Tag: Congress

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’re Gone But) Always in My Heart

The late Joan Didion famously said we tell ourselves stories in order to live. I’ve parsed the statement any number of times–it’s most commonly taken to mean that it’s important we tell stories of the human experience (the good, the bad, the mediocre and all the varieties in between) to better understand ourselves, our society and culture. I had never read Didion myself until several years ago; of course I knew who she was and what she had written–although if asked before reading her work, I would have only been able to name Play It as It Lays, which I still haven’t read. One of my co-workers had a library copy of her Miami in his officer a few years ago, and I idly picked it up when I was in his office. He recommended very strongly that I read Didion, and so it was with Miami I started; the opening line (Havana dreams come to dust in Miami) sold me on the book. I enjoyed it, and went on to read other works of hers: A Book of Common Prayer, Slouching Toward Bethlehem, and After Henry, among others. I loved the way she wrote; that the complexity of her work came from her poetic use of language and words rather than on complicated sentences. It was reading Didion’s essays (and Laura Lippman’s) that made me start thinking about writing essays myself; I started one trying to use a similar style to Didion–which was interesting–but think it’s rather more important to stick to my own voice, for better or for worse; there was only one Didion, and there should only be the one.

As I was being interviewed the other night I was talking about my re-education; about having to unlearn and relearn things from when I was a kid. I’ve been thinking about this a lot lately; part of it was turning sixty this past year, part of it was writing two books back-to-back that are sort of based in my own personal history–so remembering what Alabama and Kansas were like for me meant exploring a lot of my past, reliving and rehashing it with the perspective of time having passed and with a coldly sober, unemotional eye. I remembered, as I was talking about the Lost Cause and other American mythology we are taught as children (Washington and the cherry tree; Honest Abe the rail-splitter; and so many other Americans of the past we have deified) , the Didion quote and found a new meaning in it. When I was a child, I remember that in the South, for some reason, my cousins and their friends and the adults never would refer to someone as a liar; etiquette, perhaps, or politeness being behind this oddity. What they said instead of saying you were lying was “Oh, you’re telling stories.” If someone was a liar, you’d say “he tells stories.”

We tell ourselves stories in order to live.

Given this weird rural Southern thing about “telling stories”, this can be reinterpreted as we tell ourselves lies in order to live–and it all falls into place, because we do tell lies to ourselves in order to live with ourselves, within this culture, within this society. Never has this been more evident than is this strange battle the right has started about Critical Race Theory–which wasn’t being taught in any American public school below the collegiate level. If there’s nothing in American history that we should be ashamed of, why is there so much opposition to the truth? Why are we taught lies in order that we may live?

The war cry of the white Southerners who want to keep their monuments to white supremacy and treason has been “Heritage not hate!” But the heritage is hate, which was the entire point of Bury Me in Shadows. You cannot have it both ways: you cannot celebrate a history of treason against the United States, while claiming to be “more patriotic” that other Americans who do not celebrate the killing of American soldiers (ask Jane Fonda about how posing on an enemy gun goes over). The bare facts of the matter are that some (not all) of the states where it was legal to enslave people were afraid they would lose their right to enslave people, and as such they decided they were better off starting their own country. They wanted a war they couldn’t possibly win, and the fact that it didn’t end quickly has more to do with the incompetence of the Union generals and their political ambitions (there are reasons there are no statues of George McLellan anywhere to be found) than the righteousness of the Confederate cause and the brilliant leadership of Robert E. Lee. They abhor Sherman as a war criminal (“he waged war on civilians!” Um, we also firebombed Dresden during the second world war, and what were Nagasaki and Hiroshima if not the obliteration with atomic weapons of civilian populations? Sherman said “war is hell”–you cannot start a war and then complain about how the other side chooses to fight it.). They claim it had nothing to do with slavery and everything to do with “states’ rights”…when the reality is the only state right they were concerned about was the right to enslave people–they certainly wanted the federal government to enforce the Fugitive Slave Act against the wills of the free states, didn’t they? Their end game in Congress and the courts was to force the federal government to permit enslavement in every state of the union and every territory; this was the crux of the Dred Scott Decision of the Supreme Court, which more than anything else set the stage for the war.

If there’s nothing terrible about the actual history, why so much fear around the truth?

We tell ourselves lies in order to live.

If the truth is too terrible to be faced, then it absolutely needs to be.

There’s nothing quite so romantic as a lost cause, is there? Whether it’s the Jacobites in England with their toasts to “the King across the water”; the emigres from the French Revolution; or the Confederacy, losing sides inevitably always romanticize their defeat and the loss of a better world their victory would have created. An entire industry has developed in this country around the mythology of the Lost Cause; how could it not when one of the most successful American films of all time portrays the Lost Cause so sympathetically? The opening epigram of Gone with the Wind reads “There once was a land of Cavaliers and cotton fields known as the Old South…” And yet the movie depicts an incredibly classist society, predicated on the enslavement of Africans; the entire idea behind the founding of this country was the elimination of class distinctions–the equality of all.

But even Margaret Mitchell, when asked if the Tara in the movie was how she pictured it as she wrote about it, scoffed and said, “Tara was a farm.”

And not everyone in the old South was rich or owned a plantation. Not everyone was an enslaver, and not everyone was on board with the Lost Cause. But we rarely hear about the Southerners who fought on the Union side in the war; we never hear about Southerners who were abolitionists; and we never hear about the atrocities inflicted on those loyalist Southerners by the rebels, either.

And speaking of war crimes, what about Andersonville?

We tell ourselves lies in order to live.

We cannot celebrate our achievements without acknowledging our failures. It is far worse to not learn from a mistake than making the mistake in the first place. It is not unpatriotic to look at our history, culture, and society critically, to examine and evaluate how we are failing to live up to the ideals upon which our country was founded. The Founding Fathers were not mythical gods of infallibility; they were all too human, with all the concomitant jealousies, pettiness, arrogance and ego that comes with it. They were, for one thing, mostly unable to conceive of a society where women and non-white people were deserving of equality under the law. But they also knew they were not perfect, which was why they created a system that could adapt to the changing tides of history.

George Santayana’s famous quote, “Those who cannot learn from history are doomed to repeat it” is something I think about every day. I also love the George Bernard Shaw quote, “What we learn from history is that we learn nothing from history.“

We need to stop telling ourselves lies. The truth might seem to be too much to be faced; it might be ugly and hideous and shameful…but it will also set us free.