of Innisfree – William Butler Yeats – 1892

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

*****

During this last week of the year, I’m taking a hiatus, sort of, by placing some of my favorite poems instead of things I have written. My fantasy short story Prince of Exile will begin here the first full week of next year.