Tag: Arthur Hardy

I Go To Pieces

Sunday morning and I hope it finds you doing well, Constant Reader. It’s kind of gray outside my windows this morning, and it’s raining, off and on; not a gully-washer like the occasional tropical downpours we get on occasion, but enough so that everything outside is wet and glistening. It’s supposed to be lovely today, but the temperature is dropping overnight and it’s going to be in the bitterly cold thirties the rest of the week. Yay, but this too shall pass. Tomorrow is Twelfth Night and the official beginning of Carnival; so on my way home tomorrow night I’ll stop and get our first King cake of the 2025 season. Yay, king cake! We are both fans. Paul picked up this year’s copy of Arthur Hardy’s Mardi Gras Guide, a staple of the season. We’ve bought a copy every year we’ve lived here, and while the “parade watcher” app makes parade-going much easier, it’s also nice to have around.

What are we going to do when we lose Arthur Hardy? I don’t even want to think about it.

I have a lot to get done today. I did work some yesterday but not much; I was kind of tired after going to the gym (yay!) and making groceries, so I just kind of collapsed into my easy chair after putting the groceries away and just relaxed. I did finish reading Winter Counts (more on that later) which I enjoyed, and started reading my next read, Ode to Billy Joe by Herman Raucher. Last spring–and I don’t know why–I remembered Summer of ’42, the novel by Herman Raucher that was made into a film in the early 1970’s. I enjoyed both book and movie; it’s very poignant and sweet, and I later made the connection when I was writing my post about Robby Benson and my crush on him when I was a young gay…and then remembered he’d been in the film version of Ode to Billy Joe, which sent me down a rabbit hole–the song, the book, the movie–which is an interesting journey. I wound up ordering a copy of the novel from a second-hand book website, and so I started reading it finally. It’s weird; it was originally a haunting story song hit for Bobbie Gentry, and they decided to make a movie of it. They hired Raucher to adapt the song into a screenplay, and he went one better–not only writing the screenplay but writing a novel as well. So, is it a novelization of a movie, or a novelization of a song that became a movie? It’s actually very well written; the movie was dated and I didn’t enjoy my rewatch a few years ago, but the book still holds up. I also decided yesterday that I am going to alternate crime fiction with another genre or style of fiction, to broaden my scope and better inform my own writing.

I slept well last night, even if it took me longer to fall asleep than usual, which was odd. I wasn’t nearly as tired as I usually am when I went to bed, but I did drag my ass out of bed this morning. Sparky didn’t let me sleep late this morning–later than my usual, but far earlier than the last two mornings–so hopefully I’ll feel tired tonight. I made it to the gym yesterday, and so am a bit tight and sore this morning, but at the same time I am very pleased I did go. I tried to talk myself into waiting till today, but finally around one I snapped out of it and went. The one thing I’ve noticed besides the muscle fatigue is that mu shoulder is a lot looser and freer now–it’s been tight for a while, and sometimes it felt like it needed to, I don’t know, pop? Like a knuckle that won’t crack? But since I started working out again (granted, only twice but that’s also two more times than if I hadn’t, so there), it feels a lot better and more usable than before. Yay! Should have never stopped going last spring, but if wishes were horses and all that nonsense. Even the tightness of the other muscle groups feels kind of good. Now, if I can just remember to find time to stretch every day…

The weekend hasn’t been a waste for writing, either. I reread some works in progress, worked a bit on the synopsis of The Summer of Lost Boys, and reread Chapter 2 of new Scotty preparatory to revising it this morning. I have some short stories to work on and more to read–Saints and Sinners short story contest judging work–so I may not have as much time today to read for fun as I might want, but I think I can get through Ode to Billy Joe this week before moving on to my next read, which will be a crime novel from a marginalized author.

We finished watching Cross yesterday, and I have to admit we enjoyed it more than I thought I would. I’m not sure what I was expecting, but the show turned out to be a lot better than I was expecting. Shows produced by streaming services can often be hit-or-miss, and other than The Boys I generally don’t go into Prime shows with a lot of expectations. I think Cross could have been six episodes instead of eight, but they did an excellent job of juggling different crime storylines against each other as well as making the viewer wonder if it was two different cases or the same one. That’s not easy to do, and is even harder for a television series to pull off than a book. We then watched a really fun crime show called Killer Heat, which was a modern take on film noir/hard boiled private eye stories. Starring Joseph Gordon Leavitt (whom I will watch in anything), Richard Madden, and Shailene Woodley, it’s done very well and is quite fun to watch until they don’t quite nail the landing, but hey–it was an excellent attempt, and they got everything right–including excellent performances from the two main leads (Richard Madden was kind of wasted in the role of identical twin billionaires, one of whom’s murder opens the movie; the part wasn’t well written and any hot actor with a good body could have done the job)–and we definitely enjoyed it.

And on that note, I am heading into the spice mines. Have a lovely Sunday, and I may be back later. One can never be entirely certain, can one?

Twelfth Night

The other night, as I walked to Lilette to meet my friend Laura for dinner, I walked past this house:

It made me smile, as the New Orleans dedication for decorating for the holidays (any holiday, really) always does.

I posted this picture after taking it, along with a caption along the lines of it’s almost Twelfth Night and the start of Carnival! Someone commented, a bit surprised, “already?” which once again made me realize how different living in New Orleans is from living anywhere else, really, in the country. Nobody outside of Louisiana (unless they’re Catholic) understands how Carnival actually works, which makes sense. If it doesn’t affect you, how would you know? So, I decided explaining Carnival would be an excellent blatant self-promotion post, particularly since A Streetcar Named Murder is built around (sort of) a Carnival krewe and their membership recruitment ball. So, buckle up, Constant Reader, I’m going to give you a sort of primer for New Orleans Carnival.

Carnival begins on Twelfth Night, January 6th, and the season continues until it ends at midnight on Fat Tuesday (Mardi Gras is actually the last day of Carnival, not the entire season; but over the years Mardi Gras has become synonymous with Carnival, but the locals will always correct you when you call it Mardi Gras instead of Carnival; and ‘mardi gras” literally translates from the French to Fat Tuesday), when the bells of St. Louis toll the beginning of Lent and the police clear everyone off the streets of the city (no one is supposed to be out on the streets after midnight; I used to love to stand on the balcony at the Parade watching the mounted police officers slowly making their way down Bourbon Street as the crowds disperse before them–and behind them the street is empty). I’m not going to get into the history of Carnival and how it all began as a “farewell to the flesh” before the religious solemnity and penance of Lent; but that’s the part most people don’t get if you’re not from here or Catholic. Christmas, Carnival, Lent, and Easter are all tied together. Twelfth Night is always a fixed date because Christmas is fixed for December 25th; but since Easter’s date is never the same, neither is the date for Mardi Gras/Fat Tuesday, which is always forty days before Easter.

So, first things first. If you want to know all there is to know about each year’s Carnival, you start by getting a copy of Arthur Hardy’s Mardi Gras Guide, seen below. (You can order it on-line if you’re curious about it.)

(Don’t @ me, I know it should be Carnival Guide, but Mr. Hardy is Mr. Expert on all things Carnival, so we let him get away with it every year.)

The guide is invaluable, even though now there’s a parade tracker app so you always know where the parades are. The parades are what most people associate with New Orleans and Carnival/Mardi Gras; the big ones that shut down St. Charles Avenue and Canal Street aren’t until the last two weekends before Fat Tuesday. I don’t even know how many parades pass by our corner during parade season, but it’s a lot. (I’m hearing that the parade routes are being truncated a bit because of not having enough police officers to pull parade duty, but I don’t pay a lot of attention and just look at the Guide–which I have yet to get a copy of this year.) So, parade season is the two weekends prior to Fat Tuesday. The first weekend is easy, really; there’s parades on Friday night, Saturday afternoon and evening, and Sunday afternoon. Then we get a two day respite before they start in earnest, and there’s always at least two a night beginning the Wednesday before Fat Tuesday. Muses is Thursday night, following two others; there are also three on that Friday. Saturday afternoon is my favorite, Iris, which is followed by Tucks. Endymion is the big parade on Saturday night but it has a different route; it doesn’t come down St. Charles unless rain has caused it to be postponed for a night (when Endymion rolls down St. Charles on a Sunday night it’s a nightmare out there at the corner because Endymion is HUGE). There are parades all day Sunday, culminating with Bacchus Sunday night; Orpheus is the grand finale on Monday night, and of course on Fat Tuesday Rex follows Iris and then come the truck parades. There are also other, smaller, walking parades earlier; Krewe de Vieux, for example, is enormous and is a Saturday night later this month. After Twelfth Night and before Parade Season, there are balls and parties and walking parades and all kinds of celebrations leading up to the parades. The bleachers are already going up at Liberty Circle and all along St. Charles.

So, what does A Streetcar Named Murder, which is set in October, have to do with Carnival, and how is this a blatant self-promotion post?

Because the plot of Streetcar is set around an October costume ball for one of the newer Carnival krewes, the completely fictitious Krewe of Boudicca (it was Athena in earlier drafts, until I realized that I should check to make sure such a krewe doesn’t exist anywhere and sure enough, there is one; either in Metairie or on the north shore), which is also kind of new-member rush for the krewe. Our main character, Valerie, has no interest in belonging to a krewe; as she says, she’s fine “just going to parades and catching throws.” But her neighbor/best friend Lorna wants to join Boudicca, and she is dragging an unwilling Valerie along for the ball. It’s at the ball that the murder takes place; turns out the membership chair for Boudicca is Valerie’s nemesis, and of courea Valerie is the one who finds the victim after she’s stabbed.

And of course, it’s Carnival season again in New Orleans! So more info and blatant self-promotion to come!