When David Hoefer and I started working on The Last Resort, we realized that the book could appeal to a variety of readers. Most obviously, I expected the people who had known Pud would have a sentimental attachment to the stories of his youth. From there, it occurred to me that others of his generation or perhaps folks who had grown up in similar rural communities would enjoy reminiscing about a time long gone.
As the project evolved, we began to think that other audiences might find something of interest in the book. Folklorists might find the boys’ customs or food ways a window into cultural norms of the time. Historians might appreciate the journals and the World War II letters as primary source materials that paint a specific tale of how one man navigated the journey to adulthood during a tumultuous period in our nation’s history. Botanists and biologists might be interested in the flora and fauna that Pud noted were prevalent in central Kentucky 70 years ago. Or they might find the awakenings of a young scientist a compelling story.
I also felt it was, at its simplest, a good story. People who enjoyed reading biographies or short stories would find it an enjoyable glimpse into a bygone era.
A year later, I believe we have in some small way tapped into all of these audiences. The book has helped me reconnect with family members of my father’s professional colleagues and childhood friends. I have heard from historians who have used the book in their classes. A handful of my father’s students have shared the book with their fellow scientists, in places as far-flung as New Zealand.
Over the next several weeks, I’ll have a chance to connect personally with some of these readers. I am grateful for all of them. I am happy that David convinced me to see this project through. And I’m looking forward to finding out what about the book piques the interest of each individual.
On Tuesday, Oct. 9, I’ll have the privilege of talking to members of the Lawrenceburg community, the now bustling central Kentucky town where Pud and Bobby and Rinky and Lin Morgan grew up. At the regular monthly meeting of the Anderson County Historical Society, I expect to see friends and family members of the boys who spent time at The Last Resort camp along Salt River. I expect they will share more stories of what life was like in that rural community in the 1940s. For them, it will be a nostalgic trip down memory lane.
On Wednesday, Nov. 7, I have been invited to participate in the Kentucky Authors and Poets event in nearby Frankfort, Ky., sponsored by the Kentucky Conservation Committee. I expect the audience there will include conservationists and environmentalists who work every day to preserve Kentucky’s waterways and woodlands. That audience may be more interested in John C. Goodlett the pioneering ecologist and plant geographer, or perhaps in the field notes of 19-year-old Pud Goodlett the University of Kentucky biology student. I share with them an interest in preserving the natural areas along Salt River and Elkhorn Creek and the Kentucky River so future generations can have experiences akin to those of the young boys at The Last Resort
And on Saturday, Nov. 17, I will be surrounded by more than 150 authors at the 37th annual Kentucky Book Fair sponsored by Kentucky Humanities. Some of the authors gathered there will present formal programs, and we will all be available to talk to curious readers and sign books. I will be humbled by the presence of Wendell Berry, Bobbie Ann Mason, Silas House, and Sarah Smarsh, among others. On that day, my likely audience may be avid readers of Kentucky history or readers looking for Christmas gifts for aging parents or grandparents.
Publishing this book has been a sometimes surprising journey. I am thankful for all the people who’ve expressed a genuine interest in the project. I hope you’ve enjoyed coming along for the ride.
For more details about any of these events, visit the Murky Press home page.
After reading last week's post Seductive Silence, Tim Cooper, of Oakdale, Minn., has been thinking about how a liberal arts education could encourage the empathy and resilience we so desperately need. If you would like to submit a blog post for Clearing the Fog, contact us here.
Like many Americans, I was riveted to the television during the services for the late Sen. John McCain. It was a brief, and it appears now ephemeral, moment when we were reminded of the heroes among us who have been willing to put country above party or personal interests. My favorite McCain story related how a prisoner in the cell next to McCain’s at the Hanoi Hilton used a surreptitious tapping code to teach McCain the Robert Service poem “The Cremation of Sam McGee.” McCain’s daughter Meghan shared how he later recited the somewhat grisly poem to his future wife on their first date.
That was my first glimpse into the Renaissance man who was John McCain. I learned that his favorite author was Hemingway and his favorite novel For Whom the Bell Tolls. I learned that McCain regularly read novels and enjoyed writing.
While in the U.S. Navy, I attended classes at the Naval War College. The highlight for me was a lecture by Admiral James Stockdale, a man who had endured eight years as a prisoner of war, also in the infamous Hanoi Hilton. During the lecture, Stockdale revealed the key to his survival: His study of moral philosophy—particularly the Roman Stoics—while a student at Stanford had provided food for his mind during those endless days of tedium and fear. He was able to draw from his own intellectual reserves to provide the discipline and resilience he so desperately needed and avoid succumbing to the darkness. As president of the Naval War College, Stockdale later instituted classes in philosophy, literature, and history. For him, study of the liberal arts was not just a path to enlightenment; it could well be the key for another young serviceman’s survival.
It struck me that these two national heroes, either by their own habits or by their professional influence, were evangelists for the value of education in the humanities. We all face times when we need to draw from our knowledge or understanding of the human condition to survive a struggle that seems poised to drop us to our knees.
Sadly, a quick perusal of recent news articles reveals that the classic liberal arts curriculum is being relegated to history. Colleges in the University of Wisconsin system have eliminated English, sociology, political science, and history majors from their campuses. In their stead, these universities offer business, science, engineering, and computer technology centers.
In Lexington, Bryan Station High School has restructured its curriculum as the Academies of Lexington, an initiative dedicated to preparing students in grades 10 through 12 for future careers, careers that range from electrician to chef to computer programmer to paramedic. As I understand this new initiative, all curricular content is filtered through the lens of the student’s career aspiration.
Meanwhile, Eastern Kentucky University has made its marching band a peripheral “activity” separate from the school of music, eliminating its academic affiliation. My father, a man who abandoned hopes of a pro baseball career to become a professor in the music department at EKU (until his premature death in 1988), always promoted the marching band’s democratic pull, its ability to connect students from a variety of majors and interests and expand their experience with the arts.
These insidious changes also reached the parochial school where I taught for two decades before retiring in June. Students entering this institution are now encouraged to declare in middle school whether they would like to work toward a “business certification” that would be attached to their high school diploma. The goal is that, by taking business classes, students will attain what Bryan Station identifies as the ability to see real world applications in what they learn in the classroom.
But what have these students lost? At my former school, signing up for the business classes extinguishes the option of taking band, chorus, art, or photography. By devolving the marching band into a student activity, EKU has lessened the connection non-music majors had to an acclaimed music school. And by emphasizing the utilitarian nature of learning, Bryan Station’s program has obviated the concept of learning for learning’s sake.
My best friend during my undergraduate days at the University of Minnesota was a young man from rural Wisconsin who was interested in literature, theater, classical music, blues, jazz, and pop-culture. Kurt was also a business major. During his last two quarters at the “U,” Kurt contacted numerous companies about employment. Caterpillar Corporation called Kurt to arrange an all-day interview at their corporate headquarters in Peoria, Ill. Kurt asked me to drive down with him. After his very long day, I asked Kurt how the interviews had gone. He shook his head and responded, “It’s the craziest thing. They never once asked me about business. Instead, they asked about what I read, what I think about, what plays I had recently seen, whether I volunteer and why, and so on.”
A week later, when a representative from Caterpillar called to offer him the job, Kurt asked about the peculiar nature of the interviews. The representative responded simply and directly: “We can train anybody about our business, but we cannot teach people to be well-rounded.”
Readers of The Last Resort will recall that Pud Goodlett read Walden and Ridpath’s history, but also works by humorist James Thurber and contemporary popular fiction. They were all outside his academic interests in plant geography and ecology.
In The Last Resort, are we seeing the last of an era that encouraged Renaissance men? Have we relegated all that Pud and my dad were to myth, and have we replaced their world view with one regulated by market considerations? Have Senator McCain, Admiral Stockdale, and my friend Kurt become quaint examples of an ethic that no longer holds sway?
I am distressed that not only have colleges and universities become training grounds for careers, but so, too, have high schools. I am distressed that many future business leaders, politicians, and academics have not been exposed to a liberal arts education and have, instead, become technocrats in their own professions. And I am most especially distressed that the understanding, empathy, and, dare I say it, behavioral standards acquired from embracing moral philosophy, literature, and the creative arts seem to have been lost to the dictates of economic empowerment.
Reading The Last Resort has inspired Tim Cooper, of Oakdale, Minn., to reflect on what it means to put words on paper and how meeting an esteemed poet in a neighborhood bar at age six awakened his poetic sensibilities.
I have been thinking about essays.
The etymology of essay—from the French verb essayer, meaning “to try”—incorporates the idea of experimenting with something, or attempting something new. Most essays delve into new ways of thinking about a subject, sometimes playing with a new narrative technique or voice. In the end, an essay is a thought experiment, an attempt to gain a greater understanding of oneself and one’s position in the world.
Dedicated readers of “Clearing the Fog” are well aware of the disparate voices that cascade through this blog. David Hoefer applies his analytical bent to subjects as diverse as Steinbeck, fishing, and Pud’s cars. Bob McWilliams, Roi-Ann Bettez, Joe Ford, and others lead us to consider “a portion of unexamined existence,” as James Agee described his subject in the preface to Let Us Now Praise Famous Men. I suspect they would all tell us that their responses to Pud’s writing, their observations, are simply personal mental calibrations elicited by the descriptions of life at The Last Resort.
Agee goes on to say that his compilation of his stories and Walker Evans’ photos depicting the lives of several families in rural Alabama during the Great Depression “is a book only by necessity. More seriously, it is an effort in human actuality, in which the reader is no less centrally involved than the authors and those of whom they tell.” Likewise, Goodlett incorporated maps and drawings and lists of flora and fauna in his camp journal for his own reference, but perhaps also to draw any future reader into the experience of life at the camp. In its published form, The Last Resort, too, “is a book only by necessity.”
I am currently rereading Charles D’Ambrosio’s phenomenal collection of essays, Loitering. One of D’Ambrosio’s essays—indeed, my favorite—is entitled “Degrees of Grey in Philipsburg.” It is a marvelous explication of Richard Hugo’s poem by the same name, and much like The Last Resort, it incorporates photography, notes, and the entire poem within its frame. It is Agee’s “effort in human actuality” in the best sense of that phrase, and it prompts me to relate a personal story.
I must have been six or seven years old. My father was a visiting professor at the University of Montana, and we lived in Missoula. I love to recall that I had a mountain as a backyard. In those days, there wasn’t much protest when an adult brought a child into a bar. My father, and many others at the university, was pulled into the orbit of a rural, working class bar just outside Missoula. After teaching and giving private music lessons all day, my father would round me up and head to the Milltown Union Bar for a beer and conversation.
There, late one afternoon, my father engaged a rather portly, balding man in intense conversation. I have no idea what they talked about. But after finishing his beer and getting us in the car, I apparently burst into tears. My father asked me what was the matter, and I could only respond that he had just spoken to the saddest looking man I had ever seen.
Years later, when he reminded me of that story, my father also let me know that the man to whom he was speaking was Richard Hugo, poet-in-residence at the university, and now one of the most highly regarded poets our country has produced. His poems “Degrees of Grey in Philipsburg” and “The Milltown Union Bar” remind me of the portion of my youth spent in that region of graying, abandoned towns.
If I could tell this story correctly, if I could write this essay properly, you would see an empty glass of beer in front of you, and you would choke on the acrid cigarette smoke. A poet would be sitting next to you, spinning lines. And the actuality of that world would prompt you to reconsider your own.
Last week I had the privilege of hearing Kentucky resident and nationally-acclaimed poet Ada Limón read from her newest collection, The Carrying. Rich Copley, writing for the Lexington, Ky., Herald-Leader, said, “The book is colored by the deep green of Kentucky….Limón’s work is marked by exquisite, minute details that pass by many people.”
It is indeed a lovely book, with heart-rending personal reflections and keen observations of the world that surrounds her. After the reading—during which Limón exhibited her usual warmth and quiet exuberance—an audience member asked why she wrote so frequently about nature. I wish I had been prepared to capture her full response, but my general recollection is that she writes about nature because she has to. It defines her place in this world.
The first poem in the collection, “A Name,” reminded me of my father.
When Eve walked among
the animals and named them--
nightingale, red-shouldered hawk,
fiddler crab, fallow deer--
I wonder if she ever wanted
them to speak back, looked into
their wide wonderful eyes and
whispered, Name me, name me.
At its most elemental, the journal my father kept at The Last Resort was a means for recording the natural world around him: the birds, the trees, the wildflowers, the river level, the snakes, the peepers calling in the spring. He documented the names of each, both the common names and the scientific names, as he prepared, wittingly or unwittingly, for a future career. He understood that in order to acknowledge the intricate parts of the natural environment, it was important to be able to identify each by its name. The name itself would then call up a fulsome list of traits and characteristics—some unique, some common with other similar species—that defined that particular plant or creature.
If the critters could talk, I suspect there were moments when they indeed had a name for my dad: threat, intruder, murderer. He describes a memorable moment after he has shot a young squirrel: “I can still see that tiny baby sitting hunched on that limb, chattering gleefully to himself and gnawing on a pignut. To think that I would snuff out such a happy existence. It will never happen again.” Sadly, it took being hunted by his fellow man during World War II for Pud to finally end his hunting of animals for sport.
Is there perhaps a more sinister consequence of naming others who share this world with us? When Eve named the things in the garden, did she innocently guarantee their ultimate destruction? Once they became separate from the two who claimed dominion over them, once they were identified as different, were they expendable? Insignificant? Unprotected?
On the other hand, it’s hard to truly see what we can’t name. During our daily rush to and fro, we pass trees and wildflowers and songbirds. If we can’t name them, we don’t see or hear them. We don’t recognize them or respect their importance. If we don’t recognize their value, we don’t feel remorse when they are destroyed. We stand by and allow their annihilation without understanding what we have lost.
Part of this journey for me, as I write about my father and the words he left behind, has been learning what it means to belong to the genus Goodlett. As my cousins and I gather more regularly to honor our long-gone parents, we ponder the mysteries of our Goodlett ancestors, and we try to figure out who we are.
If our name is Goodlett, what does that mean? What are our traits and characteristics? Would a dichotomous key distinguish us from the Smiths and the Joneses? Does the name carry pre-packaged notions? How do others respond to it? How do I live up to it? Or carry its burdens? How has my name defined who I am, or my ultimate fate?
In Limón’s poem, Eve’s plea to be named also feels like a voicing of her desire to be part of the community she is ordering. Perhaps a name would define her place, her role, her responsibilities among the others that share her space. Perhaps once we identify ourselves, we can see more clearly how we must defend and protect all the species that inhabit this earth.
For more on the importance of naming things in The Last Resort, refer to David Hoefer's blog The Power to Name.
As I dug around in a box of old photos that appeared to be relics from my mother’s family, I stumbled across one I’m certain I had never seen before. It’s a photo of a man in a WWI Army uniform standing near a river, hand on hip, cigarette in hand, with a rakish grin on his face.
Could it be?
In January (Whispers from the Past) I wrote about my efforts to develop a distinctive voice for my maternal grandfather, who is at the heart of a novel I’ve been working on in fits and starts. In that blog, I indicated that I did not have a photo of him.
Or did I?
When I found the photo, I immediately flipped it over to see if there was a name scrawled on the back. What I found instead was another photo: a photo of two young women smiling broadly as they engaged in what appeared to be an intimate tête-à-tête, cross-legged on a well-maintained lawn. Judging by the dress, I put the date in the early 1900s.
I was not certain that I recognized the women, who appeared to be in their late teens or early twenties. On a hunch, I sent the photo to my cousin Bob McWilliams. He immediately identified the woman on the right as his grandmother, Mary Marrs McWilliams, born in 1894. In my mind, I then felt fairly certain that the woman on the left was her older sister, my grandmother, Nell Marrs Board, born in 1890. (I give both women’s married names, but I doubt either was married at the time of this photo.) I searched and eventually found other photos of Nell from that general era and now feel certain she is indeed the young lady on the left.
My heart started pounding. Had I finally found a photo of Nell’s scoundrel husband, William Lyons Board, the man who abandoned Nell and her infant daughter, my mother, shortly after the baby was born? (Contrarily, had Nell’s family run him off for some reason? Had they forbidden her to keep any photos of him?) Had Nell glued the smaller photo of Lyons to the back of this innocent photo of her and her sister, so she could keep some small memento of him?
If it is indeed Lyons, is the river the Ohio River near where he trained at Camp Zachary Taylor south of Louisville before being shipped off to France? Or might it be a site near Le Havre or Cherbourg, two French cities he passed through en route to the limited action he saw? Is it the Isle River, which runs through West Perigueux, where he trained in September 1918? Or the Cher River on the outskirts of Saint-Aignan, where Lyons’ unit joined the 1st Depot Division and were later redeployed as replacements for combat divisions at the front?
At the moment, I have no way of knowing.
My good friend Chuck Camp, who has devoted a massive number of hours to researching this mystery, summarized his conclusions this way:
“So [Nell] had this picture of her beloved sister, and hidden behind it is a picture of the man she married. She couldn't bear to throw it away, as she had so many others. But she couldn't bear to have it out all the time, either, so she hid it.
“How poignant, how romantic, how sad. Here he is in his uniform, as he was in 1918, the dashing young man who came home from the war and swept her off her feet. And now, 100 years later, his little girl's little girl has found him and brought him home again.”
Tim Cooper of Oakdale, Minn., responds to the blog Imagining Community. If you would like to share your thoughts on Clearing the Fog, contact us here.
I have been thinking about Anthony Bourdain.
I have been thinking particularly about his now somewhat countercultural paraphrase of a nineteenth-century French writer: “A gentleman never undermines the dignity and self-respect of another.”
In all corners of the world, close and distant, forces concertedly whittle away at individuals’ dignity and self-respect. We separate children from parents because “they” are not us. We demonize the “other” because it makes us feel superior. And, perhaps most perniciously, we condone the environmental degradation of areas where others live while jealously guarding our own domains.
I read with interest Sallie Showalter’s recent blog Imagining Community. Her piece is a call for all of us to read, and to read widely. She asserts that by reading we can vicariously experience lives different from our own and thereby gain a transcendent understanding of the world. I was particularly pleased to see her reference to the late Polish journalist Ryszard Kapuściński’s collection, The Other. In a review of this work in The Guardian, Jason Burke writes:
“Every person we 'meet along the road and across the world' is 'in a way twofold', he (Kapuściński) says. First, there is 'a person like the rest of us', who has 'his joys and sorrows, does not like to be hungry or ... cold, feels pain as suffering and good fortune as satisfying and fulfilling'. But there is the second person, 'who overlaps with the first'. He is 'a bearer of racial features and ... a culture, beliefs and conviction'. These two entities co-exist and incessantly interact. Anyone who has travelled through our supposedly 'flattened' world in recent years can confirm this. Few can deny the emotional pull of the tribe, the nation, the linguistic community, or the difference of peoples, races, languages, cuisines, traditions and histories. This has proved the great flaw in the doctrines of liberal interventionism and neoconservatism. Much of development theory clings to an economic vision of growth, underplaying the emotional. But the two beings outlined here are frequently in conflict and the second often wins.”
And so the novelist’s imagination is a prompt for understanding. Robert Coles, in his cogent work The Call of Stories, writes that the poetry and prose of William Carlos Williams “urges intense, searching self-scrutiny.” The stories and drama of Anton Chekhov prompt us to “a close look not only at ourselves, but at others, at the terrible contrasts of this world.”
Travel, too, is the anodyne of smugness and intolerance, where riding public transportation is the norm and engaging in conversation with a cab driver, a restaurant server, or a fellow traveler can be a profound educational experience. Anthony Bourdain brilliantly evoked this ethic throughout his work. Whether acknowledging his host’s gracious hospitality by eating food that was clearly outside his comfort zone or conversing with manual laborers, restaurant dishwashers, or subsistence farmers, Bourdain showed us how to travel, how to interact respectfully with those who are not like we are, and how to be ever aware of those who suffer.
Surely embracing his vision will only make us wiser.
This writing business sure requires a lot of books.
As I entered my office a few days ago, I had to wade through books filed in boxes, books in paper shopping bags, books stacked on the floor. My office is small, and I could barely find a pathway from the door to my desk.
I am surrounded by books that I need to read because they have something in common with the novel I’m trying to write: a similar structure, perhaps, or a similar narrative approach or a common historical setting. In my growing collection are nonfiction books about World War I, Prohibition, racial violence, the steel industry, coal camps in Eastern Kentucky, and Lexington’s most notorious madam. There are historical photo collections from the various cities where my maternal grandfather spent some period of his life. There are books on the craft of writing that I continue to hope will inspire me to write something worth reading.
I have written before about my passion for collecting books. Evidently it’s unslakable. I am proud that I still value books, particularly in light of recent reporting that “The share of Americans who read for pleasure on a given day has fallen by more than 30 percent since 2004.” I described last week how reading can increase empathy, a quality we all need to embrace in these times. But despite my plea for everyone to read more, my friends know how I struggle to find the time to read all that I want. Nonetheless, I never question that reading is time well spent. And I recognize the luxury of being surrounded by books I love.
But recently the sheer number of volumes has multiplied, due in part to the overwhelming generosity of a friend and mentor and in part to the consolidation of references my chief researcher had acquired over the past several years.
Something had to give.
So this weekend, my husband—the hunter-gatherer of the family—found a $50 bookcase to help me get my office back into some sort of order. With any luck, my thinking will become a bit clearer as the room becomes more uncluttered.
In doing research for the novel, I discovered that my predilection for books may go back several generations. At the beginning of the twentieth century, my maternal great-grandmother ran into some trouble keeping up her accounts with local shop owners. In May 1908, as many businesses were still recovering from the Panic of 1907, J.T. Hinton—the proprietor of a Paris, Ky., home furnishings store as well as a funeral director and the future mayor of the city—filed a suit against Mrs. W. E. Board for payment of a past due account amounting to $131.69. The purchases on the tab went back to 1902, and by far the most expensive item on the account was a $35 bookcase (the third item listed in the exhibit filed with the suit, left).
Maybe it’s a genetic compulsion. I can only hope that I find more time to enjoy the “writing” library I have amassed—a library that is now neatly arranged on shelves rather than scattered among various trip hazards on the floor. Perhaps eye-level reminders will be all I need to start a marathon summer reading spree.
Empathy, like civility, seems to be a vanishing American quality. The ability to imagine oneself in another person’s situation and understand that person’s feelings typically engenders compassion and a sense of shared human experience. Without empathy, we tend to align ourselves with others whose experiences we can identify with. That results in homogenized communities and a bubbling fear of those who are different—the threat of “The Other,” as described so vividly in Ryszard Kapuściński’s book that borrows that title.
That’s where our nation—and much of the world—finds itself right now.
Bill Bishop, formerly a columnist with the Lexington Herald-Leader, relied on demographic data to sound the alarm about this phenomenon in his 2009 book The Big Sort: Why the Clustering of Like-Minded America Is Tearing Us Apart. He argued that our choosing to live in neighborhoods with others who share our lifestyle and our beliefs has helped create the political and cultural polarization we see today.
Unfortunately we currently have political leaders who find stoking those fears useful for holding on to their power. By promulgating misleading data and straight-up lies, they are able to prey on people’s fears of those who are different—or simply unfamiliar—and push agendas that lack compassion and humanity.
Our nation has a long history of persecuting immigrants and those whom we perceive to be different. We have been callous, hateful, distrustful, even cruel—all while pointing smugly to the Statue of Liberty, our national symbol of compassion.
It is our responsibility as citizens to distinguish the facts from the untruths and to consider the effect of proposed policy on all people, not just those who look and think like we do.
So how do we build empathy for others who live very different lives from our own? If you live or work among a diverse population of people, it’s much easier. You interact with people with different backgrounds from yours every day. So talk to them. Get to know them. Ask them questions. Share a meal. I expect you’ll find you’re not very different after all.
If you live and work in an area with little diversity, as I do, you have to work a little harder to discover the empathy and compassion necessary for a united nation truly interested in justice for all. You can volunteer to work with groups of people whose life experiences are different from yours. If you have the means, you can travel. You can take classes or attend public lectures.
But perhaps one of the simplest ways to develop empathy is to read. Read widely. Read everything you can get your hands on. Read books by authors from other countries. Read history so you’ll know the struggles of those who preceded us. Read biographies about people you’ve never heard of.
And read fiction. Good fiction invites you into a world you know nothing about and engages your emotions in a way that encourages you to feel empathy for the characters. Whatever their situation—however different from anything you’ve ever known—you begin to identify with the fictional characters: you feel their pain, their sorrow, their happiness, their embarrassment, their fear. You struggle with their decisions. You want them to succeed. You live their lives vicariously.
If reading fiction is not a regular part of your life, here are a few suggestions to get you started. Of course, there are hundreds of others to choose from. Feel free to share a comment below listing other books readers might find compelling.
In the second Appendix of The Last Resort, Pud lists what he is reading while working as a researcher at Harvard Forest. The almost wacky list includes a historical thriller, a collection of essays by the humorist James Thurber, a contemporary novel, a telling of Maurice Herzog’s trek up Annapurna, and a book of Ozark folk tales. He was also rereading Thoreau’s Walden and working his way through Ridpath’s history.
In 1953, Pud and Mary Marrs had no television. Reading was their primary pastime. I suspect that in that era more people read more widely. With the widespread establishment of public libraries and the advent of paperbacks, books became more accessible. Newspapers were commonly found in homes. Magazines were popular.
But in the digital age, we read “soundbites.” We rarely dig deeply into a story or analysis. Fewer still pick up a book or download a novel to an electronic device. Who has time for that?
As we once again consider important policy and legislation relating to immigrants, refugees, foreign aid, and how we respond to national disasters that disproportionately affect the poor and marginalized, let us all summon as much empathy and compassion for our fellow travelers as we possibly can. Let’s all pick up a good book and read. And then let’s make our voices heard.
For another call to action, please read the comment left by Vince Fallis at the bottom of Tragic Patterns.
David Hoefer, of Louisville, Ky., is co-editor of The Last Resort and the author of the book's Introduction. If you would like to share your thoughts on Clearing the Fog, contact us here.
It will surprise few readers to learn that editing a previously unpublished manuscript is not unlike wading waist-deep into an endless stream of choices. At least that’s what Sallie and I found in preparing Pud Goodlett’s 1940s Salt River journal for publication as The Last Resort.
We felt a moral obligation to reproduce the author’s original text as faithfully as possible, but other considerations managed to creep in. Some of them were practical—for example, pencil smudges and strikethroughs in the source document required interpretive skill. There were also, on occasion, plausible arguments for more extensive revision. Does one correct spelling errors? Pick grammatical nits? What about gray areas like replacing period slang or clunky phrasing with something easier to read (after all, Pud was only 19 when he started his journal)? Aren’t editors supposed to edit?
Sallie and I erred on the side of laissez faire et laissez passer—let do and let pass—but not everyone follows the same strategy. An interesting counterexample involves an unpublished manuscript by the patron saint of outdoor writers, Ernest Hemingway. Though he’s often associated with big-game hunting in Africa, Hemingway undertook only two safaris during his lifetime.
The first occurred in 1933 and resulted in Green Hills of Africa, published two years later and viewed by some as the gold standard for this genre of writing. The second took place in the early 1950s and generated an unfinished 850-page manuscript, partly handwritten and partly typed, deposited by Hemingway for safekeeping in a Cuban bank vault.
Since Hemingway’s death in 1961, “the African book” (as he called it) has been published not once but twice in two very different versions. The first, appearing in 1999 and given the name True at First Light, was heavily edited by Hemingway’s son, Patrick. It was, after a fashion, a father-and-son collaboration.
The same manuscript served as the source for a second publication, Under Kilimanjaro, in 2005, edited by a pair of Hemingway scholars, Robert W. Lewis and Robert E. Fleming. They took the opposite approach, leaving the original manuscript largely intact. According to Lewis and Fleming, “[T]his book deserves as complete and faithful a publication as possible without editorial distortion, speculation, or textually unsupported attempts at improvement.”
Sallie’s and my approach was more Kilimanjaro than First Light, which isn’t to say that we didn’t earn our paycheck as editors (speaking figuratively here, as there’s no money in scholarly self-publication). The appendices of World War II correspondence and the Harvard Forest journal were created after a meticulous review of the source documents and an appropriate reduction in size and scope. The introduction, annotations, taxonomic list, and other content additions involved considerable time and required input from both of us. But the point of the book—Pud’s delightful journal of halcyon days on Salt River—is as verbatim as we could make it. The Last Resort is the authentic work of an authentic voice before our current period of largesse and decline.
I’ve recently come to understand that writing is simply a series of decisions. We all have the essential vocabulary and familiarity with English syntax necessary to put words on a page. But every word, every phrase, every metaphor, every construction is a choice. If you’re writing fiction, every setting, every plot complication, every character’s reaction, every character’s character is likewise a choice.
If I had understood this earlier, I sincerely doubt I would have launched so heedlessly into this vocation. I am typically paralyzed by decision making. When I was in college, I took a class called Cognitive Processes. I was fascinated by psychology and it was taught by one of my favorite screwball professors. Early in the semester I recall discussing how many decisions, large and small, we make each day. For a short period thereafter I froze as I stood in the cafeteria line trying to select something for breakfast. I had never before thought of that simple task as a series of decisions. Daily existence became almost unbearably cumbersome.
For the writer, even if you survive the thousands of decisions necessary to complete an essay or short story or, heaven forbid, a novel, you are then faced with hundreds more related to marketing the work. During my checkered career, I learned that marketing has at least one thing in common with teaching: you can always do more. You can always be more imaginative, do more research, connect with more people, prepare more thoroughly. It’s open-ended. You are limited only by resources and time. Mostly time.
Unless you are slavish to a data-driven method, marketing usually results in some hits and some misses. You make the best choices you can given what you know and the time you have to invest. It’s always a bit of a crapshoot. And that can make it particularly rewarding when some of the choices you make result in real opportunities to get the word out about a favorite project.
On Saturday, April 28, I will have the privilege of participating in the Local Author Showcase celebrating Independent Bookstore Day at Lexington’s oldest—and largest—independent bookstore: Joseph-Beth Booksellers. Anyone who has spent time in central Kentucky in the past 25 years is familiar with the multi-level wonderland that is Joseph-Beth. It has been a key local source for books and gifts for two generations of readers. It’s one of the places that defines Lexington as a city that embraces literary artists, reading, and the life of the imagination.
If you have a chance to stop by Saturday between 4 and 6 p.m., I would love to chat with you about The Last Resort or anything else on your mind. While you’re there, pick up something special for yourself or a gift for someone else. We can choose to support our local independent booksellers just as we choose the first words that open a story.