Tag: Bayou Corne

Die Another Day

At some point, with all the book -bans and censorship that’s going on, I am going to have to recap and go over my own experience with being banned; but that will require logic, rational thought and revisiting my blog entries from that period to refresh my memory. Yesterday I got political on here for the first time in a long time, and you know–it kind of felt good to get that out of my system and into the public sphere. I do feel very complicit for not speaking out sooner, but…I’ve always worried, more so after turning fifty, that my opinions might cause trouble for others I am associated with; I work at a non-profit for one, and of course, I had a very long volunteer service ‘career’ with Mystery Writers of America. It was probably at least nine years of service all told; and I didn’t want anyone claiming I was speaking for MWA (particularly when I was serving as Executive Vice President) when I was expressing myself personally; nor did I want anything I might say or do to reflect poorly on the organization–or have my words used against it in any way. As EVP, I was one of only two people authorized to speak for the organization publicly; and that last year after pandemic restrictions were lifted I traveled a lot, representing the organization at several conferences and events. And even though I personally knew where the lines were drawn and what was and wasn’t separate, I couldn’t count on other people to keep or recognize those same distinctions…and I was far too busy with everything to willingly risk more things to have to deal with by opening my mouth on here. That’s part of the reason I dialed that all back–along with the “preaching to the choir” element–but yesterday morning I realized you don’t have to be careful about what you say publicly anymore and it was incredibly liberating. So yes, I will sometimes be taking on things that I feel strongly about and not keeping my mouth shut the way I have for so long. (In my narcissistic hubris, I also sort of blame myself for the state of the world right now because I kept my mouth shut for so long.) Besides, if you read this blog or my books (hopefully both), it should be readily apparent that politically I am basically a Jacobin–albeit one who understands how our government runs and functions and how it is supposed to work…which some people serving in Washington don’t seem to know, which is odd. Surely the ones in my age group had to take Government or Civics in high school? I don’t see how they could have passed it, but here we are.

So be prepared, Constant Reader. There’s a lengthy tome coming on the Virginia Incident.

But I finished editing the manuscript I was working on (not one of my own) last evening and sent it back to the author, and I can breathe. I have a ZOOM call scheduled with my editor, so we can talk out all the issues and scheduling for Mississippi River Mischief, which I am actually itching to get back to work on. I think I’ll take today and tomorrow as free days from writing, and then I will jump back into the book on Sunday. I want to do it the way I always do my editing and revisions; by chapter as opposed to entire manuscript, which is what I had been doing and I think this change of work habits, on top of the depression and everything else, made it impossible for me to get the book finished. I don’t think I’ll get it done by the end of May, but surely I can get it finished by mid-June, and then can move back to Chlorine–which will also require me going over and revising the opening chapters again so I can get the voice down again. I am also going to go back to my chapter-per-week project I was working on before my life blew up late last year, and I feel marvelous about everything. I feel very excited about this, and about getting back to writing again. This hasn’t been the best year for me thus far, really, and I also need to stop thinking oh I need to understand why I feel like this or trying to deconstruct everything in some kind of pseudo-psychological processing. My mother died after a slow, lengthy decline, at an extremely difficult time for me professionally. I need to stop feeling guilty about grieving, or being unable to do anything because of depression. Of course I am experiencing some depression; I’d have to be inhuman not to feel anything. And like with all previous traumas, I am learning to navigate grief as I go–although maybe I should read Joan Didion’s The Year of Magical Thinking–and like all previous traumas, it creates a bipolar existence where one day you are fine and the next you’re back in the pit of despair. Sometimes the day will start out great and will flip as it goes on. I have nothing wise or profound to say about loss or grief; although there is something to be said about the numb emotional deadening the HIV/AIDS crisis brought in its wake. I would never want to be that zombie-like ever again, drifting through the days waiting to hear someone else is in the hospital, someone else has died, and there’s another funeral in a few days–but I also have to start recognizing, at this great advanced age, that I’ve never processed or dealt with that time either. (It’s a Sin was a strong reminder of that very thing. I was also thinking Longtime Companion deserves a revisit; it’s always been hard to watch for me, but the beach scene at the end always makes me sob. I’ve also been thinking about the literature of the plague; has anyone ever compiled a list of the classic HIV/AIDS writings? There’s a thesis for a grad student.)

Last night I slept like a log; the sleep of the righteous for finally finishing that editing job. I feel great this morning–rested and relaxed. I do have some work at home duties to accomplish today, and the kitchen is a complete disaster area. I have decided that I am going to finish reading Lori Roy’s Let Me Die in His Footsteps (which is fucking brilliant in every way), as well as reread the openings of the Scotty books this weekend, to see if I can get his voice back into my brain–I feel like that’s the big problem in Mississippi River Mischief–I haven’t nailed the voice and tone in any of the drafts yet, so I need to re-familiarize myself with Scotty’s voice and his wicked, wicked ways. I am actually excited about getting reacquainted with him. This is our ninth outing together, and I always wonder with each one if this is the last or not. I think there’s at least two more Scottys within the reaches of my brain–Hurricane Party Hustle and Quarter Quarantine Quadrille for sure–but you never know what is going to happen next and what may come along your road to write from out of nowhere. I’d like to get both Chlorine and Muscles finished this year, as well as the novellas, and maybe a short story collection by the end of the year. I have also been thinking that one thing that is missing from the annals of New Orleans (or Louisiana, for that matter) crime fiction is the environmental novel. John D. MacDonald deplored what politicians and greedy developers were doing to the tropical paradise of Florida, and slipped that social commentary into almost every Travis McGee novel and many of his stand alones (Barrier Island comes to mind). Louisiana has been in an environmental crisis for decades, and yet no one ever writes about the eroding coastline, the greed of the oil companies and the politicians they buy and pay for every year; Cancer Alley along the river between Baton Rouge and New Orleans being a hotbed of toxic waste; and of there was the Bayou Corne sinkhole a few years ago. I don’t know that I have the knowledge or the time to do the necessary research to write such things, but it’s something someone needs to write. And you know what I always say–if you think someone should write it, that someone should be you.

For me, though, the problem with research is how do you stop from going down wormholes and wasting days? Where do you draw the line, and when do you know you’ve done enough? As Constant Reader knows, I can never get enough of the sixteenth and seventeenth centuries of European history; I can spend days in wormholes of research about politics and wars and the powerful; it was an interesting time–when white Europeans began their colonization of the world, when Christianity had it’s huge splintering that led to war after war after war, the Hapsburgs continuing to expand their empire by marrying it, and on and on and on. Remarkable female leaders proliferated in the sixteenth century more than perhaps any other century before or since; which makes the sixteenth a bit more interesting than the seventeenth. The seventeenth interests me because it was the century when the world empires continued to grow and oppress natives around the globe, but it was also the time of the rise of the modern state, when the political games became more about state power rather than faith or old inheritance claims–when politics became more about the country than the King’s whims. I also go down New Orleans and Louisiana history wormholes a lot, too. I will never have the time to write everything I want to write, or research history enough to write about it. I really, for example, want to write about the German Coast rebellion of the enslaved; I want to write about Freniere, Louisiana being wiped off the map; and I want to write more historical stories set in New Orleans.

And I want to write a romance. I had that on my list of projects for this year, but then everything blew up in my face and my control over the year slipped right out of my fingers. But even though it’s mid to late May, it’s not too late to salvage the rest of the year from the wreckage of the first five months.

And on that note, I’m heading into the spice mines. Have a lovely Friday, Constant Reader, and I will check in which you again later or tomorrow.

You Don’t Love Me Anymore

Sunday morning, and with no Saints game today I have no excuse not to get a lot done today. It’s chilly this morning and gray outside; we still have rain in the forecast but it’s calm and quiet out there right now; perhaps the calm before the storm? Ugh, such a tired cliche–but it’s fine with me.

Yesterday I got a lot of chores done–very little writing, but the chores were necessary and of course, being the Master Procrastinator that I am; I have to have a clean apartment–or at least one that’s been straightened up some–in order to have a clear conscience enough to get work done. I now have no excuses to not get everything done that I need to get done today–but we’ll see how that goes; there’s always something.

I read another Holmes story yesterday–“The Musgrave Ritual”–which I couldn’t remember the plot of, other than remembering that it was one of my favorite Holmes stories. Like “The Gloria Scott“, it’s a “let me tell you a story” story; I really don’t remember the Holmes stories being like this, of course, but it’s something to think about as I prepare to write my own pastiche. It’s a style of writing/story-telling I’m not so certain I want to try, but then again–the entire point of me writing a Holmes story is to push myself as a writer and get better overall, so perhaps…perhaps I should try it that way and see how it goes. Anyway, as I reread it, I remembered why I liked it so much; it’s a treasure hunt story, and I absolutely love treasure hunts. At least two Scotty books–Jackson Square Jazz and Vieux Carre Voodoo, are treasure hunts.

I also rewatched the original film version of Shirley Jackson’s The Haunting of Hill House, 1963’s The Haunting, directed by multiple Oscar winner Robert Wise, and starring Julie Harris as Nell. I saw this movie long before I even knew there was a book, let alone read it; my grandmother loved old black and white movies, and she especially loved crime and horror–probably where I get it from, and she also introduced me to the novels of Mary Stewart, Victoria Holt, Ellery Queen, and Erle Stanley Gardner. I was very young and the film absolutely terrified me–to this day, even remembering the scene with the door expanding and contracting unsettles me. I was, of course, quite delighted as a teenager to discover it was actually a novel (I had read Richard Matheson’s Hell House, with it’s similarities to The Haunting, year earlier and wondered if he’d gotten the idea for the book from the movie), and it quickly became one of my favorite novels of all time; in fact, I believe it was Stephen King who introduced me to the novel, because the opening paragraph was an epigram to ‘salem’s Lot. But I hadn’t watched the film in years; I’d watched the horrible 1999 remake, and of course the Netflix series loosely based on the book (I do recommend the series, it’s fantastic, once you get back the fact that it’s not a faithful adaptation but kind of fan-fiction; it didn’t even have to be Hill House for the story to work, but that’s a subject for a different blog. I do recommend it, though). Julie Harris is perfectly cast as Nell, and Claire Bloom does an excellent job as Theo. There are differences between the book and the film; why they changed Dr. Montague’s name to Dr. Markway is a mystery, and the later third of the film, after his wife arrives, is vastly different from the later third of the novel, and her character is completely changed; the young man who escorts her to Hill House is also excised from the movie. But the way the film is shot–the use of light and shadow, the up angles of the camera, and the ever-so creepy claustrophobia of the enclosed house–is absolutely terrifying, and you never see what is actually haunting the house. That was the singular brilliance of the book, and Wise kept that for his film (the execrable 1999 remake went completely over the top with CGI effects and so forth; ruining the necessary intimacy of the story). I still think of it as one of the scariest movies I’ve ever seen, and on a rewatch–the way you hear Nell’s thoughts, whispered, while Julie Harris’ eyes dart around–adds to the intimacy. I think that interior intimacy is a large factor in why the book is so fantastic, and why both book and original film work so well. The Netflix series does show the ghosts of Hill House, but it’s also done in a very subtle, unsettling way, which is why I think I liked it so much.

I also was thinking about rewatching Anthony Minghella’s film adaptation of The Talented Mr. Ripley, but decided to hold off until I finish the reread of the book–which I am still in the midst of–I want to finish it before my trip this week, because I want to take two different books with me to read.

I did finish my reread of Kirkland Revels by Victoria Holt, which was much better than I remembered, with it’s haunted monastery and ghostly monk haunting the big manor house. It’s also a terrific novel about paranoia and gaslighting; the ultimate evil scheme behind everything hinges on the heroine of the story being eventually committed to an insane asylum, and hopefully miscarrying her child, or it being born dead as a result of the confinement. Holt novels often hinged on the possibility of insanity being genetic–if the mother is insane, her child most likely will be as well–and this horror, which was probably very real in the nineteenth century, makes this book terribly unsettling. The main character, Catherine, is very strong-willed and intelligent, but she marries a man without meeting any of his family, moves into the family estate (Kirkland Revels), and then he dies in a fall from a balcony, and she returns to her father’s house; only to have to return to Kirkland Revels when she discovers she is pregnant. The combination of vulnerable and pregnant heroine being gaslit into believing she is insane was pretty unsettling to me when I originally read the novel; which is probably why it’s one of the few Holts I never took down from the shelf on a rainy afternoon and reread. Rereading it, thought, makes me appreciate the mastery apparent in Holt’s writing. She never again wrote another novel with a pregnant heroine–while some of her later novels did involve pregnancies and/or motherhood (On the Night of the Seventh Moon, The House of a Thousand Lanterns) the mystery, and the plot against the heroine, never occurred during the pregnancy. Romantic suspense, and its twin sister, domestic suspense, were a kind of “women’s noir,” in that the stories always focused on what were seen as the biggest fears for women–marrying the wrong man, danger to her child, not being able to trust your husband–were the recurring thread through all of them.

I also did manage to get some work done on the new project yesterday, which was lovely and my goal for the day. Not as much as I would like–I wouldn’t be me if I didn’t fail to achieve everything in a day that I wanted to–but enough to be satisfactory. I also came up with an idea for another Scotty, one that takes place down in the bayou–Cajun Country Cavaille–but whether I’ll write it or not remains to be seen. But I’d like to address the loss of the Louisiana wetlands at some point in print, and writing about a (probably fictional) version of Lafourche and Terrebonne parishes is probably the best way to do that; I just don’t have a murder mystery to hang the story on. My interest in the Scotty (and possible resurrection of the Chanse) series is expanding outward from New Orleans to the rest of Louisiana; I’ve come to realize that not only do I love New Orleans but I also love Louisiana, frustrating and irritating as that love can be sometimes. Louisiana is so beautiful…I also want to write about the Atchafalaya basin sometime, too, and of course let’s not forget the infamous Bayou Corne sinkhole no one talks about anymore…and of course there’s Cancer Alley along the river between Baton Rouge and New Orleans, which is also begging to be written about.

And on that note, perhaps it’s time for me to head back into the spice mines. Have a lovely Sunday, Constant Reader.

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