It occurred to me recently that I’ve already heard from people in six states who have read Next Train Out: New Hampshire, Massachusetts, Minnesota, North Carolina, Kentucky, and Florida. I know that individuals in Georgia, Ohio, and New York have ordered the book.
I have been thinking of the book as a “regional” novel, perhaps because of its settings in Kentucky, Ohio, and the Maryland coast. So I’m pleased to see its reach extend to New England, the Upper Midwest prairie, and our nation’s southernmost state. Though I confess that all of these readers have some sort of connection to Kentucky—however tenuous—I want to believe nonetheless that my limited data indicate the book has a wide appeal.
That little survey of Next Train Out readers also made me realize that even during this period of social isolation we can share common experiences with far-flung friends and relatives, as well as people we’ve never met. I’ve delighted in the conversations and email exchanges I’ve had with those of you who have read the novel and have reached out to ask questions or offer critiques. We may not be able to meet for coffee or lunch, but we can still connect remotely and discuss something of interest to us both.
In a much broader sense, I’m reminded that, while we’re in isolation, reading affirms our affiliation with greater humanity. Reading prods us to feel profound human connections with the characters in a book, however dissimilar we believe they are to us. While this worldwide pandemic might force us to become more self-centered in our daily routines, reading coaxes us to imagine ourselves in someone else’s situation. Faced with that character’s challenges, how would we respond? What would we do? How would we feel?
In a time when the empathy of America’s citizens is once again being severely tested, it’s critically important that we look beyond our own perhaps small inconveniences and annoyances and consider the sacrifices and the heartaches of those around us. It’s impossible to turn on the television or check the news without seeing heart-wrenching stories of people who are ill, who have lost loved ones, who are tending to the medical needs of the sick without the necessary life-saving equipment, who are going to work every day to provide us with the goods and services that remain essential, who are struggling to patch together a precarious financial situation, who are wondering if the business they built will survive another month, who are fretting about their children’s education, who are struggling to stay healthy, both physically and mentally, during our voluntary home incarceration.
How equipped are we, individually, to acknowledge their struggles? Do we fully recognize the need to change our habits to possibly keep someone else safe? Are we willing to make those little sacrifices?
Reading widely helps train us for moments like these. It teaches us empathy. And compassion. It reminds us how small our own little world is. It reminds us that there are others with needs so much greater.
In a recent article in The New Yorker, Jill Lepore, a professor of history at Harvard, wrote: “Reading may be an infection, the mind of the writer seeping, unstoppable, into the mind of the reader. And it is also … an antidote, proven, unfailing, and exquisite.”
In order, potentially, to reach an even wider audience—to spread “the contagion of reading,” as Lepore describes it—I have now released a Kindle version of Next Train Out. If you or someone you know prefers to read books on a tablet, e-reader, or other device—whether for convenience or to easily enlarge the size of the text—the Kindle version might be a good choice. It’s also an economical option for those watching their budget during these uncertain times.
If you have read Next Train Out, I humbly ask you to consider writing a brief review of the book on Amazon. That may help other readers stumble across the title as they’re looking for a new diversion during our nationwide quarantine. I remain grateful for your interest.
As many of us find ourselves with time to pick up a book, Peggy Cooper, of northern Kentucky, recalls first learning to read. Her ruminations may even inspire you to start putting words on a page. Peggy is the co-editor of Celebrate a Community, reprinted by Murky Press and available now from Amazon.
It was 1960. I’d been ill and out of school because of some childhood illness. When I returned to school, there was catching up to do. Mrs. Johnson brought me to the front of the class so that we could do some work together while the rest of the class did other things. In the front of that classroom on a table perfectly sized for a first grader stood a huge book, a book that was taller than I was. I was going to learn to read.
I knew my numbers and letters. I liked hearing stories and looking at the pictures in books. I liked school and Mrs. Johnson. She had taught my father when he first attended the one-room schoolhouse just south of Chasetown. He could read before he even went to school because he’d watched and listened and learned alongside his brother, John, who was two years older. Because he already knew first-grade learning, my father managed to skip that grade. I didn’t understand what I was supposed to do.
It always helped to see other children do things first. Cousin Barbie, best friend and confidante, sat in the desk in front of my desk at school. She lived in town. She was wise in the ways of the world. She always knew what to do. We would talk and whisper and plan and play together. She was not at the table in the front of the classroom with me. I was lost, in more ways than one.
Mrs. Johnson pointed to the picture in the book. The boy, Tom, was running. Yes, I could see the picture of Tom running. There were big black letters too. S-E-E. Yes, I knew those letters. What did those letters sound like? They sounded like an ess and an eee and another eee. How did they sound together? What did that mean, sound together? And what did Tom have to do with those letters on the page?
Mrs. Johnson had been teaching for many years. In some way that now seems magical, she helped me make the connection between those letters on the page and how those letters could be put together to make words that told a story. I don’t remember how long she worked with me that day or over the next several days; I know it was a struggle. Mrs. Johnson knew how to help: SEE! See Tom. See Tom run! Then Betty joined the story, and Susan, and Flip, the dog. I could read! Triumph!
Now I am putting letters on a page to tell stories myself. The stories, and the writing, are often like that experience of learning to read—a struggle to create meaning from a jumble of things that don’t seem to be connected. Sometimes the stories are about people who have lived and worked together and had a life before I was even born, remembered because it, the story, or they, the people, were significant in some way. Sometimes the stories are memories from my own life, savored because they were important to me. Sometimes the story evolves out of a photograph or a document, again, saved for a reason, and sometimes saved across generations.
The essence of the story is the feeling it provokes, and often the meaning is caught up in the reason that the history, or the memory, or the photo or document, was saved. But, how to find that meaning, put it into words, and then share it? Feelings are elusive—and sensitive—things. Meaning is equally elusive, and personal. And the personal is, oftentimes, private, delicate, and special. A decision must be made—share or not?
Struggle sums up the process.
I’m still working on the triumph.
Recently I had an insight into why so many women are writers.
When men talk, women listen. When women talk, men walk out of the room. Turn off the TV. Look incredulously at the she-person who dared interrupt their brilliant interlocution.
Come on, ladies. You know what I’m talking about.
Sure, that’s an oversimplification. And I expect many men are totally unaware they do it. They’d be horrified if we pointed it out. But we never would. We’re too polite. Usually.
But since the beginning of the written word, women have found our revenge.
All those letters we wrote? All those diaries and journals we kept? All those underappreciated, and sometimes anonymous, reporters and novelists and poets and activists? All the women who fill the writing classes I take, eager to put on the page all those thoughts that have been stymied or crushed or tuned out?
More and more these days I find myself keeping my mouth shut when I’m among a group of people. Or choosing not to venture out among people at all (a particularly valuable proclivity during this pandemic). Even during one-on-one interactions, I’m finding my best tactic is interested silence. As soon as I say something, I am doomed.
But when I return to my computer, I can write it all down. There I can take the time to ruminate. To consider other perspectives. To do a little research, if I want.
Or simply to sharpen my pen. Or my tongue.
Then, if I choose to share my thoughts with others—either online or on the printed page—I don’t see you walk away. I don’t hear your insults or your disparaging comments. I don’t have to deal with your anger. In fact, I don’t really care how you react. I have had my say. And I am content.
A writing instructor of mine once quoted Joan Didion during a memorable class: “In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It's an aggressive, even a hostile act . . . [T]here's no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer's sensibility on the reader's most private space.” [The italics are mine.]
I was shocked. I wanted to dispute that. Slowly, though, I’ve come to realize just how honest a comment that is.
Last week Elizabeth Warren spoke after she suspended her presidential campaign. Whatever you think about Warren, you have to acknowledge she has a lot to say. She thinks deeply. There is substance behind her plans. And she evidently enjoyed talking to the people at her rallies. She was good at spinning her tale of growing up in a family that was nearly left destitute when her father had medical issues—that is, until her mother stepped up and secured her first job at a nearby Sears store and rescued the family financially.
Warren says she’ll have a lot more to say about what it was like running for president as a woman. I’ll be interested to hear her comments. I know a lot of people complained about her schoolmarm mannerisms or her histrionic delivery. A lot of people tuned her out. Walked away. And despite an early surge in the polls, her support eventually dwindled. I’m not sure she was ever at the top of my shifting list of preferred candidates, but I always respected her and, like with so many of the others running, I would have been perfectly happy if the nation had selected her as the nominee.
We’ll hear more from her, though. She won’t be shy about writing another book. I expect she’s already realized how much easier it is to put a complete thought down on paper than it is to get heard among the human cacophony that surrounds us.
I realize I’m old. And I’m tired. Tired of watching this same fight. Tired of watching bold women choke up as they describe the little girls they’re letting down because they couldn’t reach a goal they had promised those little girls was possible.
I don’t expect to see any shift in my lifetime. But I do expect that, with the advent of self-publishing and easy access to the Internet, we will hear more and more from women who have a thing or two to say. If you let them into your private space, if you read their words, you may just find something of value.
I typically like detail work. I like precision. My eye is trained to see tiny variations in a pattern or errors that others might skip over. That doesn’t mean I don’t sometimes miss things or get things wrong. But I’m accustomed to settling down and doing careful, painstaking work.
I have to confess, however, that there have been times recently when I was ready to raise my hands in surrender as I have worked through the final intensive edits of my novel. I know how critically important this phase of writing is. I usually relish the final polishing. But after three rounds, I am exhausted.
Before I say more about that, however, let me first say how deeply indebted I am to the editors and readers who pored over the manuscript and alerted me to issues that, without correction, would have embarrassed me or confused readers. There is no question the book will be better because of their efforts.
But back to my numbing fatigue. I have written before about how writing is an infinite series of decisions: choosing the next conflict, the next scene, the next setting, the characters’ reactions, the syntax of the next sentence, the next word, a better word, and punctuation that is both consistent with convention and imbues the rhythm and music—and meaning—that you want to convey.
For someone who hates making decisions (that would be me), it can be torture.
In this late stage of the novel-writing process, everything is a decision. An edited page that appears to have two simple markups takes 30 minutes to revise. Shall I take that comma out or leave it in? Grammar rules say it’s acceptable, but the short clauses make it optional. Does it change the emphasis if I remove it? Does it change the rhythm? Why did this editor suggest taking it out? Read it with the comma. Read it without the comma. Repeat. One more time. Which option relays what I’m trying to say? Will any reader ever give a damn? Is it time to walk Lucy?
Chicago Manual Style or AP Style? Arabic numerals or all numbers spelled out? Spaces between the dots in an ellipsis or use of the ellipsis symbol?
And the comment I now dread the most: Is this phrase too modern? Since I started putting words on the page three years ago, I’ve recognized the importance of getting the language right. The bulk of the novel is set between 1921 and 1942. I wish I had a dollar for every phrase I have looked up to see when it came into the lexicon. “Pratfall”? “Down payment”? “Hang with”? “Have my back?” Even with the convenience of the Internet, those searches take time.
Once I’m satisfied that the words on the page are the best they can be, there’s the book design to consider. A few weeks ago, I told an interested party that I was starting the page layout process. It was clear that she couldn’t imagine the decisions that requires. A novel has a simple layout, so even I thought that part of the project would be relatively straightforward. But I found a way to agonize over the font size, the line spacing, the margin size, the Table of Contents.
Tonight, however, I am celebrating. I am done. I’ll request one final proof. Complete one final read-through. Pray that any remaining issues are tiny and easily remediable. But, mostly, pray that I find them before my careful readers do!
For many, writing is a solitary pursuit. I prefer a host of collaborators.
The novel I’ve been working on for a number of years would never have been completed without my “support team.” It started nearly 10 years ago when my then-neighbor, Chuck Camp, while chatting on my back patio, took an immediate interest in the story of my mysterious grandfather. Within hours he had begun to discover the path my grandfather had taken after abandoning my mother and grandmother. Over the next few years he continued to unearth amazing details about Lyons’ early life and his military service. I owe the story, in all its richness, to Chuck.
I had never written fiction before, and I had a lot to learn. I depended on classes and instructors at Lexington’s Carnegie Center for Literacy & Learning for teaching me the nuts and bolts of the craft. I’m still an unabashed novice, but they helped me understand what was important to readers and how you put together a story that will keep them engaged.
There were numerous times over the last three years when I felt I wasn’t up to the task. I started and restarted and reimagined how to construct this story. I tried a variety of different approaches. Even when I felt I had a solid half of the book complete, my determination waned. It was just too hard. Too time consuming. I had no idea what I was doing.
That’s when my intrepid readers and editors stepped in to shore up my confidence. My long-time friend and former boss, Roi-Ann Bettez, was my first beta reader. She is an enthusiastic reader of all sorts of material and an acute editor who has applied her talents to her husband’s award-winning books about the First World War as well as to nonfiction books produced by her friends. She offered honest critique of what worked for her and what didn’t. She helped me focus on what the reader needed from the characters. And she let me know what parts of the story she found satisfying. She’s still working with me, offering encouragement and insights at the very end of this process.
Readers of this blog know that Tim Cooper took on the role of nearly full-time mentor and coach after retiring from teaching in 2018. A voracious reader and former writing instructor, Tim and his Minnesota buddies are competitive readers who know more about contemporary literary fiction than anyone I know. He patiently coaxed me to go where I wasn’t comfortable. I was able to lean on his academic interest in history for creative ways to keep the novel firmly rooted in its times. Tim and I have spent hours in his living room poring over chapters and paragraphs and arguing about specific words. He pushed me. He encouraged me. He wouldn’t let me quit.
My cousin Bob McWilliams loaned me his family scrapbook full of photos and newspaper clippings, which were invaluable in putting together the stories of our Marrs ancestors and their McWilliams contemporaries. Rogers Bardé, my cousin through my grandfather Lyons’ family, was the original impetus for seeking information about him. Her voluminous genealogical research into that branch of my family helped me understand my Paris, Ky., roots a little better.
As I approach the final publication phase of the book, I am once again relying on the talents of Barbara Grinnell, whose cover design for The Last Resort perfectly captured the book, its author, and its historic period. I’ve pulled in yet another former colleague and expert editor, Jo Greenfield, as my final proofreader. I’m delighted to have her as part of this process.
And I would be remiss if I didn’t acknowledge Mr. Vice President of Everything, my husband, Rick. He does battle with the print store managers, hobnobs with local authors, shares his creative marketing ideas, opens his wallet wide for the next class or the next production expense, and is an incredibly helpful commenter on the novel itself whenever I can convince him to sit quietly for an hour and read.
This project would not be coming to fruition without the unselfish contributions of all of these folks. I offer them my heartfelt gratitude, and I hope the final product is worthy of their efforts. I’ll be satisfied if I learn that the novel offers a little entertainment, a little illumination into our human contradictions, and a little distraction from our contemporary afflictions.
Nearly two years ago a friend sent me a review of Michael Chabon’s 2016 novel Moonglow. In the book, Chabon pieces together the remarkable life of his crotchety grandfather, a World War II veteran and a rocket aficionado. One reviewer, Hamilton Cain, in O, The Oprah Magazine, calls it “an exuberant meld of fiction and family history.”
I realized immediately that I needed to read this book. It’s an amazing story of family secrets only revealed when painkillers loosen the grandfather’s inhibitions—and his lips—during the last days of his life. There are phantasmagoric tales of mental illness, war crimes, civilian crimes, the space age, Jewish slums, and Florida retirement communities. And if you’re familiar with Chabon’s work, you know it’s brilliantly written. I highly recommend it.
As I’ve worked on my own novel about a somewhat mysterious grandfather, I’ve frequently returned to the words Chabon wrote in his Author’s Note:
“In preparing this memoir, I have stuck to facts except when facts refused to conform with memory, narrative purpose, or the truth as I prefer to understand it. Wherever liberties have been taken with names, dates, places, events, and conversations, or with the identities, motivations, and interrelationships of family members and historical personages, the reader is assured that they have been taken with due abandon.”
One of my chief struggles has stemmed from my desire to reveal all that I have learned about my ancestors and about the times they lived in. I know this is not what the reader of a work of fiction wants. And I have worked assiduously to rein in those tendencies. I recognize that some of my best characters may be the ones I invented whole cloth because I didn’t have the details of their lives available to me. And, of course, all conversations, all motivations, all emotional reactions were fabricated. With no family letters or other personal artifacts, how could I know any of that? I sometimes remind myself that the imagination can be the best conduit for the truth. There’s a reason Chabon’s note ends with the words “due abandon.”
However, I freely confess that the facts have largely dictated the broad strokes of the narrative. After all, I started out wanting to tell the story of my grandfather’s life. And there were some truly eye-popping discoveries that I hope have led to a compelling story line. But at times I allowed myself to get bogged down in details that a general audience will not care about.
With help from my early readers, I have trimmed a good bit of that out. I know I still have a little more that needs to go. It always helps to reread Chabon’s words and remember how critical it is to stick with facts “except when facts [refuse] to conform with memory, narrative purpose, or the truth as I prefer to understand it.” It is, after all, a work of fiction--“Scout’s honor,” as Chabon defiantly states in the disclaimer for his memoir.
Tim Cooper, of Oakdale, Minn., has poked and prodded me to finish Next Train Out for most of the last two years. He has been a stalwart reader, editor, and friendly foil. Recently, after reading the novel one final time, he wrote the following letter.
The great director and acting teacher Lee Strasberg implored his students to overact, to over-emote in their roles. When his students reached the point where they felt they had gone too far, where they felt embarrassed by their acting, Strasberg assured them they were exactly where they needed to be.
As you worked on your novel, I and others encouraged you to “go big,” to exaggerate the way your characters use language, the way they ruminate about their situations, and the way they engage the historical exigencies of their day. You pushed yourself to the point of discomfort, either your own or your projected audience’s.
And dare I say it, you’ve pulled it off. The characters come alive through these very techniques. We as readers know them, although we may each “know” them differently depending on our own experiences. I imbue Lyons with a nobility that others may find difficult to grasp. I fall in love with Effie Mae because of her feistiness, her strength, and her intelligence—traits that always appeal to me. Others may be appalled that she remains devoted to Lyons, forgives him, and ultimately uproots herself for him. However readers respond to these characters, your success will come, ultimately, from the fact that they will, indeed, react.
All novels are situated in a specific time, and that time serves as a separate character. You have done this beautifully. As you recall, we had some tussles over how much historical fact to include in your novel. I kept reminding you that you were writing a work of fiction; you kept reminding me that the historical backdrop was a major part of the story’s appeal. I’m not sure when or how it happened, but you found the happy-medium. We understand the characters better because we see how they navigate the reality of their times. You nailed it.
Secondary characters are just as vital to a novel’s success as primary characters. Your novel brilliantly draws these peripheral characters, and they only add to our understanding of Lyons and Effie Mae. Flossie in the speakeasy. Doug responding to the bombing of Pearl Harbor. Johnny wanting revenge.
And finally, the “Prologue” and the “Epilogue.” These two short pieces are among the finest writing you’ve done. The ways in which both inform the novel as a whole are striking. We tussled a bit here, too, didn’t we? But you eventually grew comfortable with a minimalist approach, and I believe it is wildly successful. You have created literary art.
You started with the simple proposition of writing a novel based on your grandfather's life. But the novel can now be read on any number of levels. Some may read it as a love story. Or a family biography. Or an accounting of the Appalachian diaspora. I prefer to read it as an anti-war novel. How do we account for a veteran’s actions after the war? How do we apply civil morality to individuals who were expected to kill or be killed, and yet survived?
Finally, allow me to say simply how much I enjoy reading your novel. What you have done is magnificent. Thank you for letting me have a small part in this process. It’s been so much fun. I hope my role as a reader was valuable, and I hope you know I remain your biggest cheerleader.
The Bourbon County Courthouse, which was destroyed by fire on October 19, 1901, just eight months after the arched gate at the bottom right was used to lynch George Carter. The citizens of Paris preserved the iron gate after the fire and it still stands adjacent to a historic building in downtown Paris.
As I’ve worked on my novel over the past three years, I’ve dedicated large chunks of time to researching or writing about the first half of the 20th century. I’ve tried to grasp the cultural and societal impact of two World Wars, the Great Depression, the rise of labor unions, and expanded access to telephones and automobiles. I’ve thought about how different parts of the country—from Miami to Toledo to the coal towns of Eastern Kentucky—responded to those changes.
That’s a tall order, and I’m certain I’ve barely scratched the surface of all I need to know. Nonetheless, I’ve frequently found myself immersed in another place and time—worlds that one would think are quite different from our 21st-century reality.
So I was somewhat surprised when I opened the Sunday Herald-Leader on November 24 and discovered two articles on the opinion page addressing a theme that runs through my novel. In one, Western Kentucky native LaTonia Jones writes about her youth in Paducah, where she played innocently in the cool grass on the very site where two black men, Brack Kinley and Luther Durrett, were lynched on October 13, 1916. In the other, University of Kentucky Ph.D. candidate Carson Benn recognizes the 100th anniversary of the efforts of the citizens of Corbin, Ky., on October 30, 1919, to expel all the black residents from their town.
Unfortunately, the term “lynching,” and all the ugly and unforgivable history it represents, has recently been a part of our national conversation. And it was only a few short months ago that we were talking about sending certain people in our country back where they came from.
It appears that in the 100+ years that have intervened since the events memorialized in these articles we have progressed very little. That we would resurrect these expressions and use them for personal advancement is unthinkable. That we still shy away from the conversations necessary to address simmering resentments is inexcusable. Can we ever find a way to embrace all our fellow citizens equally and justly?
My grandfather, whose life is fictionalized in Next Train Out, worked at a pharmacy in Corbin in 1914. In a scene in the novel, he returns to Corbin in 1934 and reflects on this shameful event in the town’s history, an event he views through the lens of a World War I veteran who trained alongside black recruits. At this point, he has also spent a lifetime coming to grips with the perverted justice he witnessed as an eight-year-old boy in Paris, Ky.—the same sort of justice that LaTonia Jones’ ancestors witnessed.
Evidently we still have much to learn from our history. Almost despite ourselves, we continue to find ways to inflict harm on each other, wittingly or unwittingly. And that is why it is so important that Ms. Jones and Mr. Benn and others continue to remind us of our past. Burying it will only let the cancer grow. Bringing it into the light, as is the goal of the Sunup Initiative in Corbin, is how we may best be able to change course.
After the longest summer in memory, we’re finally transitioning to winter. A little snow this week offered a taste of my favorite weather: bright blue skies, snow balancing on the tree limbs, and temperatures in the 20s keeping the ground hard and the mud at bay.
One sign of impending colder weather at my house is the dry-docking of our metal johnboat. In our case, this simply means hauling the boat out of the water and leaving it to rest upside-down on the nearby shore.
I came back from an event last Sunday afternoon and saw the boat was missing from its slip. That always makes me a little sad. Although we rarely take the boat for a spin on the lake these days—lightweight kayaks are just so much easier—its mere presence suggests the possibility of a lazy summer day fishing on the lake. It evokes nostalgia for a more tranquil time when bobbing on the water was an acceptable way to spend an afternoon.
But we have found that ice tends to build up inside the boat in the winter, and harsh winds can then heave the extra weight against the aging dock and pull hard at our makeshift mooring. Removing it from the water this time of year eliminates one thing we have to worry about. When it’s missing, however, I feel the void, the absence of something significant.
I’m in the middle of another transition that could also symbolize a sort of loss, if I allowed it to. But I prefer to see it as an empowerment, a taking control of a situation that could at times feel hopeless, a situation that made me grapple with my own worth and the value of the work I’ve chosen to do.
This is familiar territory for every writer who wants to see work published. I’ve spent several months reaching out to literary agents and small publishing houses searching for someone who might be willing to take a chance on my novel. Like so many writers, I now have only an inbox full of rejections to show for my efforts. It’s a tedious, time-consuming process that I still find interesting, but I’ve decided it’s just not how I want to wile away my hours. I’m ready to accept defeat and retake control of my project.
It takes a certain self-assuredness—or even cockiness—that I don’t normally possess to assume that my book has value even though no legitimate enterprise agrees. What’s at stake, however, is small: personal embarrassment, acknowledgment that my talent and skills are limited, shunning by those with legitimate claim to the title “writer.” I can accept that. I have no other literary aspirations. I’m ready to take the chance.
So I’m getting excited about designing the book that I want to offer to willing readers. I’ll be able to title it what I want, include the front matter I want, and rely on my talented graphic designer, Barbara Grinnell, to create a cover we both love. Of course, the final editing and proofing will now fall on me, or on other professionals I enlist to help. But I think I have a course mapped out, and I’m excited to be going down this road.
It’s freeing sometimes to let go of dreams that are only weighing us down. Sometimes we have to turn a corner, move in another direction, accept a transition to an imperfect state of things.
I’ve written a story that I want to share with friends and family who are interested, and I have a path for accomplishing that. That’s what’s important. And that I can do.
Two years ago, I took an eight-week essay-writing class with the irrepressible Teri Carter. At some point, she alerted us to a call for essays from a North Carolina writer and editor who was putting together a compendium of brief pieces by emerging writers. The theme of the collection was “facing adversity and making do”—more specifically, overcoming challenges as Daniel Boone had done 250 years ago when he was trapped by an early snowstorm in Kentucky during a hunting trip.
At the time, I was accustomed to writing short essays, both for Teri's class and for this blog. I didn’t have an inspiring story to share, one where I had faced danger or personal calamity or had demonstrated unusual courage or forbearance. But I was working through how to construct a novel-length narrative based on my maternal grandfather’s life, and one evening I dashed off a tongue-in-cheek reflection on what I had in common with him.
On a whim, I submitted the essay to the project editor and coordinator, Randell Jones. And then I promptly forgot about it. I devoted the next months to figuring out how to write fiction. Sometime that spring, Jones alerted me that he planned to include my piece in the book Bearing Up.
When I finally received a copy, I read through the other submissions and felt a little sheepish. The best pieces were short stories—something my contribution definitely was not. I ended up being mildly embarrassed by the whole thing. And I once again forgot about it.
Until a few days ago, when I received notice that Jones has now included my essay in the series of podcasts he is releasing. I admit I was surprised. When I rustled up the nerve to listen to his rendition, I liked it. He captured precisely the tone I had hoped to convey.
So I offer you Mr. Randell Jones’ 7-minute reading of “Adieu Encore,” my public admission that my “rapscallion grandfather,” as Jones calls him, and I have much in common.
Submit an essay for the 2020 Personal Story Publishing Project!
Write a personal story (780 words or so, 800 max) about "that Southern thing—living, loving, laughing, loathing, leaving the South. No fiction. You may share a story of someone close to you or an ancestor whose story you know well."
Deadling for submission: December 15, 2019
Click for more information.