Fear and Silence

A little while ago, I was asked by a reporter to speak about the escalating threats against doctors on Twitter. Since then, that conversation has been meandering, and at times galloping, through my mind. It’s kept me awake at night.

I have written previously about attacks against others and myself on Twitter while advocating for simple things like wearing masks and getting vaccines. However, attacks and threats are very different things. It’s far more worrisome when people tell me they will find me and ‘make me pay’ because that makes me look at our wall of windows overlooking our backyard and wonder who is in the woods looking in. What I said to the reporter is just that: ordinary people have no security so threats are worrisome. There are escalating threats against doctors but the real problem is far worse. Nurses, professors, psychologists and journalists have all had threats made against them, including death threats for speaking factually about COVID-19 and measures to help save lives.

From what I’ve observed, it’s often journalists who get the largest number of threats. Writing factual information on the pandemic isn’t the only thing that engenders threats, but it certainly begins large pile ons from the anti-science groups. Imagine having death threats or threats of violence against you but also having your face well-known, because it’s published with your articles or seen in TV appearances. Then imagine taking said face downtown, into stores, out walking with your dog or, worse, walking with your children.

While people are asking why people are becoming more violent, one very important piece of information needs to be brought to the table. Canada’s intelligence service, CSIS, has warned that foreign actors are using COVID-19 to sow discord in Canada:

“It is important to note that disinformation, originating from anywhere in the world, can have serious consequences including threats to the safety and security of Canadians, erosion of trust in our democratic institutions, and confusion about government policies and notices including information on the COVID-19 pandemic.”

Anything that sows discord in a democratic country weakens that democracy. The free press, as a cornerstone of our democracy and threatened in authoritarian countries, would certainly be a target. As would doctors, nurses and scientists who can speak in our country unlike in others, and stand as a testament to the freedoms we enjoy in a democratic nation. This is not to suggest that foreign bots are the only ones attacking journalists or others, but we must remember that their purpose is to inspire domestic threats with the volume and character of their attacks.

Regardless of who begins or escalates these threats, the consequence remains the same: fear, possible physical harm and silencing.

The avenues of help when you’re threatened are somewhat convoluted. A successful report to Twitter results in a thank you. Not sure what that means.

Wandering through the internet looking for help led me to Cybercrime that helpfully suggests “To report abusive behaviour, such as harassment, cyberbullying, threats, and impersonation, or other incidents that occur on social media, contact the social media provider directly through their help centre.”

Tried that.

Then there’s the labyrinth that take you to a report to your local police - but can they do anything from threats coming outside your local region?

One of my late night thoughts: could there be an avenue to create new methods of reporting threats made on social media, that allow quick reporting and maximum impact, like immediate and permanent bans from Twitter and quick attempts to find and prosecute these people?

The reason I’m bringing this up as a solution is that those who threaten are emboldened because they rarely pay a price for their actions. Some are actually dangerous, some are not, however, their threats have an impact of silencing or frightening people. What if they knew that people are quickly banned, quickly found and prosecuted? That would send a chilling message to them.

It would also reduce the sense of helplessness we all feel in the face of these threats.

Mind you, these are the late night thoughts of someone who never studied law and law enforcement. They are also the simple thoughts of someone who sees a new and large problem emerging that urgently needs new solutions.

Certainly, what we have now is not sufficient, because those threatened are increasingly frightened and those who threaten are increasingly emboldened. Why not do something to turn that pattern around?

If we don’t find innovative solutions to nip this growing problem in the bud, we’ll have a larger problem. If scientists, doctors, journalists, nurses and others fear speaking out factually on this pandemic, their increasing silence will just make our society much more dangerous by yielding the information space to those who will not keep us safe in a pandemic.

It is unequivocally a public safety issue.

A Hoax of a Ghost Hoax

On March 29, 2013, R. T. gave us a good look at fools and their history, especially on April's Fool's Day, which happens to be today.  He sent me looking on the Internet for famous hoaxes.  One that intrigued me was the Cardiff Giant Petrified Man in the 1860's. Here's what Wikipedia had to say about the Cardiff Giant.

The Cardiff Giant

Creation and discovery

The giant was the creation of a New York tobacconist named George Hull. Hull, an atheist, decided to create the giant after an argument at a Methodist revival meeting about the passage in Genesis 6:4 stating that there were giants who once lived on Earth.

The idea of a petrified man did not originate with Hull, however. In 1858 the newspaper Alta California had published a bogus letter claiming that a prospector had been petrified when he had drunk a liquid within a geode. Some other newspapers also had published stories of supposedly petrified people.


The much publicized the discovery of the Petrified Giant.

Hull hired men to carve out a 10-foot-4.5-inch-long (3.2 m) block of gypsum in Fort Dodge, Iowa, telling them it was intended for a monument to Abraham Lincoln in New York. He shipped the block to Chicago, where he hired Edward Burghardt, a German stonecutter, to carve it into the likeness of a man and swore him to secrecy.

Various stains and acids were used to make the giant appear to be old and weathered, and the giant's surface was beaten with steel knitting needles embedded in a board to simulate pores. In November 1868, Hull transported the giant by rail to the farm of William Newell, his cousin. By then, he had spent US$2,600 on the hoax.

Nearly a year later, Newell hired Gideon Emmons and Henry Nichols, ostensibly to dig a well, and on October 16, 1869 they found the giant. One of the men reportedly exclaimed, "I declare, some old Indian has been buried here!"

Exhibition and exposure as fraud

Newell set up a tent over the giant and charged 25¢ for people who wanted to see it. Two days later he increased the price to 50¢. People came by the wagon load.

Archaeological scholars pronounced the giant a fake and some geologists even noticed that there was no good reason to try to dig a well in the exact spot the giant had been found. Yale palaeontologist Othniel C. Marsh called it "a most decided humbug". Some Christian fundamentalists and preachers, however, defended its authenticity.

The Cardiff Giant on display

Eventually, Hull sold his part-interest for $23,000 (equivalent to $423,000 in 2013) to a syndicate of five men headed by David Hannum. They moved it to Syracuse, New York, for exhibition. The giant drew such crowds that showman P. T. Barnum offered $50,000 for the giant. When the syndicate turned him down, he hired a man to model the giant's shape covertly in wax and create a plaster replica. He put his giant on display in New York, claiming that his was the real giant and the Cardiff Giant was a fake.

As the newspapers reported Barnum's version of the story, David Hannum was quoted as saying, "There's a sucker born every minute" in reference to spectators paying to see Barnum's giant. Over time, the quotation has been misattributed to Barnum himself.

Hannum sued Barnum for calling his giant a fake, but the judge told him to get his giant to swear on his own genuineness in court if he wanted a favorable injunction.

On December 10, Hull confessed to the press. On February 2, 1870 both giants were revealed as fakes in court. The judge ruled that Barnum could not be sued for calling a fake giant a fake.

Ten feet "sounds" tall, but seeing the Giant with normal
sized women really illustrates how large it is.

Current resting place

The Cardiff Giant appeared in the 1901 Pan-American Exposition, but did not attract much attention.

An Iowa publisher bought it later to adorn his basement rumpus room as a coffee table and conversation piece. In 1947 he sold it to the Farmers' Museum in Cooperstown, New York, where it is still on display.

Why did this fascinate me?  Mark Twain captured me with Huckleberry Finn the summer between second and third grade, and I still love to read his works.  His short story, "A Ghost Story," was familiar to me, but never having heard of the Cardiff Giant before R.T. sent me seeking famous hoaxes, I'd always assumed the story was ALL fiction.  We frequently discuss origins of story ideas, and many authors suggest their stories spin off from news items. Before you read this story, may I remind you that Mark Twain was born in 1835 and died in 1910.  He would have been thirty-four years old when the Cardiff Giant was "discovered" and thirty-five when the hoax was revealed. Twain wrote this story in 1903.

Since the story is now public domain, ladies and gentlemen, I present to you "A Ghost Story."  Enjoy! 

A Ghost Story

by Mark Twain

     I took a large room, far up Broadway, in a huge old building whose upper stories had been wholly unoccupied for years until I came. The place had long been given up to dust and cobwebs, to solitude and silence. I seemed groping among the tombs and invading the privacy of the dead, that first night I climbed up to my quarters. For the first time in my life a superstitious dread came over me; and as I turned a dark angle of the stairway and an invisible cobweb swung its slazy woof in my face and clung there, I shuddered as one who had encountered a phantom.

     I was glad enough when I reached my room and locked out the mold and the darkness. A cheery fire was burning in the grate, and I sat down before it with a comforting sense of relief. For two hours I sat there, thinking of bygone times; recalling old scenes, and summoning half- forgotten faces out of the mists of the past; listening, in fancy, to voices that long ago grew silent for all time, and to once familiar songs that nobody sings now. And as my reverie softened down to a sadder and sadder pathos, the shrieking of the winds outside softened to a wail, the angry beating of the rain against the panes diminished to a tranquil patter, and one by one the noises in the street subsided, until the hurrying footsteps of the last belated straggler died away in the distance and left no sound behind.

     The fire had burned low. A sense of loneliness crept over me. I arose and undressed, moving on tiptoe about the room, doing stealthily what I had to do, as if I were environed by sleeping enemies whose slumbers it would be fatal to break. I covered up in bed, and lay listening to the rain and wind and the faint creaking of distant shutters, till they lulled me to sleep.

     I slept profoundly, but how long I do not know. All at once I found myself awake, and filled with a shuddering expectancy. All was still. All but my own heart--I could hear it beat. Presently the bedclothes began to slip away slowly toward the foot of the bed, as if some one were pulling them! I could not stir; I could not speak. Still the blankets slipped deliberately away, till my breast was uncovered. Then with a great effort I seized them and drew them over my head. I waited, listened, waited. Once more that steady pull began, and once more I lay torpid a century of dragging seconds till my breast was naked again.

     At last I roused my energies and snatched the covers back to their place and held them with a strong grip. I waited. By and by I felt a faint tug, and took a fresh grip. The tug strengthened to a steady strain--it grew stronger and stronger. My hold parted, and for the third time the blankets slid away. I groaned. An answering groan came from the foot of the bed! Beaded drops of sweat stood upon my forehead. I was more dead than alive. Presently I heard a heavy footstep in my room--the step of an elephant, it seemed to me--it was not like anything human. But it was moving from me--there was relief in that. I heard it approach the door-- pass out without moving bolt or lock--and wander away among the dismal corridors, straining the floors and joists till they creaked again as it passed--and then silence reigned once more.

     When my excitement had calmed, I said to myself, "This is a dream--simply a hideous dream." And so I lay thinking it over until I convinced myself that it was a dream, and then a comforting laugh relaxed my lips and I was happy again. I got up and struck a light; and when I found that the locks and bolts were just as I had left them, another soothing laugh welled in my heart and rippled from my lips. I took my pipe and lit it, and was just sitting down before the fire, when-down went the pipe out of my nerveless fingers, the blood forsook my cheeks, and my placid breathing was cut short with a gasp! In the ashes on the hearth, side by side with my own bare footprint, was another, so vast that in comparison mine was but an infant's! Then I had had a visitor, and the elephant tread was explained.

     I put out the light and returned to bed, palsied with fear. I lay a long time, peering into the darkness, and listening.--Then I heard a grating noise overhead, like the dragging of a heavy body across the floor; then the throwing down of the body, and the shaking of my windows in response to the concussion. In distant parts of the building I heard the muffled slamming of doors. I heard, at intervals, stealthy footsteps creeping in and out among the corridors, and up and down the stairs.

     Sometimes these noises approached my door, hesitated, and went away again. I heard the clanking of chains faintly, in remote passages, and listened while the clanking grew nearer--while it wearily climbed the stairways, marking each move by the loose surplus of chain that fell with an accented rattle upon each succeeding step as the goblin that bore it advanced. I heard muttered sentences; half-uttered screams that seemed smothered violently; and the swish of invisible garments, the rush of invisible wings. Then I became conscious that my chamber was invaded--that I was not alone. I heard sighs and breathings about my bed, and mysterious whisperings. Three little spheres of soft phosphorescent light appeared on the ceiling directly over my head, clung and glowed there a moment, and then dropped --two of them upon my face and one upon the pillow. They, spattered, liquidly, and felt warm. Intuition told me they had--turned to gouts of blood as they fell--I needed no light to satisfy myself of that. Then I saw pallid faces, dimly luminous, and white uplifted hands, floating bodiless in the air--floating a moment and then disappearing. The whispering ceased, and the voices and the sounds, anal a solemn stillness followed. I waited and listened. I felt that I must have light or die. I was weak with fear. I slowly raised myself toward a sitting posture, and my face came in contact with a clammy hand! All strength went from me apparently, and I fell back like a stricken invalid. Then I heard the rustle of a garment it seemed to pass to the door and go out.

     When everything was still once more, I crept out of bed, sick and feeble, and lit the gas with a hand that trembled as if it were aged with a hundred years. The light brought some little cheer to my spirits. I sat down and fell into a dreamy contemplation of that great footprint in the ashes. By and by its outlines began to waver and grow dim. I glanced up and the broad gas-flame was slowly wilting away. In the same moment I heard that elephantine tread again. I noted its approach, nearer and nearer, along the musty halls, and dimmer and dimmer the light waned. The tread reached my very door and paused--the light had dwindled to a sickly blue, and all things about me lay in a spectral twilight. The door did not open, and yet I felt a faint gust of air fan my cheek, and presently was conscious of a huge, cloudy presence before me. I watched it with fascinated eyes. A pale glow stole over the Thing; gradually its cloudy folds took shape--an arm appeared, then legs, then a body, and last a great sad face looked out of the vapor. Stripped of its filmy housings, naked, muscular and comely, the majestic Cardiff Giant loomed above me!

     All my misery vanished--for a child might know that no harm could come with that benignant countenance. My cheerful spirits returned at once, and in sympathy with them the gas flamed up brightly again. Never a lonely outcast was so glad to welcome company as I was to greet the friendly giant. I said:

     "Why, is it nobody but you? Do you know, I have been scared to death for the last two or three hours? I am most honestly glad to see you. I wish I had a chair--Here, here, don't try to sit down in that thing--"

     But it was too late. He was in it before I could stop him and down he went--I never saw a chair shivered so in my life.

     "Stop, stop, you'll ruin ev--"

     Too late again. There was another crash, and another chair was resolved into its original elements.

     "Confound it, haven't you got any judgment at' all? Do you want to ruin all the furniture on the place? Here, here, you petrified fool--"

     But it was no use. Before I could arrest him he had sat down on the bed, and it was a melancholy ruin.

     "Now what sort of a way is that to do? First you come lumbering about the place bringing a legion of vagabond goblins along with you to worry me to death, and then when I overlook an indelicacy of costume which would not be tolerated anywhere by cultivated people except in a respectable theater, and not even there if the nudity were of your sex, you repay me by wrecking all the furniture you can find to sit down on. And why will you? You damage yourself as much as you do me. You have broken off the end of your spinal column, and littered up the floor with chips of your hams till the place looks like a marble yard. You ought to be ashamed of yourself--you are big enough to know better."

Mark Twain

     "Well, I will not break any more furniture. But what am I to do? I have not had a chance to sit down for a century." And the tears came into his eyes.

     "Poor devil," I said, "I should not have been so harsh with you. And you are an orphan, too, no doubt. But sit down on the floor here--nothing else can stand your weight--and besides, we cannot be sociable with you away up there above me; I want you down where I can perch on this high counting-house stool and gossip with you face to face." So he sat down on the floor, and lit a pipe which I gave him, threw one of my red blankets over his shoulders, inverted my sitz-bath on his head, helmet fashion, and made himself picturesque and comfortable. Then he crossed his ankles, while I renewed the fire, and exposed the flat, honeycombed bottoms of his prodigious feet to the grateful warmth.

     "What is the matter with the bottom of your feet and the back of your legs, that they are gouged up so?"

     "Infernal chilblains--I caught them clear up to the back of my head, roosting out there under Newell's farm. But I love the place; I love it as one loves his old home. There is no peace for me like the peace I feel when I am there."

     We talked along for half an hour, and then I noticed that he looked tired, and spoke of it.

     "Tired?" he said. "Well, I should think so. And now I will tell you all about it, since you have treated me so well. I am the spirit of the Petrified Man that lies across the street there in the museum. I am the ghost of the Cardiff Giant. I can have no rest, no peace, till they have given that poor body burial again. Now what was the most natural thing for me to do, to make men satisfy this wish? Terrify them into it! haunt the place where the body lay! So I haunted the museum night after night. I even got other spirits to help me. But it did no good, for nobody ever came to the museum at midnight. Then it occurred to me to come over the way and haunt this place a little. I felt that if I ever got a hearing I must succeed, for I had the most efficient company that perdition could furnish. Night after night we have shivered around through these mildewed halls, dragging chains, groaning, whispering, tramping up and down stairs, till, to tell you the truth, I am almost worn out. But when I saw a light in your room to-night I roused my energies again and went at it with a deal of the old freshness. But I am tired out--entirely fagged out. Give me, I beseech you, give me some hope!" I lit off my perch in a burst of excitement, and exclaimed:

     "This transcends everything! everything that ever did occur! Why you poor blundering old fossil, you have had all your trouble for nothing-- you have been haunting a plaster cast of yourself--the real Cardiff Giant is in Albany!--[A fact. The original fraud was ingeniously and fraudfully duplicated, and exhibited in New York as the "only genuine" Cardiff Giant (to the unspeakable disgust of the owners of the real colossus) at the very same time that the latter was drawing crowds at a museum is Albany,]--Confound it, don't you know your own remains?"


Even after the hoax was exposed,
shows at fairs and carnivals advertised
their giants as the Cardiff Giant.

     I never saw such an eloquent look of shame, of pitiable humiliation, overspread a countenance before.

     The Petrified Man rose slowly to his feet, and said:
"Honestly, is that true?"

     "As true as I am sitting here."

     He took the pipe from his mouth and laid it on the mantel, then stood irresolute a moment (unconsciously, from old habit, thrusting his hands where his pantaloons pockets should have been, and meditatively dropping his chin on his breast); and finally said:
"Well-I never felt so absurd before. The Petrified Man has sold everybody else, and now the mean fraud has ended by selling its own ghost! My son, if there is any charity left in your heart for a poor friendless phantom like me, don't let this get out. Think how you would feel if you had made such an ass of yourself."

     I heard his stately tramp die away, step by step down the stairs and out into the deserted street, and felt sorry that he was gone, poor fellow-- and sorrier still that he had carried off my red blanket and my bath-tub.

                                                                         THE END

What about you?  Does the morning coffee and newspaper trigger story ideas?

Until we meet again. take care of you!

Fear, Print-Zombies, and Writing What You Know

J-School Redux
The very best instructor I had in journalism school was this guy who’d been City Desk Editor for a major metropolitan daily. His name was Itule (eye-TOO-lee).

On the first day of class, Itule stood up front and said: “Now I know you’ve all heard horror stories about me. So, tell me what you’ve heard. Or, ask me if what you’ve heard is true. This is your chance; I promise I won’t lie to you. But, let’s get it out in the open — so you know what to expect, and I know what you think you expect from me.”

After a lingering silence, one young woman said, “I heard you make people cry.”

Itule nodded his gray head sagely. “Well, I guess that one’s sorta true. I don’t set out to make people cry. I mean: who wants to make kids cry? But . . . people have certainly cried in my class.” He shrugged his bison-like shoulders. “All I really did, though, was just tell them the truth about their writing. They’re the ones who chose to cry.”

A guy’s voice rang out: “Do you really have a rubber stamp that reads: GARBAGE ?”

“I do. It’s on my desk, with a big pad of red ink. But the university won’t let me use it anymore; too many people complained that it hurt their feelings.”

I knew instantly that I was going to like this guy!
After all, I’d known a ton of guys like him when I was in the army. These were men who knew their job, and didn’t mind letting you know it — particularly if you were messing up. The reason I get along so well with guys like this, is because they’re usually the ones who can give you all the hot tips for doing the job in an excellent manner. They’re harsh in their mannerism, but they can explain chapter and verse where you went wrong, and (more importantly) how to correct it — so you don’t step on your equipment the next time.

As I suspected that first day in class, Itule was this kind of guy. My papers came back with seas of red ink. And, one day, with the note “OH GOD!” near the end. (I asked, “Is that “Oh, God this stinks?” or “Oh, God, this great?” “Neither,” he said. “It’s [his face crumpling as if he’d just been immersed in sewage]: “OH, GOD! What did I ever do to you? Why do you punish me, by sending me people who insist on writing crap like this!?!”)

Like I said: Harsh in his mannerism.

But, whenever I asked why something was wrong or what was wrong with it: he’d fire off a string of eye-opening answers at machinegun speed. I always asked him what I’d done wrong, but never without a notebook and pen in my hands — ready to write fast and often for several pages. If you wanted to learn to write, Itule was a goldmine.

Rough but invaluable, that was Itule’s help. And I loved him for it.

Sad Anthology
In honor of Itule, I feel moved to make a little harsh criticism about a recent mystery anthology I read this past week. And to make a few (perhaps) helpful suggestions to folks thinking of participating in any upcoming anthology, or maybe to just mention a little insight I gleaned from reading this one.

I hope it goes without saying (which certainly won’t keep me from reiterating) that none of the SleuthSayers are writers of stories in the aforementioned anthology.

And, to any writers who did contribute to it, who may be reading this, I’d like to (probably mis—) quote the great Cos: “Better watch out, or ya’ just may learn somethin’.” Or, maybe not. Perhaps you’ll just be caught by the humor of my harshness. One thing you can rest assured of, however: my bark could be worse; at least I don’t have a big red stamp reading GARBAGE!

So . . . This contemporary anthology I read . . .
. . . while it had a few good reads — was primarily populated by stories so dead, they seemed more corpse than corpuscle. All the stories in this anthology (which shall remain nameless, to protect those innocent few) were mysteries, and most of the plots were pretty solid (if sadly predictable). The writing mechanics showed a workmanlike bent: I could see the landscape and setting, watch the bodies in motion. But, there was no life! No juice! It was like watching a play staffed by cadaverous marionettes. A cover blurb called it a “crackling good read” and I think I understand why: This stuff was so dry, the very pages nearly crackled with desiccation when I turned them.

We’ve all heard the adage: “Write what you know.” But, there’s an element at play in this phrase I often think some folks overlook. (Most of the writers in this anthology certainly did.)

I can’t begin to enumerate the writing books or articles which follow that adage to write what you know, with an explanation similar to: “If you’re a homemaker, write about a homemaker: the struggle to find a continued spark after twenty years of marriage, say, or perhaps the vicious personal impact of marital betrayal. If you’re an investment banker, maybe you can write a mystery about embezzlement. …”

What I’d one day like to run across, (and somebody may have mentioned this before me) is a book that says: “Writing what you know doesn’t necessarily mean writing about your particular area of expertise. Remember: You have a lot of life-experiences to draw on. Recalling the emotions you experienced when your childhood dog was run over, for instance, can infuse a passage concerning loss with a very honest breath of life and feeling—IF you do a good job of getting those emotions down on paper.”

Now I know that a lot of people reading this just flicked their fingers in the air while rolling their eyes skyward and saying, “No s@%t, Sherlock! That’s the hard part—getting it down on paper!” And, I’m not saying I disagree. I think that IS the hard part.

I once read that Dean Koontz became so frustrated, one time, that he banged his head on his desk to the point where he now has to spray his forehead with Lemon Pledge each morning. And I gotta say: when I’m trying to find that elusive word or phrase, when I’m hammering and hammering at a paragraph because the words are all there, but the way they’re arranged – the word order, the various sentence lengths, when and where commas need to replace conjunctions to get just the right feel – is just not right, well then I begin to consider investing in a can of Pledge for my own desk!

This is where I sometimes think actors have it over writers—because actors usually get to use their entire bodies to get their point across. As writers, we’re forced to work within a very narrow “band-width” of communication: Print Media. We don’t get to drop a tear or two in front of the reader, hoping our emotions will be caught by him or her. Instead, we have to connote emotion to — and hopefully create emotion within — readers solely through the written word. And that’s a toughy.

Good actors are taught to emote
(or else they just learn to do it, or maybe some are just born with this innate ability—I don’t know).


But, however they do it, good actors emote: They recall how they felt when fluffy got hit by that car, and they use this memory to yank tears out of their eyes over the supposed death of some other character in a play or movie, to melt their mouths with mournful muscle contractions, to rip wet animal cries from deep inside their guts — cries that make us flinch in our seats and gasp as we tear-up in sympathy.

I think you know what I’m talking about, though it’s pretty tough to explain. And, to (very) roughly paraphrase a certain Supreme Court Justice: “I can’t really explain what happens, but I darn well know it when I see it.” An actor who properly emotes, can claw open that “emotion bag” in the gut, and let it come bubbling out through every pore. What comes bursting forth may be heart-wrenching, disgusting, beautiful, grotesque, or even joyful – but it strikes a viewer as being very real. Because that actor has somehow tapped into an emotion s/he felt before, and spilled it out onto stage or screen.

I know about emoting, because I went to a pretty good on-camera acting school when I was a teenager. I never got any acting jobs, but I did learn about this critical tool. And I’m not saying I’m a good actor; just that I went to a good acting school. I myself probably couldn’t act my way out of a non-existent box! Even if I did paint my face white, then gave myself a big red heart-shaped mouth, added surprise lines around my eyes and wore black pants with a stupid striped shirt. I’m not a good actor; that’s one of the reasons I write.

And, as I pointed out earlier, I think writing is even harder than acting in some ways, because writers are limited to such a narrow band-width of communication — which makes it pretty tough to strike an emotional chord with the audience (readers).

But, that’s no excuse for not even trying!
And “not even trying” to tap into emotion is what lies at the root of the problem suffered by all the stories in this anthology (well, most of them at any rate). I’ll limit details in order to obfuscate, but to use one story as an example: This old guy stumbles across a body in the desert, but is unfortunately surprised to also discover the murderer, whom he knows. Consequently, the murderer must now kill the old guy, to cover the murderer’s tracks.

Now, you see what I mean: that’s a pretty good plot, lots of tension bursting at the seams. At least, there would be — if the old guy were actually alive in the reader’s mind.

Unfortunately, he never came to life in mine, because of the way the writer handled him. Neither did the murderer. Instead, they came off like “Print-Zombies”— a couple of stiffened cadavers propped up by two-by-fours, the writer jerking strings to move their appendages. Or, if you prefer, they read like a play being performed by sixth-graders —stiff, wooden and incompetent.

The old guy, who should have been terrified, never even broke into a sweat! And the story is set in the desert! Maybe you’ve heard that the sun evaporates perspiration so fast, in the desert, that you don’t ever seem to sweat. And, as a nearly life-long desert dweller, I can tell you that this is a good rule of thumb. BUT . . . it doesn’t hold true when you’re scared.

My experience is that, when I’m scared in the desert, the heat seems to multiply. And the sweat pours out in buckets. It gets in my eyes, drips off my nose. Sweat soaks my shirt so badly, that it sometimes pastes that shirt to my body. I once drew a rapid sand table in the ground, when I was scared in the desert one time, and we were planning for an immanent engagement; when I was done, desert dust had stuck to the sweat on my finger and coated it with mud I had to wipe off on my pants.

Now, please notice: I prefaced that last paragraph with: “My experience is that . . .” In other words, I drew on my own experiences with fear, to explain what happens to someone afraid in the desert. Other physical manifestations of fear I’ve encountered include: weak-hinged knees that feel like they might fold, and dump my body in the dirt if I don’t watch out; a moderate muscle-strain type of pain in my gut; and an ache in my palms between the base of my thumb and first finger, which seems to rob my hands of the ability to grasp or hold things.

Oddly, perhaps, this last one came in handy in combat, because the salve for that ache was to jamb the pistol grip and forward handguard (grenade launcher tube) of my M-203 into my palms as hard as I could get them. (An M-203, for those who don’t know, is an M-16 w/ a 40 mm grenade launcher attached to the handguard, so that the grenade launcher is clipped below the rifle barrel.) The harder I screwed that pistol grip and forward hold into my hands, the more that ache in my palms ebbed away; this means I never had to worry about dropping my weapon during a fire fight. I had a death-grip on it! And, I got the same affect when I held my M-9 Berretta (two-hand grip, with modified isosceles stance when possible), which helped keep my pistol shot-group nice and tight.

Controlled fear also assisted me in combat, by heightening my senses, which resulted in sharper vision, keener hearing, greater attentiveness (I mean a small snapping twig will wake me instantly, in a denied area.) and quicker reflexes. These are all part of being afraid. They’re part of the physical manifestations of fear. When writing of a character who is feeling fear, I try to incorporate at least some of this stuff into that character’s behavior and/or description.

Sadly, that old man in the story exhibited none of this behavior. The writer wrote that he was scared . . . but that’s it. S/he (I’m hiding ID clues here, not confused) described the scenery very well: I could see the land for miles around. But, I never could see the old man’s fear. S/he evidently didn’t think to show us that. Or even the murder’s fear of getting caught, which must have been present in the character. Otherwise, why would the murderer feel the need to kill again to cover the first murder?

I could trot out additional examples in which the writers failed to describe action that would indicate their characters’ emotions. However, I think the one above is enough to demonstrate what I mean.

What I have to suggest is very simple.

When a critique partner mentions a lack of emotion, or mentions a sense of staleness, or lifelessness about a work in progress, my suggestion is: check for character emotion indicators in the story. If they aren’t there, dig deep inside your own memory. Gird your loins and claw open that “emotion bag” deep down in your gut. Then let it all spill out across the page.

There can be other reasons for staleness (we’ve covered a few on SleuthSayers in the past), but this can be one of them. So, look for it. Better yet: Tear open your emotions the first time you make that trek through the manuscript—when you’re cranking out your first draft—and let fly! Because, searing emotion on the page can turn mediocre writing into a great story. And good money in your pocket.

I won’t be around to comment much on Friday, when this post goes up. My mother died on Saturday morning, and her funeral is on my blog day. But, I’ll be back with another post in two weeks.

And, while I find it (fairly) easy to tap my emotions, I find it extremely difficult to carve those emotions onto paper in a way that elicits them among readers. So . . .

During the interim, I think I’ll buy a can of Lemon Pledge!

--Dix

The Loneliness of the Long Distance Writer —Solitude vs. Loneliness—

There's a world where I can go and tell my secrets to,
In my room, in my room,
In this world I lock out all my worries and my fears,
In my room, in my room.
         “In My Room”—Brian Wilson, Gary Usher

Writers tend to work in isolation (unless you’re a TV writer, but that’s another story). We work in our homes, some maybe at a library or coffee shop or on the beach. But ours is a solitary profession. For most of us, when we’re writing we don’t want to be interrupted. We don’t want to be part of the real world, we want to be part of the world we’re creating. We seek solitude. As such it can be a lonely profession at times.

But solitude and loneliness are two different things. Being lonely can be depressing. Having solitude can be invigorating and restorative. Solitude gives us a chance to get in touch with the world, the real world, as well as the world of our characters. It helps us get in touch with ourselves and our creativity.

Nicola Tesla said: “The mind is sharper and keener in seclusion and uninterrupted solitude. No big laboratory is needed in which to think. Originality thrives in seclusion, free of outside influences beating upon us to cripple the creative mind. Be alone, that is the secret of invention; be alone, that is when ideas are born.”

Some people thrive on noise and activity. They can write anywhere: airplanes, libraries, beaches, coffee shops. Others of us need more quiet to get down into ourselves and hit that creative nerve. The older I get the less social I get. When I started writing I had romantic visions of Hemingway et al on the left bank in Paris. Writing and sipping absinthe.  So when I started out I tried drinking while writing. Yeah, that was a good idea. Or I’d go to Joe Allen’s (the L.A. one) and hang with other writers. That was also a great idea. Not much writing got done in either situation. One day, somewhere, somehow I learned that Hemingway didn’t drink while actually writing. Good idea. And these days we live off the beaten path, so alone-time is easy to find. And if I feel the need for human “contact” I can go on Facebook or even, God forbid, call someone on the phone. Or even more rarely actually venture out to meet them. But when I’m writing, I want quiet and alone time. But I’m never lonely in those moments.

Even aside from writing time, these days I like quiet moments. Moments of peace. Solitude. I lived a “wild and crazy” life when I was younger. Sometimes it’s hard to believe what I did and all that I did. But these days I’m happy for peace and quiet.

Some people can’t stand to be alone (England even has a Minister of Loneliness). But we can even feel lonely in a group of people because loneliness is a mindset, not a physical state. Some people hide behind distractions so they won’t have to think about things on a deeper level. Some people have never learned how to be alone and not be lonely at the same time. To keep their own counsel. But it’s good to learn to be alone, to enjoy your own company and your own counsel (whether or not you’re a writer). That doesn’t mean you can’t be social at other times. When I go out with my wife to meet with other people or just on my own to have lunch with a friend or something along those lines, I enjoy it. And I’m into the moment. But when it’s late at night and I’m writing, I’m glad to be alone again. Glad for the quiet of the night and the, dare I say it, solitude.

Pepper at the creek.

When I walk our dog/s (depending on how many we have at any given moment) I like walking them along the creek near our house. That’s often a time of solitude. Mostly we don’t come across other people, but on occasion we do. Often it’s the same people I’ve seen before. We say hi and chat for a few minutes and it’s a nice interlude. But if I don’t run across anyone I simply enjoy the solitude of the walk, stopping and smelling the roses, so to speak, watching the sun glitter on the creek, listening to it flowing, seeing the way the light hits a certain tree or outcropping and how on one day it’s a whole different look than the next. Seeing how much the dog/s enjoy the walk. Looking all around and seeing the world around me. Sometimes it’s not so nice, as when we saw a dead coyote once. It wasn’t pretty and we’ve seen other, smaller dead animals. We also saw a couple of live coyotes only a few feet from me and my dog Pepper. They didn’t bother us. But another time Pepper and I were semi-surrounded by a pack of (about 8) wild dogs. That was scary. They were aggressive, much more so than the coyotes. But Pepper knew how to behave and stayed calm, but not submissive, and we made it home without a physical encounter. We’ve also come across riderless horses (as well as those with riders) and people on ATVs tearing up the landscape, but mostly we’re alone. I feel like I’m digressing but my point here is that we’re never totally alone, unless we’re truly in the middle of nowhere. So it’s nice to have (some of) these encounters, little adventures, but then it’s nice to get back to the solitude of the canyon or return home to the quiet and solitude of the house.

One of the riderless horses we came across
Eventually we found the rider and reunited them.

There’s a place,
Where I can go,
When I feel low,
When I feel blue,
And it's my mind,
And there's no time when I'm alone.
        “There’s a Place”—John Lennon and Paul McCartney

I once decided to take a driving trip up to Canada by myself (unfortunately those pix are not scanned and buried in a box somewhere so I can’t put them up here). I got in my car and started heading north. No itinerary. No particular place to go, as Chuck Berry might say. No motel reservations. I did stop and see some friends here and there along the way but most of the time I was by myself. Listening to music. Watching the scenery. I went rafting in Oregon and drove lonely trucking roads along the way. Stopped at the Log Cabin Motel in Morro Bay. And sometimes it was weird being alone, but mostly it was good.

The Log Cabin Motel, Morro Bay

I've never seen a night so long,
When time goes crawling by,
The moon just went behind the clouds,
To hide its face and cry.
          “I’m So Lonesome I Could Cry”—Hank Williams

People complain of getting bored when they’re alone, but there’s so much to do. Obviously if one is a writer one can write. But if one isn’t you can read a book, listen to music, learn a language, play games, go on the internet—maybe learn something. Maybe just sit and contemplate the universe. I think it would be good if more people spent some quiet time doing that.

About the only time I’m ever really bored is when I’m trying to find something to watch on TV and nothing catches my interest, which is often. There’s always something to do, something to learn or I can play with the animals. You can also just be alone with your thoughts. Get to know yourself. See what you really think about things. Or maybe just try to quieten your thoughts and enjoy the silence.
And now that Amy’s been working from home since the quarantine, I have more time with her as well. But to be honest, sometimes I’m glad when she goes to bed and it’s quiet and still like it is as I write this. And I’m alone in my world, with my thoughts. It’s not a bad place to be, it just takes perspective.

Buster at the crik.

Solitude helps us unwind and escape from the hustle and bustle of the everyday world. It can be like meditation in that sense. It helps us discover who we really are and what we really want. It can help us reduce stress unless, of course, being alone causes you stress, but then you can try to learn to love it.

As they say, everything in balance. We are social creatures, so you don’t want to be alone all the time and you don’t want that aloneness forced on you. But it’s not bad to be alone some of the time and to learn to enjoy that time. We don’t have to be doing something every minute of every day. Time to reflect is a good thing as long as we don’t get too deep into ourselves to the exclusion of everything and everyone else. You might even meet someone you like there—you.

And just like we need sleep to rejuvenate our bodies, we need solitude to rejuvenate our souls.

~.~.~

And now for the usual BSP:

The Blues Don't Care is getting some great reviews:

"It’s the first entry in what promises to be an entertaining and thoughtful series --- mysteries that not only have the requisite twists, turns, surprises and reveals, but also offer a penetrating look into our ubiquitous all-too-human flaws: greed, corruption, fear of the “other” and, especially, racism."
—Jack Kramer, BookReporter.com

"This is a beautifully noirish book, set firmly in the dark days of wartime and offering a sharp insight into the life and times of Los Angeles, 1940s style. Yes, it’s a mystery thriller, but The Blues Don’t Care is so much more than that, with historic detail, chutzpah, a cast of hugely entertaining characters, a really unusual protagonist and, best of all, a cracking soundtrack too."
—DeathBecomesHer, CrimeFictionLover.com

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Jan Grape's Found Dead in Texas: Scarlett Fever, part 2

Yesterday, we brought you a treat, an anthologized story set in Texas. That was Part 1; today we give you Part 2.

Crime family Jan Grape and her husband Elmer have enjoyed a long, varied, and storied career in the mystery business. Besides writing, besides winning awards, besides running a bookstore, besides getting away with murder, Jan knows everybody in the business… everybody.

This tale from Jan’s collection, Found Dead in Texas II, originally appeared in Deadly Allies II (Doubleday 1994). Pour a cup of coffee and enjoy this, the second part.

— Velma

Scarlett Fever
Part 2

by Jan Grape

continued…

I filled him in on Wilson Billeau and the saga of Scarlett, and on everything C.J. and I had done. “Everyone I talked to was convinced she’d left for more bucks and glory elsewhere.” It was difficult trying to talk and eat too, but I managed. “What’s the story on this guy you’ve arrested?”

“Tolliver tells a straight forward tale with only one twist. Says he was in town for a sales conference and he picked her up yesterday afternoon at the hotel bar.” Larry was shoveling his food and didn’t let the talk slow him down. “They spent a short time talking and indulged in a little slap and tickle. He figured she was a hooker, working the convention, but he didn’t mind.”

“Does he have a record?”

“Nope. He’s squeaky clean.”

“Then what’s the twist?”

“Somebody slipped him a Mickey Finn,” he said. “We had a few last year. Hookers setting-up and rolling out-of-towners. First one I’ve seen this year though.”

“But why did he kill her?”

“The captain thinks Tolliver woke-up earlier than expected. Caught the woman with her hand in his billfold and flew into a rage.” Larry finished his food and Paco unobtrusively removed the plate.

“You don’t agree?”

“I don’t know. Maybe I’ve got a burr up my tail. I think his story about waking up at one o’clock this morning and finding her dead in his bathroom is the truth.”

I shuddered. Finding a woman in the bathroom stabbed to death gave me the willies.

“It won’t be easy to prove his innocence. He claims he never saw the knife before, but it was there in the shower, his prints on it. Two points in his favor is that he didn’t run. He called the cops and waited until they showed. His hands were also unmarked.”

“Why wouldn’t he hide the knife?”

“Exactly. Or wipe his prints. Tolliver says he picked it up without thinking.” Larry lit up one of his favored cigarillos. “He wasn’t too coherent during questioning, he acted much like a person would if they’d been given a Mickey.”

“Do you have a better ID for the girl than Scarlett Fever O’Hara?”

Larry nearly choked on his iced tea. “Are you shitting me? Scarlett Fever O’Hara?”

“She danced at the Lucky Star Bar And Grill as Scarlett Fever. But she was registered at the Stagecoach Motel under Scarlett Fever O’Hara.”

“The Stagecoach Motel, huh? We don’t have that yet. Where is it?”

“On South Congress just before you get to 71.”

“I’d better make a trip out there. They took her prints at the morgue and are running a search with AFIS (Automated Fingerprint Identification System.) If she’s been arrested, we’ll get a positive ID and her real name.”

“She’d moved out, the place was empty. It’s probably been rented to someone else by now.” When I saw his face, I knew I’d said too much. “How could I know it was going to be a murder investigation. That was three weeks ago.”

Larry tried, but couldn’t hold his serious face and smiled, “You bribed the clerk?”

“Let’s say I donated to his favorite charity.”

“I’ll still need to talk to him - the sooner the better.” He punched his cigarillo out in the ashtray, stood up and grabbed his wallet. “Thanks for the info, Jen.”

“Thanks for lunch. You are buying?” I walked with him to the cash register.

“Sure. You saved me some leg work. That’s worth lunch.”

“Christmas will be here soon,” I said, as we walked into the bright sunshine.

“And someone’s daughter won’t be home. God, I hate this time of year.” He walked with me to my car. “That photo didn’t do her justice,” he said, as he bent to give me a brotherly goodbye kiss.

I headed for the Interstate wanting to get back to work before I started thinking about Wilson Billeau and his beautiful dead Scarlett and got depressed.



IV

Damn Sam. I was northbound, four miles from my exit when it hit me, that niggling little thing I’d overlooked earlier. Dancers work-out all the time, they have to to stay in shape. Why not strippers? Especially one hoping to latch on to a star. Neither C.J. nor I had thought about checking for a dance studio or health spa. I found a clear space in traffic, wrenched my car across the lanes, squealed off at the exit, crossed under the underpass, and headed down the southbound entrance ramp.

Once I was going in the right direction, I picked up the Cellular phone and dialed. “C.J.? What dance studios or panting palaces are near The Lucky Star or the Stagecoach Motel?”

“What do you think I am? The frigging information op. . .” She caught on fast. “Scarlett, huh?”

“You got that right. Why didn’t we. . .?”

“It was slim to none. She wasn’t into ballet.”

“Yeah, but,” I couldn’t explain the feeling, some inner instinct. “It’s a long shot.”

“I’ve gone out on a lot less before, Girlfriend.” She gave me names and addresses of two dance places and three health clubs in the area. “Let me know what you find out.”

The dance studios were a bust, ditto the first health club. The next sweat box on the list didn’t sound promising because of its name, but nothing ventured and all that.

The Texas Gym and Health Spa was three miles south of the Lucky Star. For boxer and weight-lifter types only, I thought. A dirty beige concrete block building. It looked like it went out of business in 1969. A sign in the front window said OPEN. I walked in and the stale odor of sweat almost made me walk back out again. The reception area was small, a motel-style counter and doors on each side leading to open hallways. LADY’S GYM right and MEN’S GYM left. So it was co-ed. A door behind the counter led to what probably was an office.

A man of indeterminate age came out from the MEN’S side. He had on sweat pants and a form-fitting T-shirt which didn’t do a thing for the extra fifty pounds he carried in his belly. His arms and shoulders were huge, but his face drew your attention. A deep red scar began at his nose and curled down across his chin. His small eyes were buried in folds of fat. How could he convince anyone they needed to shape-up?

“Are you the manager?”

“The manager ain’t here now. I’m his helper.” He spoke slowly, like he had to think about what I said and then think about what he was going to say before he said it.

“When do you expect him?”

“Tonight. He’s got a funeral this afternoon.”

That one threw me. “What?’

The man guffawed. “That’s right, Brother Adkins owns this gym and he’s a preacher, too.” He scratched his chin along the edge of the scar. “Brother Adkins says the body is a Holy Temple and we should treat it as such.”

A strange combination, if you ask me, but perhaps it did make a sort of weird sense. “Guess I never thought of it that way.”

“Can I show you around?”

“No, I really needed to talk to. . .”

“I’m Buddy. He leaves me in charge when he’s gone. I’m sure I can tell you. . .”

Taking the photo out of my purse, I said. “I’m Jenny Gordon, a private detective. I’m trying to find this young woman.” I held the picture out. He took it and studied it as if memorizing some state secret.

Eventually he looked up and said. “She sure looks like Miss Henrietta, but it can’t be. This girl is older and too painted up.”

“Miss Henrietta?”

“She’s Brother Adkins’ daughter.” He looked at the picture again. “I’m sure it’s not her.”

“Where would I find Miss Henrietta?”

“She’s gone. Brother Adkins said something about her going up to Dallas a few days ago. I don’t think she’s come back yet.”

This was maybe even a longer shot now, but I’d already started down this path and hated to give up. “And you’re sure this isn’t Henrietta Adkins?”

Buddy looked again. “No, it’s not Miss Henrietta, but it looks like her older sister.”

“Does Miss Adkins have an older sister?”

“I don’t think so. Brother Adkins never told it to me. Henrietta never said nothing about a sister either.” Buddy stared at me, his gaze almost as intent as the one he’d given the photo. “Did you say you was a cop?”

“No. I didn’t say that, Buddy. I’m a private detective. Looking for this missing girl.”

“Oh, yeah. You said that when you come in.”

“I’d like to talk to the Reverend. Maybe he saw this girl. Someone said she used to workout here.”

“I didn’t never see her.” He looked at his watch. “He’ll have go to the cemetery for the grave side.”

“Will he come back here after the cemetery?”

“Maybe. In an hour. . .I guess.”

“Thanks, I’ll come back in a hour.” I stopped at the door and asked, “Is Miss Henrietta a dancer - like a ballet dancer?”

“No way. Dancing is forbidden by the Word. It’s a sin and ab-bomi-nee-tion for a woman to call attention to herself.” He stumbled over the four-syllable word.

“I understand. Well, thanks and don’t work out too hard, you don’t want to strain a muscle.” He gave me a puzzled look as I left. It taxed his brain too much to figure that one.

A hamburger emporium was a block down and across from the gym. I went inside, ordered a large iced tea, and found a pay phone.

“C.J.?” I told her about Brother Adkins and his daughter. “Can you check family records to see if there’s another child, an older girl?”

“Like a black sheep daughter?”

“Maybe. Something’s there, but I don’t know what or how it connects.”

“No problemo.” Our other phone line rang. “Check you later, Girlfriend. Bye.”

I sat in a booth facing the gym and sipped on my drink. I took out a pocket notebook and tried to make sense out of what I knew and what I didn’t. Mostly, I doodled.

All the tea I’d had for lunch added to these extra ounces soon sent me scurrying to the LADIES. I hated to leave my looking post, but when you gotta go. . .

A maroon station wagon, a sign on the side reading Texas Gym & Health Spa, had pulled up while I was answering nature’s call, and I saw a slender man in a dark leisure suit walking up to the gym’s entrance. That must be Preacher Adkins, I thought, hustled out and drove across the street.

The reception area was empty. I crossed behind the counter and stuck my head into the office. The man I assumed to be Adkins was bent over the open drawer of a file cabinet.

I knocked on the doorjamb.

He whirled around. “Who are y..you?” His gray eyes in his narrow oval face showed surprise. He was about six feet tall, his muscular arms and legs were well defined under the suit. A product of his own sound-body-dictum, probably. He had graying hair, thin, disapproving lips and a deep cleft in his chin. It was the Kirk Douglas-dimple that fit Delia Rose’s description of an older movie star.

“Sorry. I didn’t mean to startle you, Brother Adkins. I’m Jenny Gordon. I’m trying to locate a missing girl who supposedly worked-out here. I’m hoping you might know her.” I noticed the faint indentation in Scarlett’s chin on the photo I handed to him. Hard to deny family genes, I thought.

He took the photograph and glanced at it briefly. “I don’t know her. She may have been in here, but I don’t think so.”

“Are you sure? I was told this girl resembles your daughter?” “You’ve been talking to Buddy,” he said, handing the picture back. “You can’t pay too much attention to him. His brain is addled from taking too many jabs to the head. Every photograph he sees of a girl looks like Henrietta to him. He has a big crush on her.”

“Then this girl doesn’t look like your daughter?”

“No.” He evaded my eyes and his voice grew indignant. “My daughter is younger, more beautiful and innocent. She has blue eyes and blonde hair. Henrietta would never paint herself up like a harlot either.”

“Is Henrietta your only daughter?”

“My only child. My wife died in childbirth.”

The part about his wife was true maybe, but I didn’t believe for a minute he only had one child. “I’m sorry.”

“It was a long time ago. I’m sure The Lord had a greater need for her than we did.”

“This young woman is laying stone-cold in the Travis County morgue. Unloved and unwanted,” I said, hoping for some reaction. “Somebody’s family will miss her this Christmas.”

His voice took on the timbre of the hell-fire and brimstone evangelist. “I read about this harlot in the newspaper. She was a sinner, a whore. She doesn’t deserve a Christian burial.”

“That’s one way of looking at it,” I said. “Whatever happened to Christian forgiveness?”

“The Lord Almighty is the only One who can forgive sins. He will finally turn away from you if you keep rejecting him, just like some parents have to turn away from their children.”

He’d justified it all in his mind and I didn’t have any argument for that. “Thanks for your time,” I said, anxious to get away from this holier-than-thou Bible-thumper. No wonder Scarlett wanted to be anonymous. Henrietta probably felt the same way. “I’d like to call Henrietta. . .”

He pointed a finger at me and shouted. “Get out of here, you Jezebel. And you stay away from Henrietta. She has nothing to do with harlots and whores.”

I’d never been accused of being a Jezebel before. It was time to go before he started throwing stones at me.



V

Information poured from the office printer like hail coming from a Texas tornado cloud, amazing my technological aptitude of a horned toad with it’s speed. C.J. got all the information we needed without ever leaving her desk.

Two legal document copies blew away all my theories. Texas birth certificates require a response to: other children born to this mother? And more specifically: how many other children are now living? Henrietta Jo Adkins was the only child born to Mary Madeline Fever Adkins. A death certificate for the wife of Stephen Adkins showed Madeline died on January 29, 1970, from heart failure. “Fever” wasn’t just part of Scarlett’s clever stage name, it was also her mother’s maiden name. I’d been so sure there was an older daughter but Henrietta Adkins and Scarlett Fever O’Hara had to be one and the same.

“Any other proof?” I asked C.J.

“Uh-huh. Scarlett was arrested for solicitation twice under the name of Henrietta Jo Adkins. The Austin police department AFIS computer matched their fingerprints.”

Preacher Adkins’ attitude still infuriated me. “That sancti-monious bastard doesn’t even intend to bury his own flesh and blood. Doesn’t he care or know that Wilson is claiming the body?”

“No, because the heartless S.O.B. disowned her completely. But I hope he feels some fear right about now.”

“Because his daughter was identified as a hooker?”

“You got it,” said C.J. “His little church flock will probably tar and feather him. His reputation is ruined and . . .”

“Maybe he killed her to keep his reputation intact .”

“Good thinking, Jenny.”

“We seem to have a plethora of male suspects,” I said.

“Marshall Tolliver, the man found in the room with the very dead Scarlett and, Preacher Adkins. Who else?”

“Buddy, the pug-ugly down at the gym. Except I can’t see him being smart enough to carry out the complications of Mickey Finns. And. . .Wilson Billeau.”

“Surely you don’t think our good old country boy killed the girl he claims to love? Besides he’s our client.”

“He’s technically not ours anymore. It’s happened before, even to us.” I knew she didn’t want to be reminded about when her cousin, Veronica, and Veronica’s baby had been killed, so I continued.

“If we rule out Buddy,” I said, “we still have three viable suspects. You do know it’s not exactly our business to get into an active homicide case.”

“Larry Hays would never forgive us.”

“Understatement of the year. Yet you and I know what a heavy case load he has. He won’t devote much time trying to solve a hooker’s murder.”

“What have you got in mind?”

“Not a darn thing, but if we put our heads together, we should be able to come up with someone who might have wanted Scarlett dead.”

“Exactly and who was around to do it.”

We brainstormed for an hour and couldn’t figure out how to bypass Larry without causing trouble. “Maybe we should lay low and see what happens.”

“I’d much rather stir things up and see what happens,” said C.J. with an evil grin.

“What do we do about Mr. Tolliver?” I asked.

“After what Larry told you earlier,” she said, “we can probably rule him out. If we talk to the hotel employees we might collaborate his story.”

“Larry’s team has already done that, I would imagine.”

“Okay, let’s head out to Dripping Springs to see what Wilson Billeau has to say and come back by the Lucky Star. We can stop in there for a cold beer. Talk to some folks.”

C.J. drove us to Wilson’s house with the top down on her Mustang. It was a great evening for a drive, but I didn’t feel much like talking. I kept thinking how Wilson was really a sweet kid and how it would upset me if he was involved. C. J. knew how I felt, or maybe she even felt the same way, because she kept quiet too.

Bulldog Porter’s Lincoln Towncar was in the driveway and he greeted us at the door, a finger to his lips. “Wilson is laying down. He could use some feminine company. I’m not too good at this.”

We walked into the living room and sat down. “The police called my office a short time ago,” said Bulldog. “They knew I represented the man who claimed Scarlett’s body and made the funeral arrangements. They said she’d been identified as Henrietta Adkins, but I can only say the name Wilson always used.”

Wilson had heard us come in and he joined us. “Do you know if the police have arrested the man who killed her yet?” he asked without preamble. “Bulldog said they cleared that man from Houston and he was released from jail.” His face showed the ravages of grief and his eyes were red-rimmed. He was suffering. If it was an act, it was the Oscar-winning performance of the year.

C.J. and I looked at each other. An unspoken message passed between us. This young man can’t be the killer.

“We haven’t talked to the police in the past few hours,” I said. “I think our friend in homicide will call when APD makes an arrest.”

Wilson said Scarlett’s father still wanted no part of claiming her, so the funeral would be as he’d planned, tomorrow at two p.m. He said he hoped we’d come. We said we’d be there and he went back to the bedroom.

I could tell Bulldog was grieving along with Wilson. He obviously had unusually strong feelings about his friend’s son.

Bulldog said, “I’ve told Wilson the police will do their best, but they’ll soon give up unless the killer drops in their lap. They don’t have the time to devote to a long investigation. Wilson would like you to take the case when the police give up.”

We finally agreed to do what we legally could.

Bulldog was nodding off as we left, but Wilson came out to walk to the car with us. “Jenny, would you and C.J. promise me one thing?” he asked and for the first time since we arrived, his voice had some emotion. “No matter how long it takes or how much it costs, I want you to keep on looking. I want whoever killed her to rot in jail.”

“We’ll do our best,” I said. “But as far as the jail term, Wilson, you know today’s justice system - the killer may only serve a short time or get off completely. It’s up to a judge and jury.”

C.J. and I headed back to Austin.

“I can’t help feeling sorry for him,” I said. “For someone who’d never dated that girl, much less had a relationship with her, he’s in bad shape. Did you see those big sad eyes?”

“She represented a fantasy to him, a dream,” said C.J. “A dream that died. That’s what had been worrying me. I was afraid he might have been too obsessed. That when he’d found out she was a hooker he didn’t want anyone else to touch her.”

“I know. Deep down I was afraid of the same thing. Are you confident he’s innocent?”

“Yes. And if Larry has cleared Marshall Tolliver - that poor sucker from Houston - there’s only one suspect left.”

“Scarlett’s unforgiving father,” I said.

“And if Larry’s as smart as I think he is, he’s already checking Adkins from top to bottom. Let’s go to the Hyatt for some fajitas,” she said. “We can eat and talk about our options.”

“I can’t do it. I had a humongous lunch. We could go over to my house and I’ll fix a salad and grill a steak or a chicken breast for you.”

C.J. is a big gal and eats like a construction worker. Luckily she never gains an ounce, but she also lifts weights, swims, and does martial arts training.

When we reached my apartment C.J. parked and opened her car door. “I hope you have a cold beer - I could use one, maybe even two.”

We went inside. I went to the kitchen and got out a couple of Lite Coors. “I’ll make up the bed in the guest room for you and we won’t worry about you driving home tonight.”

“That works for me,” C.J. said and popped the top on her can.

I popped mine also and checked for my telephone messages. One was a hang-up and the other was Bulldog Porter. “Jenny? Are you there? Wilson has talked himself into doing something drastic. He’s on his way now to talk to Scarlett’s father. He thinks Adkins had something to do with killing her. I dozed off, but he left me a note. Wait, I’ve got Adkins’s home address here.”

Papers rustled noisily, then Bulldog gave out the preacher’s address. “That’s just off William Cannon and West Gate. We’ve got to stop him. I’m heading over there now.” A moment later Bulldog said, “It’s 9:05.”

“Holy Shit! That was over forty minutes ago,” said C.J. “Let’s go.”

The barely-sipped beer went down the drain and we left. The address where Preacher Adkins lived was five or six miles farther south and two or three miles west of the Lucky Star Bar and Grill It was a yuppified suburban area a good thirty to forty minutes from my apartment even at this time of night and using the freeway.

“MiGod, C.J. Did you see this coming?”

“No way. But in hindsight, I should have. Wilson was a man in pain and he wants a killer brought to justice.”

“And I just had to remind him justice was blind and deaf.”

“He didn’t need you to figure that out, Girlfriend.”

“I know, but damn. Damn, damn.”

As we raced down Interstate-35 I called Larry’s house and office. No answer at either place. I dialed his pager and punched in our number. He still had not responded when we exited on William Cannon Drive and turned into a sub-division. The houses along here were a little older than others in the upscale section down the block. When we neared the address, I spotted Larry’s car parked behind two patrol units, their red and blue lights stabbing the darkness.

A Special Missions Team (SMT) was there, tall men dressed in black, with helmets and equipment hanging from everywhere. They carried heavy firepower and looked like alien warriors from Star Wars.

Two uniformed patrolmen kept back a small knot of thrill-seekers and, as we parked I saw the SMT squad move out surrounding the house.

Bulldog’s Lincoln Towncar was angled up to the edge of the lawn two houses away. We parked on the opposite side of the street. When he saw us he opened his car door and waved us over. “Can you find out what’s going on?” he asked. “No one will tell me anything.”

“They haven’t let you talk to Wilson?” I said. “Don’t they know you might be able to talk some sense into him? Come on, we’ll try to find someone in charge.”

The three of us walked slowly toward the house, edging our way through people politely so the uniformed officers wouldn’t think we were troublemakers. As we reached one of the patrolmen, a shot was fired, coming from inside the house.

A second shot followed, moments later. Both shots sounded like they were from the same handgun and not one of the rifles the SMT officers used.

“I don’t think Wilson has a gun,” said Bulldog.

The SMT squad swarmed in and someone yelled “He’s down.”

I knew it would be awhile before we would know anything. Two ambulances squealed up, one behind the other, and the silence when they turned off the sirens was exquisite. The EMS attendants ran inside the house.

“That’s a good sign, isn’t it?” asked Bulldog. “Someone needs medical attention.”

“It could mean anything, Bulldog,” I said. “Don’t get your hopes too high.”

When the Medical Examiner’s station wagon pulled up a few minutes later, I had to catch Bulldog when he slumped. I eased the old man to a sitting position on the ground and C.J., with tightened lips, said she was going to find Larry Hays and get some answers.

Time passed and I couldn’t get Bulldog to go to his car. We sat in the dewy grass and I kept my arm around his shaking bony shoulders. Neither of us talked.

When C.J. returned to where we sat, one of the EMS attendants followed and I could tell from her face the news was grim. “They’re both. . .,” she shook her head. “Looks like they fought. The preacher had a gun. After he shot Wilson, he killed himself.”

Bulldog started having chest pains. “He was my son,” Bulldog said. “His legal father was my best friend, but no one except his mother and I ever knew.”

The EMS guys began checking the old man.

C.J. took me aside. “The police found news clippings of Adkins being convicted of child abuse. He’d beaten up on Scarlett for years. Larry Hays had already found out that Adkins had served time for that conviction in another state and had been released from prison six months ago. There was also a letter of resignation to his church in which he admitted killing his daughter. Claimed she was a seed of Satan and had to be destroyed.”

The medics reported that Bulldog didn’t have a heart attack, it was emotional stress. They put him on a stretcher saying a check-up at the hospital was routine procedure. I said I’d ride with him in the ambulance and C.J. said she’d meet me there.

The EMS wagon was ready to roll, but I couldn’t get in yet. “Naive little shit.” The tears I’d held back slipped out. “What could we have done differently C.J.? What more…”

“Nothing,” she said, putting an arm around me. “Not a damn thing.”

“Why? C.J. Why?”

“The Scarlet Fever got hold of Wilson and never let go.”

Thanks to Kenny Rogers for writing and recording the song “Scarlet Fever” which inspired this story.

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Many thanks to Jan and those who made this possible. If you enjoyed the story, let Jan know. Perhaps she'll bring us another double feature.

Wilkie Collins - The Dead Alive

Wilkie Collins, 1853

So often the stories we enjoyed as kids don’t hold up when we reread them as supposedly mature adults. Dale Andrews discussed this in particular about the Hardy Boys and I’ve noted this recently while rereading S. S. Van Dyne.

One of the earliest novels I read in the 4th or 5th grade was a battered copy of The Moonstone, one of the many hundreds of books my family hoarded in case of cultural collapse and literary starvation. At the time, I didn’t know The Moonstone was special, that it was considered the first modern English mystery novel. I simply enjoyed it so much I would remember it for decades.

Its author, Wilkie Collins (1824–1889), is recognized as one of the great authors of the Victorian era, reaching his peak during the 1860s. It was during this decade he published The Woman in White (1860), No Name (1862), Armadale (1866), and The Moonstone (1868). Also during this time his friendship with Charles Dickens grew and developed to the point of collaboration.

Bully

Many of us feel a particular distaste for school bullies, but Collins credits a class tormentor for awakening his creative talent where he “learnt to be amusing on short notice.” When Collins was 14, he appeased his in-residence persecutor with stories. “It was this brute who first awakened in me, his poor little victim, a power of which but for him I might never have been aware. … When I left school, I continued story telling for my own pleasure.”

The Dead Alive
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The Dead Alive
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Today’s The Dead Alive, sometimes called John Jago’s Ghost, features at least one bully and arguably a second. Note Collins’ smooth, modern style. While not as ‘deep’ as his friend Dickens’, Collins’ writing isn’t nearly as dense. Some Victorians require intense mental mastication, but Collins’ words dissolve on the tongue like a well-made pastry.

A few reviewers believe Abraham Lincoln’s Trailor Murder Mystery was answered by this Wilkie Collins’ story. That assessment is likely a mistake. While it’s impossible to determine whether Collins was aware of Lincoln’s case, it’s far more certain Collins based his story on another American case, that of the Boorn Brothers in Vermont. Not only will readers will find the parallels irrefutable, but Collins himself admits such in his afterword.

And now, a tale by Wilkie Collins…