The Wickedest Town in the West

An OK place to visit, but you wouldn’t want to live there

By Stephen E. Smith

In the mid-1980s, actor Robert Mitchum appeared on a late-night talk show to promote his latest film. The host asked if the movie was worth the price of admission and Mitchum replied: “If it’s a hot afternoon, the theater is air conditioned, and you’ve got nothing else to do, what the hell, buy a ticket.”

Readers should adopt a similar attitude toward Tom Clavin’s Dodge City: Wyatt Earp, Bat Masterson, and the Wickedest Town in the American West. If you’re not doing anything on one of these hot summer afternoons, what the heck, give it a read.

Dodge City is a 20-year history of the Kansas military post turned cow town that has come down in popular culture as the Sodom of the make-believe Wild West. No doubt Dodge had its share of infamous gunfighters, brothels and saloons, including the Long Branch Saloon of Gunsmoke fame, and there were myriad minor dustups, but nix the Hollywood hyperbole, and Dodge City’s official history is straightforward: Following the Civil War, the Great Western Cattle Trail branched off from the Chisholm Trail and ran smack into Dodge, creating a transitory economic boom. The town grew rapidly in 1883 and 1884 and was a convergence for buffalo hunters and cowboys, and a distribution center for buffalo hides and cattle. But the buffalo were soon gone, and Dodge City had a competitor in the cattle business, the border town of Caldwell. Later cattle drives converged on the railheads at Abilene and Wichita, and by 1890, the cattle business had moved on, and Dodge City’s glory days were over.

Clavin focuses on the city’s rough-and-tumble years from 1870 through the 1880s, explicating pivotal events through the lives and times of the usual suspects — Bat Masterson, the Earp brothers, Doc Holliday et al. He fleshes out his narrative by including notorious personages not directly linked to Dodge City — Billy the Kid, John Wesley Hardin, Wild Bill Hickok, “Big Nose” Kate, Buffalo Bill Cody, Sitting Bull, the Younger brothers, and a slew of lesser characters such as “Dirty Sock” Jack, “Cold Chuck” Johnny and “Dynamite” Sam, all of whom cross paths much in the manner characters interact in Doctorow’s Ragtime. Also included are abbreviated histories of Tombstone — will we ever lose our fascination with the 30-second shootout at the O.K. Corral? — and Deadwood.

If all of this sounds annoyingly familiar, it is. There’s no telling how many Wild West biographies, histories, novels, feature films, TV series, documentaries, etc., have been cranked out in the last 140 years, transforming us all into cowboy junkies. Our brief Western epoch has so permeated world ethea that blue jean-clad dudes in Tashkent, Uzbekistan, might be heard to say, “I’m getting the hell out of Dodge,” in Uzbek, of course.

Clavin offers what amounts to a caveat in his Author’s Note: “. . . Dodge City is an attempt to spin a yarn as entertaining as tales that have been told before but one that is based on the most reliable research. I attempted to follow the example of the Western Writers of America, whose members over the years have found the unique formula of combining strong scholarship with entertaining writing.”

So what we have is a hybrid, a quasi-history not quite up to the standards of popular history, integrated into a series of underdeveloped episodic adventure tales that ultimately fail to entertain. If Doris Kearns Goodwin and David McCullough are your historians of choice, you’ll find that Dodge City falls with a predictable thud. It’s simply more of the same Western hokum. The writing isn’t exceptional, the research is perfunctory, most of the pivotal events are common knowledge, and the characters are so familiar as to breed contempt.

If you have a liking for yarns by writers such as Louis L’Amour, Luke Short and Larry McMurtry, Dodge City isn’t going to make your list of favorite Westerns. Without embellishment, the narrative loses its oomph, and the episodic structure diminishes any possibility of a thematic continuity, which is, of course, that the lawlessness that marked Dodge City’s formative years is a metaphor for the country as a whole, that violence and corruption are a fundamental component of American life.

On a positive note, readers of every persuasion will likely find the book’s final chapter intriguing. Clavin follows his principal characters to the grave. Wyatt, the last surviving Earp brother, ended his days in Los Angeles at the age of 80. Doc Holliday died in Colorado of tuberculosis at 36, his boots off. “Big Nose” Kate, Doc’s paramour, lived until 1940 at the Arizona Pioneers’ Home, dying at the age of 89.

Of particular interest is Bartholomew William Barclay “Bat” Masterson, Wyatt Earp’s dapper buddy in the “lawing” business. Whereas Earp’s claim to fame ended with his exploits as a Western peace officer and cow town ruffian, Masterson went on to a life of greater achievement. He became an authority on prizefighting and was in attendance at almost every important match fought during his later years. He was friends with John L. Sullivan, Jack Johnson and Jack Dempsey. In 1902, he moved to New York City and worked as a columnist for the New York Morning Telegraph. His columns covered boxing and other sporting events, and he produced op-ed pieces on crime, war, politics, and often wrote of his personal life. He became a close friend of President Theodore Roosevelt and remained a celebrity until his death in 1921.

It promises to be a long, hot, unsettling summer. If you’ve got nothing better to do, turn off cable news, slap down $29.99 and give Dodge City a read. It’s little enough to pay for a few hours of blessed escapism.  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry and four North Carolina Press awards.

Back to Bulgaria

A compelling and mysterious journey

By D.G. Martin

Asheville author Elizabeth Kostova will always be remembered for her 2005 novel,
The Historian, that became the fastest-selling hardback debut novel in U.S. history and the first ever to become No. 1 on The New York Times best-seller list in its first week on sale. Her achievement was especially noteworthy because her book was literary fiction, a genre that does not often produce massive sales results.

The plot of The Historian followed a search by scholars for the origins of Vlad the Impaler, better known as Count Dracula. After research in libraries and archives in Amsterdam and Istanbul, the book’s main characters travel throughout Eastern Europe in search of Dracula’s tomb. When they find it in a Bulgarian monastery, it’s empty. Is Dracula still alive? Will they find him? Are there other vampires? On these questions, Kostova built her compelling and successful mystery.

Kostova’s second book, The Swan Thieves, was set in the world of art and made the Times bestseller list for 20 weeks in 2010.

In her third and most-recent book, The Shadow Land, she takes her readers back to Bulgaria, but this time there are no vampires. The villains are modern and very realistic.

Its main character is a young North Carolina mountain woman, Alexandra Boyd. On her first day in the country she meets a small Bulgarian family group — an older woman and two men, one in a wheelchair and the other a tall man of particular note.

Showing off her lyrical prowess, Kostova writes, “She saw that the tall man was dressed in a black vest and an immaculate white shirt, too warm and formal for the day. His trousers were also too shiny, his black shoes too highly polished. His thick dark hair, with its sheen of silver, was brushed firmly back from his forehead. A strong profile. Up close he looked younger than she’d first thought him. He was frowning, his face flushed, glance sharp. It was hard for her to tell whether he was nearer to thirty-eight or fifty-five. She realized through her fatigue that he might be one of the handsomest men she’d ever observed, broad-shouldered and dignified under his somehow out-of-date clothes, his nose long and elegant, the cheekbones flowing up toward narrow bright eyes when he turned slightly in her direction. Fine grooves radiated from the edges of his mouth, as if he had a different face that he reserved for smiling. She saw that he was too old for her after all. His hand hung at his side, only a few feet from one of hers. She felt an actual twinge of desire, and took a step away.”

He tells her his group is on its way to a beautiful monastery and suggests she consider visiting it, too. After they leave, notwithstanding Alexandra’s obvious fascination with him, it will be several hundred pages before she sees the man again, and we understand why he was described so completely. When his group departs in a taxi, Alexandra discovers she has a satchel that belongs to the Bulgarians.

A young taxi driver called Bobby befriends her as she seeks to find the satchel’s owners. In it is a wooden urn, containing ashes and inscribed with the name Stoyan Lazarov. She and Bobby report the incident to the local police, who seem suspiciously interested, but who don’t take possession of the urn. Instead, they give Alexandra an address where Lazarov lived.

Bobby suggests they rush to the monastery and return the urn to the Bulgarians, but when they get there the group is gone. Ready to continue their search, they find themselves locked in a room. Alexandra thinks, “nothing in her previous experience had prepared her for the feeling of being suddenly locked in a monastic room with a stranger five thousand miles from the Blue Ridge Mountains, holding an urn containing the ashes of another stranger. In addition to being tired and afraid, she was suddenly a thief, a vagrant and a prisoner.”

Though Alexandra and Bobby escape from the monastery, they cannot escape a growing awareness that they are being followed and their possession of the urn has put them in danger. The next day they go to the address the police provided. The house is empty, but photos and papers inside confirm the owners of the urn had, indeed, lived there. A neighbor sends them to another address in a different part of Bulgaria but, before going, they adopt a stray dog that would come to play a major role in one of the concluding scenes.

Kostova introduces other people, including an older, wealthy businessman-turned-politician named Kurilkov, known as “The Bear” who, running on a promise of “non-corruption,” is seeking to win the nation’s next election. There are growing and inexplicable dangers: vandalized cars, threats, murder and kidnapping. The urn’s secret and its dangerous value become the spine on which Kostova builds the book’s surprising and violent resolution.

On that same spine she attaches another story, that of the man whose ashes are in the urn. Stoyan Lazarov, a talented violinist, lover of Vivaldi, devoted husband and father, ran afoul of Bulgaria’s brutal Communist dictatorship following World War II. He was confined for many years in a torturous labor camp where work conditions and weather almost killed him, destroying his health and his prospects for a fulfilling musical career.

At the work camp, Lazarov met two men, one a friend and fellow inmate, and the other a guard who becomes a heated enemy. Both characters play a major part in the book’s dramatic conclusion. Kostova confesses that The Shadow Land is “very much a book about political repression — and suppression — and I’m glad to be bringing it out at this exact political moment.”

Her unforgiving description of the oppression Lazarov suffered is based on factual events. It is a disturbing reminder of the horrors of the Soviet methods of dealing with any failure to toe the Communist line.

Why has Kostova set another book in Bulgaria? Explaining her fascination, she writes about her first visit to “this mysterious country, hidden for so long behind the Iron Curtain,” and that she felt, “I had somehow come home.”

Kostova’s poetic portrayal of Bulgaria’s cities and villages, landscapes and people will make readers want to see for themselves the place she loves and describes so well. Another beloved North Carolina mountain author, Ron Rash, affirms the book’s importance. “In this brilliant work, what appears at first a minor mystery quickly becomes emblematic of a whole country’s hidden history. Lyrical and compelling, The Shadow Land proves a profound meditation on how evil is inflicted, endured, and through courage and compassion, defeated. Elizabeth Kostova’s third novel clearly establishes her as one of America’s finest writers.”  PS

D.G. Martin hosts North Carolina Bookwatch, which airs Sundays at noon and Thursdays at 5 p.m. on UNC-TV.

True Masterpiece

The joy of rediscovering True Grit

By Stephen E. Smith

In the late 196s, a friend who’s an avid reader of popular fiction plowed through the novel True Grit and saw the John Wayne/Kim Darby movie on the same day, immersing himself in Charles Portis’ yarn set in Indian Territory in the late 1800s and acquiring what must have been a disconcerting insight into
Hollywood’s inherent ability to mangle art (at the very least, the movie moguls could have spared us the sorry acting of Glen Campbell). About the same time, I read True Grit and concluded that the novel was chockfull of memorable characters and the quirkiest dialogue ever uttered by fictional beings who aren’t working overtime at being funny. 

My friend and I have been quoting lines from the novel for almost 50 years — not constantly, of course, but when our conversation happens onto a subject that might be illuminated or made humorous by a sentence or two attributable to Rooster Cogburn or Mattie Ross, we’ve never hesitated to employ Portis’ superbly crafted dialogue. I’m particularly fond of quoting from the exchange between the horse trader Stonehill (played in the original film by the inimitable Strother Martin) and Mattie as she attempts to wrangle a refund for the ponies her late father had purchased. Stonehill threatens to go to a lawyer and Mattie responds, “And I will take it up with mine . . . He will make money and I will make money and your lawyer will make money and you, Mr. Licensed Auctioneer, will foot the bill.” Who hasn’t wanted to utter that sentence when dealing with a litigious tormentor?

My friend is fond of quoting passages from Rooster’s hilarious, self-serving explication of his checkered past, as when he alludes to the wife and the son he abandoned: “She said, ‘Goodbye, Reuben, a love of decency does not abide in you.’ There is your divorced woman talking about decency . . . She took my boy with her too . . . You would not want to see a clumsier child than Horace. I bet he broke forty cups.”

But enough. You can quote almost any passage from the novel, including sections of Mattie’s deadpan first-person narration, and you’ll likely set the table on a roar.

I’m not in the habit of rereading novels, but that’s exactly what I did after seeing the Coen brothers’ adaptation of True Grit. I decided to give Portis’ novel a thorough reassessment almost a half century after my first encounter with Mattie Ross. After all, America was a very different place in 1968: the women’s movement, the war in Vietnam, the counterculture. Would the novel hold up to changes in mores and tastes? Is it as well-written as I remembered?

I completed the reread, taking my time and occasionally re-evaluating scenes I judged particularly memorable, and here’s what I concluded: True Grit is great American fiction — not a great American Western — but great American fiction period, worthy of study as a literary masterwork and occupying a station commensurate with
The Adventures of Huckleberry Finn and To Kill a Mockingbird.

Unfortunately, True Grit has never attracted the academic attention that Twain’s masterpiece and Harper Lee’s sentimental story of the South have garnered. It is a genre Western, and what self-respecting academic would publish a monograph titled “Repression, Revision, and Psychoanalysis in the Soliloquies of Rooster Cogburn”? But from the novel’s opening sentence — “People do not give it credence that a fourteen-year-old girl could leave home and go off in the wintertime to avenge her father’s blood but it did not seem so strange then, although I will say it did not happen every day” — Mattie Ross establishes herself as the archetypal American hero, an individual so self-possessed that she’s capable of rejecting collective wisdom. In that one sentence, Portis establishes a form and voice that embodies an entire sensibility, a collection of manners, mores, thoughts and feelings, faithful to the spectrum of American experience and emblematic of a rich inner and outer life. As Clarence Darrow wrote: “. . . he (an American) is never sure that he is right unless the great majority is against him.” That’s Mattie Ross, and the reader is instantly smitten.

And it’s Mattie’s steady voice and an unwavering determination — as profoundly established as that of Scout Finch and Huck Finn — that propel the reader through the multiplicity of experience that confronts her. Rooster Cogburn is Mattie’s antithesis — alcoholic, vulgar, pragmatic, possessed of almost every human weakness but redeemed by fortitude and a strained, awkward sense of loyalty and a disarming honesty. “I found myself one pretty spring day in Las Vegas, New Mexico, in need of a road stake and I robbed one of them little high-interest banks there. Thought I was doing a good service. You can’t rob a thief, can you? I never robbed no citizens. I never taken a man’s watch.”

When it comes to the major themes around which literature teachers construct their lessons, True Grit touches subtlety on each and every one — the frontier, the American dream, East vs. West/North vs. South, the journey from innocence into knowledge, sense of community, sophistication vs. a lack thereof, etc. — and it does so without a trace of burdensome preachiness. But mostly, the novel is a story that suspends time, freezes the reader in a moment in our history that evolves finally into the present, giving us a sure knowledge of who we are and how we came to be here. What more can we ask of an American novel?

The John Wayne and Coen brothers’ cinematic interpretations of True Grit are entertaining and reasonably faithful to the original work, but it’s Portis’ novel that’s the real deal, a solid piece of Americana that deserves to be read and studied for generations.

It occurs to me, finally, that I should have said all of this 50 years ago — True Grit was as deserving of praise then as now — but as Mattie Ross articulates succinctly in the novel’s conclusion: “Time just gets away from us.”  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry and four North Carolina Press awards.

Life on the Edge of a Small Southern Town

Crook’s Corner Bar & Café honors a terrific debut novel

By D.G. Martin

More than a thousand books connected to North Carolina are published each year. There is no way to read them all or even find and give recognition to the best and most important of them.

But we can try. One of the best things we can do is to establish awards and prizes to give shout-outs to the best books in particular areas of fiction, poetry, history, biography and so on.

One of the newest, and one of the best, of these recognition programs is the Crook’s Corner Book Prize. Each year it honors the best debut novel set in the American South. The prize, inspired by the prestigious book awards long given by certain cafés in Paris, is a collaboration between Chapel Hill’s iconic restaurant Crook’s Corner Bar & Café and a sponsoring foundation.

Each year’s winner gets $5,000 from the foundation and a free glass of wine at Crook’s Corner every night for a year.

This year’s winner, Matthew Griffin, grew up in Greensboro and graduated from Wake Forest. He teaches writing, most recently at the University of Louisiana at Lafayette.

Griffin’s novel, Hide, is the story of two older men who have lived together for many years at the edge of a small North Carolina town. Frank is a World War II veteran, tough-talking and covered with tattoos. Wendell is a taxidermist who serves the hunting community. These two hardly fit the caricature images of being gay. But they are gay, and they have paid a heavy price for it. For years there was isolation from family, and unrelenting and constant fear that, somehow, someone would blow the whistle to law enforcement about their illegal relationship and activities.

The greatest power of the novel is not, however, in any testimonial argument or inside look at the gay lifestyle. Quite the contrary, the story’s power comes from the tortured and tender way in which Wendell and Frank adapt to Frank’s rapidly deteriorating physical and mental condition.

When Frank suffers a stroke while tending the tomato plants in his beloved garden, the ambulance rushes him to the hospital, and Wendell follows. But because only family members are allowed to accompany Frank, Wendell tells the attendant that he is Frank’s brother. When he is asked to show identification, he fumbles and then tells the attendant he left his wallet at home. He is worried that if she saw his last name was different from Wendell’s, his lie about being a brother would cause more trouble.

As Frank’s condition declines, there is a growing emptiness in the lives of both men. No children or nieces and nephews or other family members show up to care for them or to claim little items that the men have treasured.

Frank’s loneliness is tempered by a little dog named Daisy that Wendell found at the pound and gave to Frank.

Frank is shattered when the dog is torn to pieces in an accident in his garden. Wendell, crushed by Frank’s loss, begins a project to use his taxidermy skills to re-create Daisy from the parts remaining from the accident.

One of the novel’s most poignant moments comes when Frank discovers the incomplete project and, though failing steadily, he falls in love again with the half-stuffed dog.

As the novel closes, this reader was moved not so much by the problems Frank and Wendell had as gay people, but the challenge of finding meaning at the end of life.

Wendell, who always fixed the meals, has trouble adjusting to cooking for just himself when the bedridden Frank eats only nutrient shakes.  He has too much time to fill and finds “the biggest danger of all is an empty space in the day. It’s easy, then, for the whole thing to break through and rush in and join the emptiness inside.”

“You just go on living,” Wendell says. “You don’t have to have a reason.”

The novel’s poignant story should not lead readers to overlook Griffin’s lovely writing. His description of a Southern funeral gathering, the process of breaking down an animal’s body and rebuilding it as a trophy, the joy and disappointments of gardening, sex, love and much more turns Frank and Wendell’s lives into poetry.

The major problem with Griffin’s first novel is that it will be difficult for him to write a better one.  PS

D.G. Martin’s UNC-TV North Carolina Bookwatch interview with Matthew Griffin will air Sunday at noon on April 30 and Thursday at 5 p.m. on May 4. Bookwatch also airs on the North Carolina channel Fridays at 8 p.m. and Sundays at 10 a.m. Martin’s wife, Harriet Martin, serves on the board of the Crook’s Corner Book Prize Foundation.

Trail of Tears

The sorrowful history of Western expansion

By Stephen E. Smith

During the early-to mid-19th century, an unknown Native American warrior documented his life in pictographs on a buffalo hide. His early years were happy. He owned horses, took two wives, fathered children. Then white-faced figures appear pointing sticks that spit fire. Later, he painted his family dying of smallpox. His last pictograph illustrates the arrival of Jesuits in their black cassocks. There the narrative ends, suggesting, perhaps, that Jesuits are deadlier than smallpox.

Whatever the cause of the warrior’s demise, there’s no denying that the 19th-century collision between Native Americans and westward migrating peoples of European descent was one of the most shameful and tragic chapters in the history of the continent. Peter Cozzens’ meticulously written and thoroughly documented The Earth Is Weeping: The Epic Story of the Indian Wars for the American West is the latest offering in a spate of recent books that graphically detail how shameful and tragic the winning of the West truly was. (An American Genocide by Benjamin Madley and Roxanne Dunbar-Ortiz’s An Indigenous Peoples’ History of the United States, both published in the last year, are also well worth reading.)

Most of these recent Indian histories owe their perspective, at least in part, to Dee Brown’s 1970 Bury My Heart at Wounded Knee, a best-seller that transformed the attitude with which Americans regard indigenous people. Published three years after the founding of the American Indian Movement, Brown portrays the government’s dealings with Native Americans as an ongoing effort to eradicate their culture and religion. Cozzens adopts a slightly more balanced and analytical view of the Indian wars, taking into account the misjudgments and barbarism prevalent on both sides of the conflict.

From the opening chapter, it’s obvious the story Cozzens has chosen to tell is ghastly beyond the power of words. Government policy dictated that indigenous people be concentrated on reservations of ever decreasing size until their will to fight was broken and their cultural cohesion destroyed. The wholesale slaughter of the buffalo was intended to deny food and livelihood to the tribes, and with the arrival of the railroads, the hunting grounds native people had occupied for millennia were opened to white settlement. What resulted was a fight to the death in which the tribes had no chance of prevailing. For white politicians, soldiers and settlers, the primary motivations were greed and racism. Native Americans stood in the way of wealth and progress, and they were perceived as a subhuman species to be dealt with as quickly and as expediently as possible. Even generally peaceable tribes such as the Modoc and Nez Perce were treated ruthlessly.

“The whites were coming now, in numbers incomprehensible to Indians,” Cozzens writes. “They assaulted the Indian lands from every direction. Settlers rolled in from the east, while miners poked at the periphery of the Indian country from the west, north and south and simply overran it when new mineral strikes were made. In Westerners’ parlance, Indians who resisted the onslaught were to be ‘rounded up’ and rendered harmless on reservation land too miserable to interest the whites.” But Cozzens also notes that whites were not solely to blame for the dissolute loss of life and property. “. . . tribes had long battled one another over hunting grounds or horses. Indeed, fighting was a cultural imperative, and men owed their place in society to their prowess as warriors.”

The subjugation of Western indigenous people took place during the 30 years from 1861 to 1891, as the U.S. Army, acting under orders from Eastern politicians, pursued the policy of “mollification and eradication.” Beginning with the Dakota uprising in Minnesota and ending with the tragedy at Wounded Knee and the 1891 surrender of the Oglala Lakotas at Pine Ridge Agency in South Dakota, the story is one of unremitting atrocity, suffering and death.

Former Civil War generals found themselves incapable of adapting to erratic and uncoordinated tribal uprisings. No less a national figure than William Tecumseh Sherman was inept at managing Indian affairs, and Winfield Scott Hancock, the hero of Gettysburg, found himself unable to negotiate with the Cheyenne and burned their villages in central Kansas. Phil Sheridan, who had swept the Shenandoah Valley clear of Confederate troops, found himself incapable of placating the tribes and conducted the Red River War, the Ute War, and the Great Sioux War of 1876-77, which resulted in the death of Lt. Col. George Armstrong Custer and a sizable portion of his command. (For all his faithful service during the Civil War, Sheridan is best remembered for having said: “The only good Indian is a dead Indian.”) President Ulysses S. Grant, whom biographers portray as a friend to Indian people, convened a secret White House meeting to plan strategy for provoking a war with the Lakotas. In the late 19th century, the government, in an effort to eliminate further uprisings, outlawed Native American religious ceremonies, and altruistic white civilians established boarding schools where Indian children were required to speak English, study math and religion, and where they were punished for use of their native language and the exercise of their tribal beliefs.

Insofar as it’s possible to condense a 30-year period of national misadventure into 460 pages of carefully crafted text, Cozzens has produced an exemplary history that’s commendably objective, a reference book for the Indian wars. Beyond the intrinsic value of acquiring historical knowledge for its own sake, thoughtful readers may well gain a perspective on contemporary Native American issues — public health, education, gambling, discrimination and racism, the use of sports mascots, and the desecration of tribal lands. More than 100 years after the surrender of the last Indian tribe, suicide, alcoholism and crime remain serious problems on reservations.

Positive edifications notwithstanding, The Land Is Weeping, for all its detachment, allows for only one conclusion: The 19th-century sweep of “civilization” across the territories west of the Mississippi created for the Native American tribes who inhabited the region the cultural wasteland we now call peace.  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry and four North Carolina Press awards.

Shadow Market

A fanciful dealer in dark wares

By D.G. Martin

When Fred Chappell writes, multitudes of fans stop and read. Now retired, he was for more than 40 years a beloved teacher of writers at UNCG, where he helped establish its much-admired Master of Fine Arts in Writing program. He served as North Carolina poet laureate from 1997 until 2002. He is revered by many for his fiction, especially his early works based on his years growing up in the mountains. But his 30 some-odd books show his determination not to be limited to any genre, geography or time.

His latest book, A Shadow All of Light, demonstrates the wide scope of his imagination and talent. It is a magical, speculative story set in an Italianate country hundreds of years ago. Chappell asks his readers to believe that shadows are something more than the images people cast by interrupting a light source. These shadows are an important, integral part of a person’s being. They can be stolen or given up. When lost, the person is never the same.

In Chappell’s tale, an ambitious young rural man, Falco, comes to a big port city (think Venice), where he attaches himself to a successful shadow merchant, Maestro Astolfo. Over time Falco learns the trade of acquiring and selling shadows detached from their original owners. The business is a “shady” one because the acquisition of human shadows often involves underhanded, even illegal methods, something like today’s markets in exotic animal parts or pilfered art.

But Maestro Astolfo and Falco, notwithstanding public attitudes, strive to conduct their business in a highly moral manner. Although losing one’s shadow could be devastating, the situation is mollified if a similar replacement can be secured from shadow dealers like Astolfo or Falco.

Chappell, in the voice of Falco, explains, “No one likes to lose his shadow. It is not a mortal blow, but it is a wearying trouble. If it is stolen or damaged, a man will seek out a dealer in umbrae supply and the difficulty is got around in the hobbledehoy fashion. The fellow is the same as before, so he fancies, with a new shadow that so closely resembles his true one, no one would take note.

“That is not the case. His new shadow never quite fits him so trimly, so comfortably, so sweetly as did his original. There is a certain discrepancy of contour, a minor raggedness not easy to mark but plainly evident to one versed in the materials. The wearer never completely grows to his new shadow and goes about with it rather as if wearing an older brother’s hand-me-down cloak.

“Another change occurs also, not in the fitting or wearing, but in the character of the person. To lose a shadow is to lose something of oneself. The loss is slight and generally unnoticeable, yet an alert observer might see some diminishing in the confidence of bearing, in the certitude of handclasp, in the authority of tread upon a stone stairway.”

After introducing his readers to the complexities of shadow theft, storage and trade, Chappell takes Falco, Astolfo and their colleague Mutano through a series of encounters with bandits, pirates and a host of other shady characters. Mutano loses his voice to a cat. Bandits challenge Falco’s efforts to collect rare plants that eat human shadows. Pirates led by a beautiful and evil woman battle the port city’s residents for control.

Similar to Rogue One: A Star Wars Story, Chappell’s A Shadow All of Light is fast-paced, mythic, and unbelievably entertaining.  PS

D.G. Martin hosts North Carolina Bookwatch, which airs Sundays at noon and Thursdays at 5 p.m. on UNC-TV.

American Ulysses

Finding the uncommon in a common man

By Stephen E. Smith

We’ve grown infamous for what we should know but don’t. What’s more distressing is our proclivity for spouting “factoids,” assumptions that are repeated so often they become accepted as truth. Ask a reasonably well-educated person what he or she knows about Ulysses S. Grant and you’ll probably hear that Grant was a drunken Civil War general and a president whose administration was tainted by scandal. Beyond that, you’re not likely to get much in the way of revelatory information.

Certainly we’re suffering no dearth of sources. Curious readers have access to Personal Memoirs of U.S. Grant — one of the finest memoirs written by an American — and recent biographies include Jean Edward Smith’s 2002 Grant and H.W. Brands’ 2013 The Man Who Saved the Union, lesser volumes which have done little to compensate for the general lack of knowledge regarding a man who rose in seven years from a clerk in a leather goods store to commander of all Union forces in the Civil War to a two-term president of the United States. As president, Grant may not be as obscure and maligned as James Buchanan or Andrew Johnson, but he has nonetheless slipped from memory, and most of what remains in our collective awareness are vague misconceptions and flawed characterizations.

With American Ulysses: A Life of Ulysses S. Grant, Ronald C. White offers new insights into the life of the 18th president of the United States. Whereas Pulitzer Prize-winning biographer William McFeely stated emphatically in his 2002 biography of Grant: “I am convinced that Ulysses Grant had no organic, artistic, or intellectual specialness,” White finds much to admire, basing his observation on Grant’s interior life, his intense love for his wife and children, his fondness for the theater and novels, and his loyalty to his friends, not a few of whom led him into the ill-conceived schemes that tarnished his second term as president. “I discovered that Grant’s life story has so many surprising twists and turns, highs and lows, as to read like a suspense novel,” White writes. “His nineteenth-century contemporaries knew his story well. They offered him not simply admiration but affection. In their eyes he stood with Washington and Lincoln.”

Indeed, Grant was held in high regard by his countrymen — and by ordinary people around the world. But McFeely’s critical judgment of Grant as an unexceptional man isn’t without justification. White’s account of Grant’s early life reveals no hint of exceptionalism, and his years as a young Army officer and his subsequent sojourn as a hardscrabble farmer offered no indication that he’d rise to general of the Army of the United States, the first non-brevet officer to hold the rank since Washington. Moreover, his terms as president were marked by the best of intentions regarding Reconstruction, civil rights and Native American assimilation. By contemporary standards, dismal though they may be, Grant’s presidential years were only vaguely tarnished by the misconduct of trusted associates.

Readers who believe themselves schooled in the facts of Grant’s life will encounter the occasional surprise. Grant, the general who would destroy the Southern economy and social construct, was, for a brief period, a slave owner. White points out the general’s views on “the peculiar institution” were pragmatic and demonstrate evolution of thought. In a letter to his abolitionist father, Grant wrote: “My inclination is to whip the rebellion into submission, preserving all constitutional rights. If it cannot be whipped in any other way than through a war against slavery, let it come to that legitimately.” A year later he would write to Elihu Washburne, a Republican congressman from Illinois and Lincoln supporter: “I was never an Abolitionist, not even what could be called anti-slavery, but I try to judge fairly & honestly and it became patent to my mind early in the rebellion that the North & South could never live at peace with each other except as one nation, and that without slavery.”

Other miscalculations would prove to be more damaging to Grant’s wartime reputation, such as his General Order No. 11: “The Jews, as a class, violating every regulation of trade established by the Treasury Department . . . are hereby expelled . . . ” Although he claimed that a member of his staff had written the order, Grant was, according to White, solely responsible for an order that threatened to alienate the 7,000 Jews who served in the Union Army.

The most oft-repeated factoid regards Grant’s alcohol consumption. (There’s no hard evidence that Lincoln ever said that if he knew Grant’s favorite brand of whiskey he’d send barrels of it to his other commanders.) White attributes rumors of Grant’s intemperance to jealous fellow officers. “Few had ever met Grant — but no matter. Once the label ‘drunkard’ became affixed to a man in the army, it could seldom be completely erased.” He also rejects the notion that Julia Grant was the “balm” for her husband’s drinking, citing evidence to support the claim that Grant rarely over-imbibed.

Grant’s Civil War successes, from Fort Donelson to Appomattox, are adequately reprised in White’s narrative, and for hard-core Civil War enthusiasts there’s a plethora of histories that cover Grant’s military career in more exhaustive detail. Where White’s biography shines is in evaluating Grant’s post-war conduct, falling decidedly on the side of Grant’s defenders.

As president, Grant worked tirelessly for Native American assimilation and black civil rights. And he was temporarily successful in crushing the Ku Klux Klan, but was, in the long run, unsuccessful in changing attitudes that ruled the hearts and minds of Americans, especially Southerners. White also focuses on the Gold standard, the Annexation of Santo Domingo, the Virginius Affair, and the scandal surrounding the Gold Ring. Grant’s second term was dominated by economic upheaval, and White’s analysis of the Panic of 1873, precipitated by the failure of the brokerage house of Jay Cooke & Company to sell bonds issued by the Northern Pacific Railway, is thoroughly researched and placed in perspective.

Unfortunately, Grant’s grasp of economics, on a personal level and as head of the federal government, was a weakness that plagued him into his old age when he was bankrupted by a smooth-talking swindler. But Grant always rallied when he found himself in difficult circumstances, and his finest achievement occurred when, suffering from incurable throat cancer, he transformed himself into a man of letters and wrote his two-volume personal memoir, restoring his family’s fortune. After Grant’s death, Julia received royalties amounting to $450,000 ($12 million in today’s dollars).

The overriding value of White’s biography is in deepening our knowledge of a controversial American leader and the machinations that shaped his presidency. Forget about the notion that history repeats itself. It doesn’t. But an accurate understanding of the past is necessary to place the present in context. We have an obligation to possess more than a muddled, haphazard knowledge of the events that have shaped the moment.

Given the tenor of the times, White probably won’t succeed in bringing “the enigmatic, inspiring, and complex story of American Ulysses . . . to the wider audience he deserves,” but if McFeely’s 2002 psychological appraisal of Grant leaves us with a decidedly negative impression — “. . . he (Grant) had forced himself out of the world of ordinary people by the most murderous acts of will and had doomed himself to spend the rest of his life looking for approval for having done so” — White instills in the reader a sense of pride in the political system that nurtured a leader possessed of uncommon tenacity and persistent moral courage.  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry, and four North Carolina Press awards.

Legend of the Working Class

When M, a cross-species monster, moves from N.C. to Pennsylvania, the plot thickens

By D.G. Martin

In his insightful review of J.D. Vance’s Hillbilly Elegy: A Memoir of a Family and Culture in Crisis in this magazine last month, Stephen Smith questioned whether that book explains the unexpected success of Donald Trump’s campaign for president.

Meanwhile, I have been thinking that another new book might give us insight into the white male blue-collar world where Trump’s appeal rang loud and clear. North Carolina native Steven Sherrill’s The Minotaur Takes His Own Sweet Time tells how a fictional and Greek legendary half-bull, half-man called the Minotaur adapts to life in a modern white working-class community.

In case you do not remember the Minotaur, he was the offspring of a queen of Crete, who, subject to a curse from a vengeful god, fell madly in love with her husband’s prize bull. The resulting offspring grew up to be a feared monster that devoured children. In the Greek legend the Minotaur was killed to end his evil ways.

But, in Sherrill’s story, the Minotaur has survived and lived for thousands of years, roaming from place to place. He is immortal and destined to struggle forever to live as an outsider alongside fully human colleagues.

Back in 2000, in his novel, The Minotaur Takes a Cigarette Break, Sherrill brought the fictional Minotaur to our state as a line cook in a seedy restaurant called Grub’s Rib just off the interstate near Charlotte. The Minotaur lived in a mobile home in a rundown trailer park. His co-workers called him M and got used to his bullhorns, funny-looking face, and tortured way of speaking. They had their own set of challenges, not unlike those described in Hillbilly Elegy.

Just as his co-workers adapted to M and accepted him as a fellow-worker, readers set aside disbelief, identify with the creature, and observe the world of a struggling working class through his eyes. Still, M is destined always to be something of an outsider, a condition that painfully troubles and enriches his story and his relationships with the blue-collar characters that surround him.

This September, 16 years after The Minotaur Takes a Cigarette Break, its sequel, The Minotaur Takes His Own Sweet Time, hit bookstore shelves. Sherrill, who now lives in Pennsylvania, teaches at Penn State-Altoona. M has moved up there, too. He is now a professional Civil War re-enactor in a tourist-centered “historic village.” Every day M puts on his Confederate uniform and goes out on the field to do his job. He dies. Over and over again.

In the rustbelt around the village and battlefield near Altoona in central Pennsylvania, M observes and interacts with the struggles of the working and out-of-work people he encounters. Almost all are at the edge. One broken car away from a financial crisis. One lost job away from disaster.

M’s struggles are special. Only half-human, he still has fully human desires and aspirations. He is lonely and longs for companionship. He is helpful and considerate. He adapts to disappointment. But, as Sherrill leads us to understand in this, his second Minotaur masterpiece, M is always going to be “other.” Always an outsider.

M lives at the Judy-Lou Motor Lodge, a shabby motel just off a busy highway and within walking distance of the historic village and battlefield. The motel owner, Rambabu Gupta, gives M a place to stay in return for M’s handyman repair work. M can fix almost anything, including automobiles.

When a dirty, filthy, broken down Honda Odyssey van careens into a parking lot near the motel, an attractive redheaded woman and her wild, brain-damaged brother get out, and a weird love story begins. M sets about to fix the car. He wanders through his favorite places, auto junkyards, to find the right parts. As he fixes her car, the appreciative redhead and M begin to develop feelings for each other.

Could a cross-species friendship work into something more? Sherrill uses his great storyteller gifts to make his readers wonder, and maybe hope. But the poignant climax is dark and sad.

Back to the recent election, M seems to have no interest in politics, but his desperate, disillusioned, and angry co-workers and neighbors in Pennsylvania’s rustbelt could understandably have found hope in Donald Trump’s message. If they had made it to the polls on November 8, their votes would almost certainly have helped Trump steal Pennsylvania from the Democrats and Hillary Clinton.  PS

D.G. Martin hosts North Carolina Bookwatch, which airs Sundays at noon and Thursdays at 5 p.m. on UNC-TV.

Hillbilly Blues

Poor, white and not quite forgotten

By Stephen E. Smith

The presidential election is either over or is about to be, and, barring an unforeseen catastrophe, we ought to be breathing a collective sigh of relief. But in our hearts we know the truth: It ain’t over yet. The media, including the publishing industry, aren’t about to let us rest. We’ll no doubt be obliged to examine in excruciating detail the cause-and-effect relationships that inflicted this grievous wound on our national psyche.

Publishers, of course, get us coming and going. White Trash; The Making of Donald Trump; Hillary’s America; The Year of Voting Dangerously, etc. — Amazon lists at least 17 books that address the pre-election mêlée, enough reading to keep us bleary-eyed and brain-bruised until the next election cycle, and well beyond.

Of these many offerings, Hillbilly Elegy: A Memoir of a Family and Culture in Crisis, by J. D. Vance, has been the chief beneficiary of our need to grasp the incomprehensible. Published in late June, this Horatio Alger memoir shot to the top of The New York Times and Amazon.com best-sellers lists and stayed there. This was due in large part to promotion by the author and Amazon that fostered the belief that Hillbilly Elegy offers a profound insight into the rise of Donald Trump as a presidential candidate.

A quick read of Amazon’s “Editorial Reviews” is explanation enough: “What explains the appeal of Donald Trump? . . . J.D. Vance nails it” (Globe and Mail); “You cannot understand what’s happening now without first reading J.D. Vance . . . .” (The American Conservative), and so forth. Only The New York Times acknowledged a mild albeit flawed apprehension of fact: “Mr. Vance has inadvertently provided a civilized reference guide for an uncivilized election . . . ,” “inadvertently” being the operative word.

In February, Vance wrote an op-ed for USA Today headlined: “Trump Speaks for Those Bush Betrayed”: “. . . .what unites Trump’s voters,” Vance wrote, “is a sense of alienation from America’s wealthy and powerful.” In a print interview with Rod Dreher, senior editor at The American Conservative, Vance stated, “The simple answer is that these people — my people — are really struggling, and there hasn’t been a single political candidate who speaks to those struggles in a long time. Donald Trump at least tries.” Vance’s appearances on ABC, CNN and NPR only reinforced this perception, and by the time he arrived on the set of “Morning Joe,” Vance’s criticism was even more focused, asserting that Donald Trump is “just another opioid” to many Americans struggling with loss of jobs, broken families and drug addiction.

All of which begs the question: Does Hillbilly Elegy explain the rise of Donald Trump?

It doesn’t. No amount of tortured exegesis can conclude with a calculated degree of certainty that the anecdotal examples offered in Hillbilly Elegy lead to a statistical generalization regarding the wide-ranging support garnered by the Trump candidacy. Despite the claims of critics and the author, the book does not present, directly or indirectly, a viable explanation for the recent national unpleasantness — and the hype surrounding the publication of Hillbilly Elegy amounts to little more than a subtle form of literary bait and switch.

Misrepresentations aside, it’s safe to say that Vance has written an insightful and readable memoir that details the estrangement of a segment of America’s displaced white underclass. His personal story, which comprises most of the text, is straightforward: Poor boy from a broken, drug-befuddled family wants to make good and does. The sociological narrative is also immediately explicable: As “hillbillies” migrated from Kentucky and other Southern mountain states, they clustered in desultory communities around the factories that offered them work. But this relocation came at a price. The traditional culture that once rendered support and stability from birth to death was sacrificed to economic prosperity. When the high-paying jobs disappeared, neighborhoods of poor people were left behind, lacking the social networks that sustained them in their mountain communities.

To his credit, Vance’s message is one of personal responsibility. He has no patience with convenient excuses or the tendency to shift blame to the media, politicians, or the middle and upper classes. Succinctly stated, his advice is to pull up your pants, turn your hat around and make something of your life.

Hillbilly Elegy possesses the same appeal that propelled Rick Bragg’s 1999 All Over but the Shoutin’ onto the best-sellers list — it’s thoughtful, compelling in its grim detail, and ultimately faith-affirming. No red-blooded American can abandon the belief that any lucky, talented, hardworking schmo can become a success, but the wise reader will understand that Vance’s story is not an allegory for life; it’s merely the recounting of a series of random events arranged in such a way as to suggest meaning.

Readers should also bear in mind that better sociological studies have come and gone without notice. One is reminded of Linda Flowers’ 1990 Throwed Away, which detailed the economic exploitation of eastern North Carolina sharecroppers and tenant farmers.

As for articulating the emotional toll taken on those Kentucky mountain people who migrated north, poet Jim Wayne Miller summed up their sense of loss in five lines from his 1980 collection The Mountains Have Come Closer. The final stanza of the poem “Abandoned” reads:

Or else his life became the house

seen once in a coalcamp in Tennessee:

the second story blown off in a storm

so stairs led up into the air

and stopped.  PS

Stephen E. Smith is a retired professor and the author of seven books of poetry and prose. He’s the recipient of the Poetry Northwest Young Poet’s Prize, the Zoe Kincaid Brockman Prize for poetry, and four North Carolina Press awards.

On the Lookout

A fascinating first novel, a talk of ecological disaster

By Gwenyfar Rohler

Upstairs in the UNC Wilmington Creative Writing Department is the publishing laboratory, where the literary magazine Ecotone matured, and a small press, Lookout Books, refines their books into existence like an oyster begetting a pearl. Until recently, Lookout’s carefully curated and award-winning catalog included two collections of short fiction, a memoir and even a book of poetry, but no novel. But now, Lookout and writer Matthew Neill Null have both dipped their proverbial toes in the water of novel-writing by debuting their first novel, Honey From The Lion, last year.

In the book, set in and around a logging camp in West Virginia at the turn of the 20th century, Null brings us characters that many people would cross the street to avoid. He slowly pulls back the curtains and, with a flickering gaslight, breathes life into these unwashed, violent and desperate people who then become the source of great empathy.

Honey From The Lion is not a hymn to strong men who control other people’s destinies, though the first chapter and the title (an allusion to Sampson from the Bible) might hint at that. For Null, the real story is the struggle of the hundreds of working men to realize their own destinies within their private lives and a system with the singular purpose of exploitation of resources — natural and human. He takes a microscope to look as closely as possible at individuals who, in most circumstances, would never be anything more than statistics: ledger columns, payroll, accident reports. These moments, teasing out the backstories of each character, no matter how minor, are reminiscent of David Foster Wallace.

Echoes of Larry McMurtry’s Lonesome Dove reverberate as well. The introduction and development of the uber macho world are built around a strict code and the appearance of outsiders unprepared to understand the code. But where McMurtry’s men have developed their own code and live outside the dictates of a world they reject, Null’s are trapped inside the code as the least powerful players in their ecosystem.

The care and adoration lavished on a Lookout book is obvious. The physical product is a beauty to behold in an age where book design and production are sidelined for bargain prices and expedient content delivery. Not at Lookout. French flaps, beautiful graphic design and tailored page layouts are the hallmarks of a book that someone cares about. (On the rare occasions that you see a book this carefully created from a big publisher, you know it was the pet project of someone in the office who went the extra mile.) At Lookout, each book radiates that level of care. Perhaps that is the best argument for smaller presses: Because each book takes so much time and effort, they put out few in a year (Lookout produces only one or two annually), and each book is almost a sacred experience. Any author would swoon to have his or her work treated with such reverence, especially for one’s debut novel.

Curious about the selection process for Lookout’s first novel, I reached out to Emily Smith, publisher and co-founder of Lookout. Smith writes, “Null evokes the virgin forest as a fully realized character we grieve deeply by the end of the novel. He implores us to care about the ecological tragedy in West Virginia through story . . . it presented a rare opportunity for our publishing entities to better align our missions and to showcase a book in which place and the natural world feature prominently.”

Ecotone, the sister imprint, place-centric magazine, published Null’s story “The Island in the Gorge of the Great River” in the spring 2014 issue. Null, the then-emerging writer, had not published a book, which appealed to Lookout, whose mission states “seeks out emerging and historically underrepresented voices, as well as overlooked gems by established writers.” In manuscript form, Smith was attracted to this novel’s “nuanced and lyrical descriptions of the natural world, its expansive and cinematic pace.”

Lookout has enjoyed success with previous publications, like their first one, Edith Pearlman’s story collection Binocular Vision, a finalist for the National Book Award in 2011. The following year, Lookout published Steve Almond’s story collection God Bless America: Stories, which won the Paterson Fiction Prize. They know how to pick a winner and how to present one.

I can only imagine the stunned grin that must have spread across Null’s face the moment he received his first novel in Lookout-form. But, from reading Honey From The Lion, I am certain he would recreate the moment in stunning, captivating, undulating prose, drawing the experience out for paragraphs if not pages, intensifying the moment to something epic in contrast to the momentary sensation of pages in hands.

A part of the Creative Writing program at UNC Wilmington, Lookout ensures that the art of bookmaking continues to live hand-in-hand with the art of writing. It may be one of the most valuable lessons to impart on to the next generation of writers. Because, as in Lookout’s new novel, each page holds moments experienced in-depth that draw and enlighten the darkened corners of each character’s soul. Value the written word (and the well-designed book) as something sacred, for it will outlive all of us.  PS

Gwenyfar Rohler spends her days managing her family’s bookstore on Front Street.