Old Man River

Can you believe I’ve written all these Blatant Self-Promotion* posts about New Orleans and my book A Streetcar Named Murder and haven’t yet written about the most defining thing about the city–the Mississippi River?

Why, we would not be here if not for that mighty river, the Father of Waters.

Sometimes, just for shits and giggles, I try to imagine what it was like for the Europeans to see the Mississippi for the first time. Imagine you’re a colonizer, heading west and hacking your way through the Forest Primeval, and you suddenly come upon this enormous river. Or imagine you’re on a boat powered by the wind, following along the coastline of the Gulf of Mexico and suddenly the water becomes muddy and messy and dirty, as opposed to the sparklingly clear blues and greens you’d been seeing since sailing into the Gulf in the first place? And then to come into the delta, trying to find the primary channel, and finding yourself in the fast-moving currents of an enormous river? Spaniard Hernando de Soto was the first European (well, probably one of his men, but he was the leader so naturally took credit for it) to lay eyes on the river inland just below Natchez; a Spanish navigator had already mapped the Gulf coastline by this time. Father Marquette explored the river, as did Joliet later (Marquette and Joliet played a very big role in my learning of History as a child in Chicago; a nearby suburb of Chicago was named Joliet. So learning the history of the Chicago area taught me about the exploration of the river by the French, coming south from Quebec and along the St. Lawrence through the Great Lakes). De la Salle discovered the mouth of the river and claimed it and all the land in its valley for France; Iberville rediscovered the mouth about fifteen years later and began exploring up the river, eventually deciding to settle a port/town/colony on the shores of the river where there was high ground…and that settlement became New Orleans.

For the record, the location was actually the perfect place for a city to be built, despite the climate, the water and the swampy land. New Orleans is the southern-most point on the river that is protected from the sea enough to accommodate shallow water ships but where it’s also deep enough to handle ocean-going ships. (The river is incredibly low right now–too low for barges to make it down here.) New Orleans became a vitally important city as the continent was slowly and gradually colonized by Europeans and later their descendants; water was the easiest mode of transportation before railroads and roads, and you can get almost everywhere within the two mountain ranges of the northern American continent by water. I think you used to be able to actually sail into the St. Lawrence down through the Great Lakes and down the Chicago and Illinois rivers to connect to the Mississippi and the Gulf, but am not sure if that is still true.

Because of the river and the Gulf, New Orleans became one of the most important ports in the western hemisphere and gradually one of the largest cities in the United States, and certainly one of the wealthiest.

I love the Mississippi River. It’s fascinated me since childhood; this enormous river that divides the country in two. As a child fascinated by history–beginning with US history–the importance of the Mississippi, and how it was linked to how the country grew and developed over the centuries, and how it was vital strategically and economically to a developing nation. The early fall of New Orleans during the Civil War guaranteed the Confederacy would fail. When Thomas Jefferson offered to buy New Orleans from Napoleon, the French conquerer, recognizing that without New Orleans the rest of the Louisiana territory was essentially worthless, threw in most of the North American continent in for a few million more. The primary takeaway for me from reading Mark Twain was his love of the river that I came to share. I also loved that I moved to New Orleans, practically the furthest south you can live on the river, from Minneapolis, practically the furthest north you can live on it. I can remember on a trip to the South from Chicago that we detoured and went to where the Ohio and Mississippi meet; I actually stood on that corner of Kentucky with the Ohio to my left and the Mississippi to my right. (The Ohio used to fascinate me as well; another river pivotal to the colonization and conquest of the continent.) I remember thinking how cool it was that the Ohio was blue and the Mississippi brown; that the wall of blue ended at the wall of brown–but there was a blue streak running down the middle of the brown for a good distance.

I love living here by the river, and one of the things I miss the most about working on Frenchmen Street is I don’t get the opportunity to walk down to Jackson Square, climb the levee, and stroll along the Moon Walk beside the river. It’s so massive that sometimes we forget how truly huge the river actually is; how when you fly into New Orleans over the river you can look from the window and see massive freighters that look like toys in a bathtub. Standing on the levee looking at the big freighters coming in or going out, they do seem almost like toys. I love how the city is below the river level, so when you’re driving down Tchoupitoulas the big ships are higher than the street.

I’d love to read about folk legends about the river, too–the size of the catfish and other creatures in its depths. And I want to write more about the river, too.

*Technically, I should be doing more of them, frankly.

People Everyday

Hulu is streaming a two-part true crime documentary about a string of unsolved murders of women in Jefferson Davis Parish, Murder in the Bayou. I have a copy of Ethan Brown’s book of the same title, released a few years ago, but haven’t read it yet (instead, it’s sits on a shelf in the mini-bookcase to the right of my desk, where I also keep other nonfiction–histories, true crime, cultural studies–about both New Orleans and Louisiana; books which I delve into periodically in order to come up with ideas for stories (novels and short stories and novellas, etc.), or background for the same. (One of the many reasons I laugh when people refer to me as ‘a New Orleans expert’ is because I am everything but an expert on the city; there are literally hundreds of volumes of reference books information about New Orleans I’ve not read and know nothing about)  Mr. Brown came to the Tennessee Williams Festival a few years ago, but I didn’t get to meet him or see any of his panels, but I did pick up his book that weekend.

So, you can imagine my surprise the other night when I opened the Hulu app on my television (ten years ago that sentence would have been as unintelligible to me as Latin) and I saw it listed as a show I might be interested in. “Huh,” I thought, clicking on it, “I wonder if this is the same story as the book I’ve not read?”

Sure enough, it was.

I finished watching the show yesterday afternoon, and then of course, got the book from the bookshelf and started reading it…and didn’t stop until I was finished. I hadn’t intended to do that; I actually started writing this post after I finished watching the documentary series and simply reached over to the bookcase and pulled it out–mainly to see if there were photographs in it–many true crime books do–and since it didn’t, I started reading…and then couldn’t stop. I’ll talk some more about both the documentary and the book in another entry; I want to think about it some more, and the issues that came to mind while watching/reading–but again, as I said earlier, it was yet another example of how little I know about not just New Orleans, but Louisiana in general. As I read more New Orleans history, and get to know my city better with each read, I find myself expanding my former-tunnel vision view focusing on New Orleans only to expand out into Louisiana as well. It’s a truly fascinating state, really–as someone said in the documentary, there are three Louisianas: New Orleans; north Louisiana; which is really part of the Protestant Bible Belt and could just as easily be part of Arkansas; and south Louisiana, which is overwhelmingly French and Catholic; heavily Cajun, in all honesty. I’ve been thinking a lot about the Atchafalaya basin, too; I sort of have an idea about writing about that area. Most of my Louisiana fiction has been confined to writing about New Orleans, or places on the I-10 corridor between New Orleans and Baton Rouge, and sometimes dabbling on the North Shore. I am sure every state has just as rich and diverse and colorful a history as Louisiana/New Orleans; but I also don’t live there, and Louisiana with its strange mix of Creoles, Cajuns, Spanish, and Americans, with the attendant cultures, brews up a strange and endlessly fascinating gumbo.

I realized also yesterday while going through my blog drafts that I have never published my blog entry about reading Gary Krist’s Empire of Sin, which was what sent me down the Louisiana/New Orleans history rabbit hole in the first place.

empire of sin

“The crime,” as detectives would later tell the newspapers, was “one of the most gruesome in the annals of the New Orleans police.”

At five a.m. on the sultry morning of May 23, 1918, the bodies of Joseph and Catherine Maggio, Italian immigrants who ran a small grocery store in a remote section of the city, were found sprawled across the disordered bedroom of the living quarters behind their store. Both had been savagely attacked, apparently while they slept. Joseph Maggio lay face-up on the blood-sodden bed, his skull split by a deep, jagged gash several inches long; Catherine Maggio, her own skull nearly hewn in two, was stretched out on the floor beneath him. Each victim’s throat had been slashed with a sharp instrument.

A blood-smeared ax and shaving razor–obviously the murder weapons–had been found on the floor nearby.

The book opens with an examination of the strange case of New Orleans’ most famous serial killer: the Axeman. Julie Smith wrote an entire novel  based in the story called The Axeman’s Jazz; it might be the second or third Skip Langdon novel. Poppy Z. Brite wrote a short story with the same name, and of course, American Horror Story: Coven also included the Axeman in its litany of past New Orleans horrors–in the Ryan Murphy version, he stumbled into the Robicheaux School for Girls (read: witches) and they killed him; his ghost haunting the house ever since. The mystery of the Axeman’s identity, of course, has never been solved–as well as the why.

Empire of Sin, however, isn’t about the Axeman entirely; it’s really a history of the Storyville district (again, another notorious part of New Orleans history, probably best known for its appearance in the Louis Malle film Pretty Baby, which probably, with its creepy pedophilia, wouldn’t hold up too well today), and really focuses on the man known as the mayor of Storyville, Tom Anderson, who rose to great wealth, notoriety, and political power through his successful bordellos there–even going so far as to providing the district with its own police force. It’s a story of immorality, the struggle between reformers trying to turn New Orleans into a city free from sin (they won small victories but New Orleans remains New Orleans to this day) and Anderson’s struggle against those “virtuous reforms.” He eventually failed, and Storyville was shut down, but Krist tells a fascinating story, extrapolating his tale of Storyville’s struggle to stay open and functioning (the money being made there brought with it the ability to, of course, buy off the police and politicians), along with the stories of corruption, murder, prostitution, violence and racism extant in the city at the time. It’s also a story of how Storyville also, surprisingly enough, gave birth to jazz music, and provided a way for musicians of color to make a successful living playing music. Storyville was the incubator that provided sustenance to the musicians playing this new form of popular music, enabling them to make a living while developing a wholly American form of music.

Reading Empire of Sin is what sent me down the road to reading history, as I said before, and as I love history, it also made me aware of just how little about New Orleans I actually do know. Discovering little throwaway bits in the book–that there were male prostitutes who serviced men with “more exotic tastes”–reminded me of how frequently, and almost completely, queer history has been successfully erased, and that made me start thinking about, well, doing something more about it. Reading this book inspired two short stories I’ve not finished–“The Blues before Dawn” and “A Little More Jazz for the Axeman”–and also inspired a potential series set during the time. It’s also what gave me the idea for my collection of noir/crime/horror stories that I want to write, Monsters of New Orleans.

I cannot recommend Empire of Sin highly enough.