Two remarkable poems celebrate Louisiana’s moss-laden live oak trees. The first, “I Saw in Louisiana a Live Oak Growing,” Walt Whitman wrote. He and his younger brother, Jeff, came to New Orleans in February 1848 to work for a newspaper, the New Orleans Crescent, as a journalist and Jeff as a copy boy. They left before the end of the year because of their opposition to slavery.
The other poem, “Bearded Oaks,” Robert Penn Warren composed a century later. He too lived in Louisiana and taught for many years at Louisiana State University. Warren is the only writer to win the Pulitzer Prize for both poetry–Promises, in 1957–and for his classic novel–All The King’s Men, in 1946.
-Joe DeSalvo, owner, Faulkner House Books
I Saw in Louisiana a Live-Oak Growing By Walt Whitman
I saw in Louisiana a live-oak growing,
All alone stood it and the moss hung down from
Without any companion it grew there uttering
joyous leaves of dark green,
And its look, rude, unbending, lusty, made me
think of myself,
But I wonder’d how it could utter joyous leaves
standing alone there without its friend near,
for I knew I could not,
And I broke off a twig with a certain number of
leaves upon it, and twined around it a little
And brought it away, and I have placed it in sight
in my room,
It is not needed to remind me as of my own dear
(For I believe lately I think of little else than of
Yet it remains to me a curious token, it makes me
think of manly love;
For all that, and though the live-oak glistens
there in Louisiana solitary in a wide flat
Uttering joyous leaves all its life without a friend
a lover near,
I know very well I could not.
Bearded Oaks By Robert Penn Warren
The oaks, how subtle and marine!
Bearded, and all the layered light
Above them swims; and thus the scene,
Recessed, awaits the positive night.
So, waiting, we in the grass now lie
Beneath the languorous tread of light;
The grassed, kelp-like, satisfy
The nameless motions of the air.
Upon the floor of light, and time,
Unmurmuring, of polyp made,
We rest; we are, as light withdraws,
Twin atolls on a shelf of shade.
Ages to our construction went,
Dim architecture, hour by hour;
And violence, forgot now, lent
The present stillness all its power.
The storm of noon above us rolled,
Of light the fury, furious gold,
The long drag troubling us, the depth:
Unrocked is dark, unrippling, still.
Passion and slaughter, ruth, decay
Descended, whispered grain by grain,
Silted down swaying streams, to lay
Foundation for our voicelessness.
All our debate is voiceless here,
As all our rage is rage of stone;
If hopeless hope, fearless is fear,
And history is thus undone.
(Our feet once wrought the hollow street
With echo when the lamps were dead
All windows; once our headlight glare
Disturbed the doe that, leaping fled.)
The caged hearts make iron stroke,
I do not love you now the less,
Or less that all that light once gave
The graduate dark should now revoke
So little time we live in Time,
And we learn all so painfully,
That we may spare this hour’s term
To practice for Eternity.
This Thanksgiving, I gave thanks for a growing family, good friends, and The World’s Largest Man: A Memoir (HarperCollins, 2015) by Harrison Scott Key.
The World’s Largest Man is the funniest book I’ve ever read. Also, it’s the only book that I’ve read almost entirely aloud, my wife and I only pausing to let uncontrollable laughter subside before reading the passage over again.
Harrison Scott Key, The World’s Largest Man: A Memoir. HarperCollins, 2015. Signed, $26.99.
Key’s humor and creative nonfiction has appeared in The Best American Travel Writing, Image, McSweeney’s, The New York Times, Outside, Reader’s Digest, and Salon. He is an editor at Oxford American where he writes a column entitled, “Big Chief Tablet”—a reference to Ignatius J. Reilly’s notes in A Confederacy of Dunces.
This first book pulls up a chair for Key at the table of Southern humor, a supper club still led by the prolific author and speaker, Roy Blount, Jr. The World’s Largest Man is a book-length love letter to his complicated and imposing, yet caring, father. It’s a collection of personal stories from childhood in rural Mississippi to adulthood in Savannah, all sewn together with threads of evolving relationships between Key and his parents and, in the later chapters, Key’s wife and daughters. However, there is nothing that I can say to enhance Key’s voice, so below is a sampling of what he brings to the table.
Key joined us in October for the 2015 Words & Music conference and signed a case of his books. Come buy one, and laugh as you read it aloud to your family over the holidays.
The first chapter begins with a context for storytelling:
They say the South is full of storytellers, but I am unconvinced. It seems more accurate to say that it is full of people who are very, very tired. At least this was my childhood experience is Mississippi, where there was very little to do but shoot things or get them pregnant. After a full day of killing and fornicating, it was only natural that everyone grew weary. So we sat around. Some would sit and nap, others would sit and drink. Frequently, there was drinking and then napping. The pious would read their Bibles, while their children would find a shady spot to know one another biblically, or perhaps give birth to a child from a previous knowing. Eventually, though, all the sitting led to talking, which supposedly led to all the stories, or at least the beginnings of stories.
In my family, we were unable to finish any. Until now.
His answer to the question, “What’s Mississippi really like?”
I can tell what they really want to ask is, What was it like to grow up around crazy people who believe that whatever can’t be shot should be baptized? But they are afraid to ask, because they are not yet sure if I am one of those people.
I do believe in the power of Jesus and rifles, but to keep things interesting, I also believe in the power of NPR and the scientific method. It is not easy explaining all this to educated people at cocktail parties, so instead I tell them that it was basically just like Faulkner described it, meaning that my state is too impoverished to afford punctuation, that I have seen children go without a comma for years, that I’ve seen some families save their whole lives for a semicolon.
While deer hunting with his brother, Bird:
I did what my brother said and climbed down, because while he may have lacked the ability to conjugate verbs, he would’ve known how to kill those verbs if they had been running through the forest. He was sixteen now, and he’d already killed his first, and his second, and third. Actually there was no telling how many he he’d killed. He obeyed so few hunting laws, largely as a result of his believing that he had Native American blood, which he believed absolved him from all state and federal hunting and drug statutes.
“Cherokee didn’t need no fucking hunting license,” he’d say.
What was the Trail of Tears like, I wanted to ask. Had that been hard, watching all his people die of the measles? But also, I wanted to believe. It was a story our grandmother had told us about being descended from a Cherokee chieftain, a version of the same fairy tale told to most poor whites and blacks across the South, a way of making us feel better about genocide and gambling. I’d heard that such blood could earn me a college scholarship, which I believed was my passage out of this alien land, while Bird used this story to explain his preternatural desire to learn things about animals by smelling their feces.”
As for hunting, Key prefers the grocery store:
Borden’s was our ice cream, and it came in a bucket the size of an above ground pool. How could hunting deer ever compare to hunting vanilla ice cream, which is generally docile and will let you pour syrup on it without running away?
His father’s beliefs:
My father believed a lot of crazy things: that men with earrings were queer, that the pope got to pick the Notre Dame football coach, that we couldn’t possibly have made all those expensive calls on the telephone bill. He would sit in his recliner and review the bill like some Old Testament scholar with a gift for high blood pressure….
Pop especially hated the Boy Scouts….
His only real belief about urban design was that houses should be far enough apart to let a man stand in his own front yard and relieve himself in relative privacy….
In my father’s house, having indoor pets was always a sign of moral decay, assumed to be clear evidence of mental illness and possibly drug addiction. If you wanted to get an animal into his house, you had to tell my father that you intended to eat it.
About learning to be a husband and a father:
If there is anything I learned out in the country, it was that the things that can kill you make you alive, and that you are never more alive than when you are getting beaten by your father because your mother thought you were dead.
And while to the casual observer I may not have turned out much like my father, I came to see in the first years of my marriage that I have proudly carried on this tradition of scoffing at women who are concerned for my safety, as I did with the woman I would marry….
Once we were married, she became even more like my mother, which I made sure not to tell her….
What I didn’t say was, I had very important reasons for throwing my child into the ceiling fan, and those reasons were that I wanted to see what would happen. This was my responsibility, as a man, to endanger the people I love in the service of knowledge that seems important at the time.
She asked me to stop it and all sorts of other silly things, such as to not let the baby stand on the counter and to keep the fireworks away from their faces and to lock the doors.
Helen MacDonald. H is for Hawk. Grove Press, 2014. 26.00.
All summer long a family of Mississippi Kites nested in a centuries-old Live Oak tree sprawling over shotgun houses across the corner of Octavia and Chestnut Streets. I noticed these sleek, soot-colored raptors soaring above me in the windy sky on Mother’s Day—never beating a wing—only slightly tilting their tails for direction. According to an Audubon Society field guide, adult Kites weigh about ten ounces spread across a three-foot wingspan. These silent hunters feed mostly on cicadas and flying insects, but also eat small rodents and birds.
Walking the dog this summer was much more interesting than usual because I was reading Helen MacDonald’s H Is for Hawk (Grove Press, 2014), a tripartite story about the author’s love for her recently deceased father, for birds and nature, and for literature. MacDonald is a poet, historian, naturalist, and falconer. H Is for Hawk—a New York Times bestseller and winner of the UK’s Samuel Johnson Prize and Costa Book of the Year—displays her varied talents because it is not a simply a “birder” book. Rather, its many layers are inspirational for anyone familiar with grief and loss, or anyone ready for a change in life.
MacDonald is struggling to say goodbye to her father, a photographer, who taught her to find the memorable aspects of life’s otherwise mundane moments, and to savor them.
Now that Dad was gone I was starting to see how mortality was bound up in things like that cold, arc-lit sky. How the world is full of signs and wonders that come, and go, and if you are lucky you might see them. Once, twice. Perhaps never again.
MacDonald describes the prehistoric reality that birds of prey are beautiful killers. She meets nature—in all its wildness—with her own emotions, blending the acts of training a Goshawk with the process of exorcising grief and depression:
They were things of death and difficulty: spooky, pale-eyed psychopaths that lived and killed in woodland thickets. Falcons were the raptors I loved: sharp-winged, bullet-heavy birds with dark eyes and an extraordinary ease in the air. I rejoiced in their aerial verve, their friendliness, their breathtaking stoops from a thousand feet, wind tearing through their wings with the sound of ripping canvas.
MacDonald considers her Goshawk killing to eat while illuminating her acceptance of death:
How hearts do stop. A rabbit prostrate in a pile of leaves, clutched in eight gripping talons, the hawk mantling her wings over it, tail spread, eyes burning, nape-feathers raised in a tense and feral crouch…. The borders between life and death are somewhere in the taking of their meal…. Hunting makes you animal, but the death of an animal makes you human.
Throughout the book, she parallels T.H. White’s The Goshawk—and often his Arthurian novels, adapted into Disney’s The Sword in the Stone—as a modern balance to her experience training a Goshawk. White’s abusive youth and life as a closeted gay man led him to write about desolation, hunting, and the desire for freedom. To contextualize her modern falconry stories, MacDonald offers a cultural history of falconry to show these raptors’ permanence in our world. Hawks “conjure history,” for example:
For thousands of years hawks like her have been caught and trapped and brought into people’s houses. But unlike other animals that have lived in such close proximity to man, they have never been domesticated. It’s made them a powerful symbol of wildness in myriad cultures, and a symbol, too, of things that need to be tamed…. The birds we fly today are identical to those of five thousand years ago. Civilizations rise and fall, but the hawks stay the same…. History collapses when you hold a hawk…
Her story motivated me to keep watching my Mississippi Kite neighbors soaring overhead. I would follow the Kites around the block, watching them float, turn, and dive each morning and evening until mid-September when they migrated from the neighborhood for warmer weather. MacDonald explains how learning about our environment helps us learn about ourselves:
What happened over the years of my expeditions as a child was a slow transformation of my landscape over time into what naturalists call a local patch, glowing with memory and meaning.
Since finishing H Is for Hawk, I have noticed more amazing birds in my New Orleans “local patch”: Bald Eagles, Osprey, Cooper’s Hawks, Quaker Parrots, Red-Bellied Woodpeckers, Painted Buntings, and more. The often-mundane task of walking the dog now glows with memory and meaning. I have Helen MacDonald to thank for that, and I cannot forget H Is for Hawk—I can only recommend it.
Eighteenth century literary scholars have always been a bit baffled by the similarities between Dr. Samuel Johnson’s Rasselas and Voltaire’s Candide. Both are short philosophical novels; both were published in 1759, and neither author knew what the other was writing. Both Voltaire and Johnson were publishing, in different forms, views long held and often expressed. Both books were composed hastily; Candide in less than four weeks and Rasselas in seven evenings. Johnson claimed he wrote his novel to pay his mother’s funeral expenses. Johnson was 50 years old, Voltaire 65.
With Candide, Voltaire was responding to the philosophy of optimism, i.e. everything that happens is for the best in this best of all possible worlds. Although it may not always seem so, Voltaire’s novel is hilariously funny, mostly because Candide remains obdurately optimistic despite the catastrophes constantly overwhelming him.
In Rasselas, Johnson explores various notions of happiness, its evanescence, and the preponderance of discontent, both in Prince Rasselas’ ‘happy valley,’ where his every whim is indulged, and in the outside world, to which the Prince escaped in an effort to satisfy the insatiable hunger of his imagination.
When I recommend this book to customers, they are often wary when I describe it as a work of science fiction. Somehow, sci fi has become a dirty word among a certain literary set, signifying socially awkward middle schoolers and Star Trek conventions. I want to join a growing group of readers in making a case for sci fi as an essential literary genre, and Emily St. John Mandel’s Station Eleven is a perfect example.
A 2015 National Book Award finalist and a finalist for the PEN/Faulkner Award, this novel is undeniably literary in its scope. Mandel tells the story of the Georgia Flu, a deadly pandemic that wipes out 99.9% of the human population. The setting shifts among the weeks just before the pandemic, the days after, the years before, and twenty years afterwards. The tale follows Kristen, who was a child when the illness struck, and is now, twenty years later, a member of a traveling symphony, whose slogan, “Survival is insufficient,” comes from an episode of Star Trek: Voyager. One of Kristen’s only memories of the time before the plague is from a production of King Lear, in which she was a child actor alongside the movie star Arthur Leander.
Leander, who is long-dead by the time of the novel’s present moment, links together a cast of unexpected characters who play roles of varying significance to the post-apocalyptic world: his best friend; his son; an ex-paparazzo; two ex-wives, one an actress, another an illustrator; and, of course, Kristen. As the story unfolds, the connections are revealed, while at the same time we learn more about the scope of this new world. Here, there is no electricity; no readily available medicine; no cities. People live in settlements, devoting their lives to the necessities of survival.
The traveling symphony is a light in this darkness, bringing performances of Shakespeare to inhabitants of the settlements, giving them a brief respite in the form of great art. This book, though post-apocalyptic, reminds the reader of the beauty and persevering spirit of humanity. Station Eleven gets at a fundamental truth of the human condition: the indomitable will not only to survive, but to thrive. This novel brings to mind a quote from Bertolt Brecht:
In the dark times,
will there also be singing?
Yes, there will also be singing.
About the dark times.
Is justice achievable? Or is justice an ideal that we aspire to but find contentedness with partial completion?
Justice is one of those big, atmospheric words like love and hate, good and evil, which we use colloquially to describe otherwise normal occurrences in daily life. Our sense of justice is part of the human condition; it is cross-cultural and flows freely through language barriers. Justice is rooted in the human heart, which—as William Faulkner said in his 1949 Nobel Prize in Literature acceptance speech—is “in conflict with itself.” Only such subjects dwelling in the human heart are “worth writing about, worth the agony and the sweat.”
I was already a third of the way through law school when I learned that literature could help define this ideal we call justice. Reading case law taught me to read actively, but not every judge writes with the eloquence of Oliver Wendell Holmes, Jr., and judicial opinions are too narrow to define justice in a larger sense. Alternatively, literature is timeless, and helps us cope with problems for which there are no immediate solutions.
As a young boy, Faulkner attended courtroom proceedings and traveled around with his uncle, who was a practicing attorney. Faulkner, although not a lawyer, was a brilliant observer of the human condition and wrote about justice in many settings. Some great examples are found in a couple of Faulkner’s short story collections.
The Knight’s Gambit (Vintage, 2011) collection features six mystery stories based on Gavin Stevens, the Harvard-educated prosecuting attorney in Yoknapatawpha County. “Smoke” was the first of the six Gavin Stevens stories, originally published in Harper’s in 1932, about two brothers and a murder arising out of a land dispute. The narrator describes his uncle, Gavin Stevens, as:
“a loose-jointed man with a mop of untidy iron-gray hair, who could discuss Einstein with college professors and who spent whole afternoons among the squatting men against the walls of country stores, talking to them in their idiom.”
In “Smoke,” the young narrator reports on various opinions of justice in the community. Before Judge Dukinfield is murdered in the story, the trial audience sits for an “overlong time” while the judge validates the authenticity of “a simple enough document.” But the young narrator waits with deferential patience, as he explains:
“[Judge Dukinfield] was the one man among us who believed that justice is fifty per cent legal knowledge and fifty per cent unhaste and confidence in himself and in God…. So we watched him without impatience, knowing that what he finally did would be right, not because he did it, but because he would not permit himself or anyone else to do anything until it was right.”
The circumstances of Judge Dukinfield’s murder are what allow Gavin Stevens to see the brothers’ guilt. A skilled litigator, Stevens lures the brothers into confession while examining them on the witness stand. During questioning, the narrator emphasizes the county attorney’s thoughts on justice in a parenthetical aside:
“Ah…. But isn’t justice always unfair? Isn’t it always composed of injustice and luck and platitudes in unequal parts?”
Justice is the subject of other stories in Knight’s Gambit about Yoknapatawpha characters, townspeople and rural recluses, with Gavin Stevens leading the investigations and prosecutions. However, “Barn Burning” is perhaps one of Faulkner’s most famous short stories—first published in Harper’s in 1939 and now found in Faulkner’s Selected Short Stories (Modern Library, 2012)—that serves as a prequel to the “Snopes Trilogy” (The Hamlet; The Town; The Mansion).
“Barn Burning” is a story about justice and injustice, retribution, economic inequality, and fathers and sons. We see justice—and one’s reaction to injustice—less in the opening cheese-smelling courtroom scene, presided over by the Justice of the Peace, than we do in the actions of Abner Snopes, a sharecropper who is forced to move his family for the twelfth time in ten years. Abner is a man of “wolflike independence,” “courage,” and “ferocious conviction.” His habit is building small fires, neat and easy to control, but, in response to injustice, he shares the flame with the landowner’s barn and other property. Faulkner reveals through the thoughts of Abner’s son, Colonel Sartoris “Sarty” Snopes, that:
“the element of fire spoke to some deep mainspring of his father’s being, as the element of steel or of powder spoke to other men, as the one weapon for the preservation of integrity, else breath were not worth breathing, and hence to be regarded with respect and used with discretion.”
When the Snopes family arrives at their dilapidated tenant house, Abner goes to speak to the man who will “begin tomorrow owning me body and soul for the next eight months.” He takes Sarty with him through a grove of oaks and cedars to a fence of honeysuckles and Cherokee roses enclosing the landowner’s brick-pillared home. Inside, Abner ruins a hundred-dollar imported rug by stomping horse manure on it and, thus, becomes further indebted to the landowner. Yet again, Sarty must decide among competing senses of justice—justice under the law or justice for blood, that of his father.
“Barn Burning” was the first of Faulkner’s works that taught me to look deeper into the fictional characters’ problems for help in answering my own, for help in considering societal questions posed in the newspapers and law school courses. Knight’s Gambit was a suggestion of Joe DeSalvo, the owner of Faulkner House Books, and although I do not agree with Gavin Stevens that justice is always unfair, I appreciate his honesty. Whether in literature or in the law, we need the reminder: justice is often an unequal composition of injustice, luck, and platitudes.
Frank Stanford has long been a kind of enigma in the poetry world: an underground legend, with a cult following, whose work has always been notoriously difficult to find. Though he died in 1978, at only 29 years old, this is the first time that his collected works have been available for purchase. What About This will hopefully usher in an era when Stanford’s work is rightfully regarded as seminal American poetry for generations to come.
Stanford is a writer unlike any other American poet of his time. His work is reminiscent in its scope and dialect of Whitman, but he was also heavily influenced by French and Latin American Surrealism. This collection includes not only all of Stanford’s published work (except for the epic The Battlefield Where the Moon Says I Love You, which is excerpted throughout the collection), but also his many unpublished manuscripts, one of which, titled Automatic Copilot, is composed entirely of poems written after the work of other artists. This manuscript is one of the great gifts of this book, as Stanford shows us the work that was most important to the creation of his own art. His poem “Cave of the Heart,” after Lorca, exemplifies that surreal, almost Romantic influence:
Drenched in the lost blood of the moon, yawning
In the furrows turned after dark, your thick legs long as feathers,
Stout as brooms, the earth you sleep on
Too young to call a grave.
Stanford was constantly in conversation with the work of other poets, while at the same time forging his own unique place in American poetics. He used local diction from his ancestral homes of Mississippi and Arkansas, illuminating a world often unseen by the majority of America. Throughout his collections Stanford writes “Blue Yodel” poems; for example, “Blue Yodel of Her Feet” in the collection You:
Your chest gives ground
Like an island on a river
And as they yodel in the song of songs
Your nipples taut as raisins
Killdeers try to fly from your eyes
I wish I could nail your shoes to the floor
And lose your socks
Stanford combines, in poems like this, the surreal, the local, the beautiful, and the mundane, building it all up to create a narrative of love that seems something out of a dream. The poem is a “yodel,” a mountain song echoing, yet it is about a woman’s feet, literally her lowliest part. Stanford does not differentiate between the high and the low; rather, he sees the poetry in everything, and reveals it to the reader through inventive language and free-flowing form.
In Constant Stranger, perhaps the strongest of his published manuscripts, Stanford writes of love and death as equally strange and familiar, the two most inevitable aspects of life, which haunt his poetics in equal measure. This collection begins with “Death and the Arkansas River,” a long poem in which death is portrayed as a sort of local legend, who is simultaneously powerful and quotidian:
Some say you can keep an eye
Out for Death,
But Death is one for fooling around.
He might turn up working odd jobs
At your favorite diner.
He might be peeling spuds.
These poems are truly, in the words of the New York Times’ Dwight Garner, “death-haunted.” It is impossible to wholly separate the work from the life of the artist, whose death at 29 of three self-inflicted gunshot wounds to the heart, as well as his precocity and style, make him comparable to a sort of American Rimbaud. In the poem “Time Forks Perpetually toward Innumerable Futures in One of Them I Am Your Enemy,” Stanford begins with the line, “I am going to die.” He goes on,
Death is an isthmus, you can get there on foot.
But love had made its island.
There is a fear without age or Christ
That goes through us
Like moonshine in a coil.
Stanford consistently takes those two most ancient poetic themes–love and death, that which is most feared and most desired–and infuses them with the freshness of his language and imagery. These poems are suffused with images of the Ozarks: the moon shining on water, boats, catfish and alligator gar, trucks and small-town bars. To read his figuration regarding the moon, in particular, is an almost transcendent experience. For example, in “Women Singing When Their Husbands Are Gone,” from Ladies From Hell:
Flies wanting a warm place to stay
And the threequarter moon
Quieter than a child slicing a melon
Like dirt smeared over with seeds
And in the titular “What About This,”
Things are dying down, the moon spills its water.
Dewhurst says he smells rain.
In these poems, the moon, like love and death, becomes more than a symbol; it is almost a character in itself. The poet constantly doubles back over and around the same themes and images, creating a kind of dreamscape of Southern mountain surreality. There is something undeniably sublime about the best of Stanford’s work. This is the kind of book to read before bed, so that his images may permeate your dreams.
Ever since reading Saul Bellow’s Henderson the Rain King, I’ve been an avid fan and collector of his work; I’ve read all of his books, some more than once. (Wasn’t it Somerset Maugham who said, “You truly read a book only the second time”?)
For two years after opening Faulkner House Books, we periodically published a newsletter. In one I wrote a retrospective review of Henderson and sent a copy of it to Saul Bellow with a letter thanking him for all the pleasure his writing had given me for years. Now, with the bookstore, I looked forward to sharing my pleasure with my customers. A few months later, I received his reply. Both follow.
My Review of Henderson
My ardent admiration for Saul Bellow’s Henderson the Rain King, a novel I have read often, is also a consciously expressed admission. I’m partial to Don Quixote tales where usually an aging idealist dissatisfied with things as they are seeks to change the world into something more noble. Alas, such a hero must ultimately confront reality and be either defeated or transformed and returned safely to the community of man.
And so, millionaire pig-farmer Eugene Henderson, like Don Quixote in his mid-fifties, tired of the chaos in his life, “mad as a horsefly on a window pane,” goes to Africa to quell the voice within him that repeats, “I want, I want, I want.” He also hopes to exchange what “civilization” has taught him for the more fundamental truths, he believes, primitive people still possess.
With his companion, the native Romilayu, he visits two tribes, the Arnewi and the Wariri. Both visits end disastrously. He blows up the Arnewi’s cistern while trying to rid it of an infestation of frogs. With the Wariri, he is unwittingly maneuvered into becoming the Rain King and the successor to Dahfu, their king. Dahfu is a former medical student forced to return home when his father died. He is out of favor with his elders for keeping a pet lioness in violation of tribal tradition. He befriends Henderson and insists that he can find “noble possibilities” by imitating the lioness, the way she walks and how she roars. Not long after Henderson becomes the Rain King, Dahfu is killed by another lion, perhaps not accidentally, on an obligatory hunt. Henderson succeeds to the Wariri throne, is imprisoned, but escapes and returns to the United States.
Since Henderson always believed that truth comes in blows, he is, by Dahfu’s death, redeemed, “called from non-existence into existence.” He has been moved, in his own words, “from states that I myself make into states that are of themselves. Like if I stopped making such a noise all the time, I might hear something nice. I might hear a bird.”
Henderson the Rain King was published in 1959, 18 years before Saul Bellow won the Nobel Prize for literature. It is truly a masterpiece, delightfully humorous and invariably intelligent. It is a novel for poets; a worthy scion of Cervantes’ Don Quixote.
January 26, 1993
Saul Bellow’s Response
Dear Mr. De Salvo,
It makes me happy to hear from members of what I consider to be an elite of readers, namely those who admire Henderson the Rain King. I am especially fond of, “I might hear a bird.” So, it’s turnabout and fair play. I write a book, you send me a kind note.
With Best Wishes,
You should infer from Bellow’s letter that Henderson was a favorite of his, even though he was critiqued for moving away from his urban Jewish theme; also for being uninformed about Africa and for using a minstrel-style Southern dialect for the natives. The novel is so thoughtful, so intelligent and funny, and Henderson the character is such a marvelous creation, that the criticisms pale.
Rummaging through excess accumulated personal and bookstore papers with culling in mind, I found a New Orleans States newspaper dated August 14, 1945. Does the date ring a bell? The headline is a single 5-letter word in 9-inch type: PEACE. On that date, the Japanese, accepting defeat, surrendered unconditionally. World War II was over.
My memories of the celebration are still very vivid: in the late afternoon, my father driving the family—my mother, very young sister and brother, and me—downtown in our 1934 Chevrolet sedan. We joined a caravan of pre-war automobiles circling a divided Canal Street, horns honking and blaring without cease. People jammed the sidewalks and spilled into the streets and the area between where the electric streetcars (trolleys) ran. They were singing and dancing to music coming from everywhere. Gone at last the years of dread and war worries; in their place, a glorious and unbounded happiness. Their loved ones will be coming home.
Amid the crowd, newsboys were shouting “Extra! Extra! The Japanese have surrendered, read more about it.” I asked my father for a nickel to buy the copy that resurfaced a few weeks ago.
For me, the War began very early in the morning on December 4, 1941, the day before my 9th birthday. My mother’s 20-year-old brother, a favorite uncle, who lived with us and shared a bedroom with me, was leaving for the army induction center. When he hugged me goodbye with teary eyes, I cried. He assured me he would be home again for my 10th birthday. I believed him. A patriotic song with the refrain “Goodbye, dear, I’ll be back in a year, ‘cause the army needs me now” played often on the radio.
Three days later, on December 7, 1941, the Japanese launched a surprise attack on a portion of our Pacific fleet at anchor in Pearl Harbor, Hawaii. When the war ended, three years, eight months and seven days later, my uncle was en route to Okinawa, an island a few hundred miles from Japan.
So an 83 year old man will keep the 13 year old boy’s newspaper a bit longer and will not forget the noisy, victorious day, 70 years ago, that he bought it.
The Pirate’s Alley Faulkner Society is proud to announce that four of the Gold Medal winners selected in the William Faulkner – William Wisdom Creative Writing Competition have had their new novels published. The Society will join hands with the Louisiana State Museum to honor Frederick Barton, author of In the Wake of the Flagship; Moira Crone, author of The Ice Garden, Jennifer Steil, author of The Ambassador’s Wife, and J. Ryan Stradal, author of Kitchens of the Great Midwest.
The event will take place Sunday, August 9, 2015, from 2:30 to 4:30 p. m. at The Cabildo, the historic venue where the Louisiana Purchase was signed, located on Jackson Square.
All of their new novels are receiving exceptional reviews and are wonderful choices for your summer reading. All of the authors are interesting speakers and have had diverse and interesting careers. Each author will discuss his or her new work, read briefly from the work, and take questions from the audience. There will be opportunities to socialize before and after the program, which will start at 3:00 p. m. Their books will be available for purchase and signing. To reserve your books in advance, please call Faulkner House Books with credit card information at (504) 524-2940.
We hope you will joint us as we lift a glass to our exciting array of competition winners.
The event, which will feature complimentary refreshments, is free and open to the
public. We ask that you RSVP to email@example.com so that we can be prepared with food and drink.
Background on each of the authors and their work follows.
Frederick Barton won the Faulkner Society’s Gold Medal for Best Novel for his fourth novel, A House Divided, which examined the contemporary American soul with uncommon insight. Barton’s new novel, In the Wake of the Flagship, is a blistering satire chronicling one man’s battle against bureaucracy and corruption. Basketball coach Richard Janus has found himself interim rector of Urban University, a woefully underfunded public college in Choctaw, Alkansea. After Hurricane Hosea devastates the city, Janus must go to war with the unscrupulous heads of Alkansea’s flagship university, facing down massive layoffs and rabid football fans. The absurdity of the American experience is on full display here as Metacom, the legendary Indian sachem, narrates Janus’s struggle, recounting academic intrigue and hypocrisy with searing humor. Pulitzer Prize winnerRichard Ford says of the book: “Barton has a lot of important human business on his mind in this exceptional novel: race, history, the South, hurricanes, laughter, love, and much more. In the Wake of the Flagship is wonderfully inventive, and addictive to read.“ In addition to his achievements as a fiction writer, which include publication of numerous short stories, Barton is an award-winning essayist, journalist, and film critic Barton founded the Creative Writing Workshop at the University of New Orleans where he served as Director for many years. He continues to teach in the program and lives in New Orleans, LA.
Moira Crone, who is winner of the Faulkner Society’s Gold Medals for both Novella and Short Story, has published three novels and three books of stories, including What Gets Into Us. Her work appears in Oxford American,Triquarterly, Habitus, and New Orleans Review. Her stories have been selected forNew Stories From The South, five times. In 2009 she received the Robert Penn Warren Award for Fiction from the Southern Fellowship of Writers for her body of work. Moira Crone is a fable maker with a musical ear, a plentitude of nerve, and an epic heart for her beleaguered, if often witty, characters. Her previous novel, The Not Yet, is a foray into the not too distant future and what the social structure of New Orleans might easily become, as well as a warning of what lies ahead for New Orleans if the issues, of global warming, rising sea levels, and coastal erosion are not addressed head-on now. It was published in 2012 by Lavender Ink. Her new novel, The Ice Garden, was first a novella by the same name. It was this work which captured the Society’s Gold Medal for Best Novella. Ms. Crone later expanded it to novel length and it was released by Carolina Wren Press recently. Among the creators and also long time director of the MFA program at LSU, Ms. Crone, also an accomplished painter, lives in New Orleans with her husband, bestselling poet and non-fiction writer Rodger Kamenetz.
Jennifer Steil, an award-winning American writer, journalist, and actor was first runner-up for the Faulkner Society’s Gold Medal for Best Novel in Progress in 2012 for her work Chiaroscuro and then won the Gold Medal for the Best Novel in 2013 for the completed work, which has just been published by Doubleday under the new title, The Ambassador’s Wife. A harrowing story from a real-life diplomat’s wife of the kidnapping of the wife of an ambassador in an Arab country. Ms. Steil also is author of The Woman Who Fell From the Sky, An American Woman’s Adventures in the Oldest City on Earth. Published by Broadway Books/Random House), it is a memoir of her experiences as editor of the Yemen Observer newspaper in Sana’a. The book received accolades in The New York Times, Newsweek, and the Sydney Morning Herald. The Minneapolis Star-Tribune chose it as one of their best travel books of 2010, and Elle magazine awarded it their Readers’ Prize. It has been published in the US, Australia, New Zealand, Germany, the Netherlands, Italy, Turkey, and Poland. Theatre was her first love. She has a bachelor’s degree in theatre from Oberlin College and worked for four years as a professional actor in Seattle, becoming increasingly frustrated with the limited roles available to women and the dearth of female voices in the theatre world at large. She began dedicating more time to her writing, eventually completing an MFA in fiction at Sarah Lawrence College and a second master’s degree from the Columbia University Graduate School of Journalism. Since 1997, she has worked as a reporter, writer, and editor for newspapers and magazines in the U.S. and abroad. Recent work includes a long piece on Yemen in the World Policy Journal, a Yemen piece for the German paper Die Welt, and several London stories for the Washington Times. After spending four years in Yemen and two years in London, she has relocated to La Paz, Bolivia, where she is lives with her husband, a diplomat, and young daughter.
J. Ryan Stradal won the 2014 Gold Medal for Best Novel for his highly entertaining debut novel, Kitchens of the Great Midwest. The story is about a definitive Midwestern dinner, with each chapter telling the stories behind the ingredients—and the folks that hunted, grew, gathered, or stole them—as they find their way to a once-in-a-lifetime five-course meal. Similar to Elizabeth Strout’s Olive Kitteridge in structure, every chapter, including the final dinner itself, is tied together by the rise to infamy of a young chef named Margaret Thorvald. The orphaned daughter of a Swedish cook and a sommelier, Margaret becomes the mysterious chef behind the most exclusive pop-up supper club in the world, an object of romantic affection, and an elusive celebrity that one character spends nearly a decade trying to meet.
The novel was acquired last year, put on the fast track, and has just been released by Viking. Stradal’s writing has appeared in Hobart, The Rattling Wall, The Rumpus, Joyland, and the Los Angeles Review of Books, among other places. He’s the editor of the 2014 California Prose Directory anthology, associate editor atTrop Magazine, and co-fiction editor at The Nervous Breakdown. A native of Minnesota, he’s lived in Los Angeles for 16 years, but still misses “pine trees, freshwater fish, shamelessly heavy food, and Midwesterners, the nicest people in the world.”