03 December 2015

The Drug Smuggling Missionary of the Pearl River


by Eve Fisher
Karl Friedrich August Gutzlaff.png
A young Karl Gutzlaff

I talked a while back about the opium trade in China, run by Western "trading companies" like Jardine-Matheson and Russell & Company, who smuggled and sold opium (then illegal) all up and down the coast and rivers of 19th century China.  And how that led to two Opium Wars, which eventually forced the Chinese (who lost) to make opium legal.  And Christianity.  Both legalizations merged in the person of the one and only Karl Gutzlaff (1803-1851), missionary, journalist, translator...

What do you do with a person like Karl?  He started out as a missionary when he was 23, sent to Java by the Netherlands Missionary Society in 1826.  (Karl was German, born in Pomerania.)  He left them after 2 years, and spent the rest of his life in the mission field as an independent operator, earning his living in a variety of ways, some of which were highly unorthodox.  Please remember this:  Karl Gutzlaff was never "officially" affiliated with any organized church ever again. 

He moved around a lot:  from Macau, to Singapore, and eventually Hong Kong. He was a superb linguist, speaking/writing Chinese, Thai, Cambodian, Lao, and perhaps Japanese.  He translated the Bible into all of these languages and wrote dictionaries for at least three of them.  He also - and this is VERY key - married a very wealthy English missionary, Maria Newell, who died in childbirth within a year, leaving him all her money.  In 1834, he remarried, to missionary Mary Wanstall, who at that time ran a school and home from the blind in Macau.  (She died in 1849, and Karl remarried, one last time, in 1850 to an English woman in England.)

Karl, in native dress
1834 was when Karl's "Journal of Three Voyages Along the Coast of China in 1831, 1832, and 1833" was published.  It became hugely popular, partly because it described more of China's interior than any previous book written by a European.  It also described his missionary work, distributing tracts and pamphlets and talking to the people.  Karl did not mention the fact that the 1832 voyage was on an East India Company ship, and the 1833 voyage was on the Jardine Matheson opium smuggling/trading ship "Sylph."  He worked for both as a translator, and while he said he was opposed to the use of opium, he also said that he saw this (distributing Bibles as the opium was being traded) as a great opportunity to spread the gospel.  (G. B. Endacott, A Biographical Sketchbook of Early Hong Kong, p. 106)

In 1840 his Chinese translation of the Bible was published.  It would be the text adopted by the leader of the Taping Rebellion, God's Chinese Son Hong Xiuquan (and I hope to write about that wildly improbable man some day).  It was also the year that the First Opium War began, and Gutzlaff translated for the British throughout, assisted at the negotiations for the peace treaty, and got an official government position afterwards for his trouble.  NOTE:  He did not work for free.

In 1844, he set up his own training school for native missionaries and an organization - the Chinese Union - to send them out.  It succeeded well enough that Gutzlaff went on a hugely popular European fund-raising tour from 1849-1850.  Back in China, though, things were nowhere near as rosy as Gutzlaff proclaimed:  Most of his native Chinese "missionaries" were criminals and/or opium addicts who faked their conversion figures, taking the Chinese Bibles that Gutzlaff had given them to distribute and selling them back to Gutzlaff's own printer, who then resold them to him.  (Jessie Gregory Lutz, Opening China:  Karl F. A. Gutzlaff and Sino-Western Relations, 1827-1852, p. 276) A huge scandal erupted, forcing him to return to Hong Kong in 1851.  It was still going on when he died in 1851.

Despite the scandal, Gutzlaff's legacy was wide-spread and varying.  His idea of native missionaries and foreign missionaries speaking the native language, wearing native dress, living as the natives did, caught on, and was continued through the founding of the China Inland Mission under Henry Hudson Taylor.  This (now the Overseas Missionary Fellowship, a/k/a OMF International) became the primary missionary organization in China.

HSParkes.jpg
Harry Parkes, Consul
He and his wife ran a boarding school in Hong Kong, where all the up-and-coming future European leaders of Asia were boarded.  Among them was Mrs. Gutzlaff's nephew, Harry Smith Parkes.  Harry stayed with them from age 13 to adulthood, learning fluent Chinese, and accompanying his uncle on many of his travels, including the signing of the peace treaty for the First Opium War.  Over time, Parkes became acting Consul in Canton, and in 1856, he began the Second Opium War in true British Imperial style:  there was a Chinese ship called the "Arrow", owned by a Chinese, manned by Chinese sailors, under a British flag.  Well, the Chinese sailors were drunk and unruly, the Chinese authorities arrested them and (rumor has it) took down the British flag.  Mr. Parkes saw this as an insult to Britain, stormed into the jail, yelling, swearing, and beating on the jailers with his walking stick.  One struck back, and voila!  Parkes declared war on China.  The British won, and the opium trade and Christianity were both finally, fully legalized in China.

"Dr. Livingstone, I presume."
And then there was Gutzlaff's writing, which influenced both Dr. Livingstone and Karl Marx.  (It's not often that you get to write those two names in the same sentence...)  David Livingstone read Gutzlaff's "Appeal to the Churches of Britain and American on Behalf of China" and decided to become a medical missionary.  Unfortunately, it was 1840, and the outbreak of the First Opium War made China too dangerous for foreigners.  So the London Missionary Society send him to Africa, where (in 1871) Henry Morton Stanley would find him working hard in Ujiji, Tanzania.  "Dr. Livingstone, I presume."

Karl Marx 001.jpg

Remember the European fund-raising tour that Gutzlaff went on to raise money for the Chinese Union?  Karl Marx went to hear him speak in London (David Riazonov, "Karl Marx on China", 1926).  He also read Gutzlaff's many writings, which became sources for Karl Marx' articles on China for the London Times and the New York Daily Tribune in the 1840's and 1850's, all of which are anti-imperialist and anti-religion.

(Alas, I have searched for, as yet in vain, for a direct written-in-Karl-Marx'-hand connection between Gutzlaff and Marx's well-known statement, "religion... is the opium of the people."  All I can say is, it was written in 1843, nine years after Gutzlaff's "Journal of Three Voyages..." was published.  Who knows?)



HK Central Gutzlaff Street sign near Wellington Street.JPG
"HK Central Gutzlaff Street sign near Wellington Street" by Wenlensands - Own work.
Licensed under CC BY-SA 3.0 via Commons - https://commons.wikimedia.org/wiki/File: HK_Central_Gutzlaff_Street_sign_near_Wellington_Street.JPG#/media/File

A very influential man.  And also, in many ways, a mystery:  a profoundly earnest missionary, who would use any means that came to hand, including the opium trade.  A man of great pride and presumption, who was convinced that the Chinese were inferior to Europeans, and yet was the first to train (or at least try to train) native missionaries.  A great linguist, who made sure he got paid very, very well for his translating work.  As you can see above, there's a street in Hong Kong named for him.  There's his writings.  And there's the image of him, in his twenties, handing out Bibles from the back of the opium ship as the traders are handing out opium from the front...  Karl, Karl, Karl...



02 December 2015

Caching in on Uncle Victor


This is a somewhat convoluted tale about an old form of entertainment meeting up with a much newer one.

Back in the 1990s there was a publication called Murderous Intent Mystery Magazine. I used to write a column called FYI in every issue which allowed me to say anything I wanted as long as it was related to mystery fiction. Call it rehearsal for the blogging I have been doing for so many Wednesdays.

I also created my first series character there. Uncle Victor was inspired by Mario Puzo's The Godfather, Robert Graves' I, Claudius, and Jack Ritchie's Henry Turnbuckle stories.

You see, Victor was an elderly and eccentric member of an organized crime family. Like Claudius, he survived in his murderous clan because no one took him seriously enough to kill him. His brother, the actual crime boss, told his son on his death bed, "Take care of Victor. God knows he needs it."

Benny, the son and new boss, is not a nice man, and he doesn't like his uncle. But he wants to make a lot of changes in the business and so, to please the traditionalists, he has to honor his father's dying words. When Uncle Victor decides to become a private eye Benny pulls strings to get him a license. Alas, Victor's main qualification, like that of Henry Turnbuckle, Jack Ritchie's police detective, is totally unjustified self-confidence.

I wrote a bunch of stories about this gentleman and then Murderous Intent went out of business and I moved on to other subjects. But naturally I included the stories in my online bibliography.

And that's where things remained earlier this year when I heard from some geocachers. Do you know about geocaching? I first learned about it from Maphead, Ken Jennings wonderful book about people who obsess about geography.

Here is a definition, from geocaching.com:

Geocaching is a real-world, outdoor treasure hunting game using GPS-enabled devices. Participants navigate to a specific set of GPS coordinates and then attempt to find the geocache (container) hidden at that location.


The geocachers who contacted me were Kathleen and Bob Loose (and like the fictional Henry Turnbuckle, they are residents of Milwaukee). Their nom de cache is Team~DNF (DNF stands for Did Not Find, a signal that either the hider or the finder went wrong).

And now I will let Kathleen Loose explain why they wrote to me, and what happened next. With her permission I have done a little editing.

Geocachers hunting for Uncle Victor
A team of geogcachers searching for Uncle Victor
Where do the ideas for a geocache come from? They can come from anywhere. Often a geocacher may find a geocache that is different and it inspires them to use a similar technique. That was the case for Team~DNF with Cache GC5XM0N. We had discovered the possible use of ultraviolet paint as part of a cache we attempted in Arizona. Upon returning home, we determined that there weren't any UV caches hidden in our area. We decided to change that and began to brainstorm ideas for possible caches incorporating UV paint/light.

We settled on making our next hide a two stage cache with the UV light needed to get the coordinates for the second (final) stage where the log would be hidden. We tested materials to use for the first stage. Our plan was taking shape. Besides the physical items for the first stage and the cache container for the final, the cache page was needed. Most geocachers try to make the cache pages for their hides interesting, intriguing and inviting to encourage fellow geocachers to go out and find them. We brainstormed ideas for working "UV" into the cache title and cache page ... besides listing the geocache attribute "UV light required". We tossed around word combinations using "U" and "V" starting with the military "Uniform" "Victor" which quickly morphed into "Uncle Victor". We then searched the web and found that "Uncle Victor" was the featured detective in a series of stories by Robert Lopresti.

Finding the first stage
Being a detective is what geocaching is all about. "Uncle Victor's First Case" sure sounded like a good cache title for this first UV hide. Mrs. DNF, figuring nothing ventured, nothing gained, decided to contact the author to see if there might be a way to weave the story in to the cache page. After receiving and reading the story, it seemed clear to Team~DNF that there was a good fit. They enjoyed working with Rob to get the cache page ready for publication. We hope that geocachers who find the first page of the story in our cache will finish the story by visiting Rob's website.

There were a few set backs in placing the cache. The initial location attempts ended up being unsuitable due to several mystery (puzzle) caches hidden closer than the minimum 528' distance between cache hides. A new location was found that met the hide requirements and the cache was published on August 1, 2015. The FTF (first to find) was claimed on August 2.

The successful hunters: Silyngufy, Mewwi101,
Ranger Boy and Ranger Rob, and Mrs DNF
While many in the geocaching community looked at the cache page, no one else was attempting a find. This may have been due in part to an intense competition going on involving many of the very active Milwaukee area geocachers during the time the cache was released. This competition ended in mid-October. After confirming the competition was over, Mrs. DNF decided to put in a plug on the local geocaching community's facebook page on October 18th. In the following days there was positive discussion and one geocacher decided to organize a hunt for Friday Oct 23 at 9:00 AM. Mrs. DNF was also available during that time, so she tagged along with the group of four as they hunted the geocache. Everyone had a good time and two of the four even gave the cache a favorite point.

As for Team~DNF, they are working on more ideas for geocache hides involving UV light and increasing their geocache find count.

01 December 2015

Happy Murder. Happy Murder?


Many of those who read this blog are mystery writers of one subgenre or another. Most of the rest are mystery readers or people interested in crime. There are lots of theories as to why people read mysteries. One of the most popular is to see justice win in the end, which it often doesn’t in real life. Of course, this doesn’t apply to noir where almost everyone meets an unhappy end, but then there are exceptions to every rule.

I often wonder if there really is more crime today or if, because of the ubiquitous media, we just know about it. In the olden days if you lived in Los Angeles and a crime occurred in Atlanta it’s unlikely you heard about it unless it was the most sensational crime imaginable. But today with the 24 hour news cycle and competing media outlets looking to fill all that time we hear about every little pin prick. And the local news, at least here in LA, often leads with every drive-by, road rage incident and other crime they can find. After all if it bleeds, it leads.

But what’s a person to do in the middle of the day or the middle of the night when you’ve got that jones on for murder? Well, we here probably hope you’ll read one of our books (see end of this post). But what if you want the real thing? Well, let’s say the real thing once removed. You turn on the tube and look for the Murder Channel, I mean Discovery ID. Murder, Mayhem and Madness 24/7. Who could ask for more in 21st Century America?

A few years ago when my wife and I were watching TV and a commercial came on we’d flip to the Home and Garden Channel in the interim. (Yeah, I know.) Then we started flipping to various “murder shows” on the commercials. They hook you. You’d watch three minutes and you were in for the duration. They grab you the way a good novel does and, I hate to say it, maybe more so because they’re real. Real lives at stake in every episode and a new cliffhanging episode beginning at the top of the hour to give you your fix and keep you hooked.

I sometimes tell myself I watch these shows to get ideas, not only for overall plots, but for specifics of how to carry out crimes and “get away with them” in my stories. I lie. I watch because they hook me, like heroin does an addict. And like an addict I want more. I want to see what happens next, to try to figure out who really done it. Is it really the husband? He seems like the most likely suspect. Or is that too obvious? The red herring?

And I get annoyed when one show does the same story as another. I want fresh blood.
These shows are not just good for story ideas, but also as a fascinating look at society and human nature. It amazes me how little people will murder over, whether over a small financial amount or a perceived insult. It’s hard to understand how someone can do these things to another human being—even if the marriage is on the rocks or the person cheated you in business or fired you from your job—is it really worth it to do that? And how can you go to that extreme measure and be that cold blooded? Yeah, it’s worth ruining my life and going to jail for twenty years because I want to buy a new boat or car or XBox and need that life insurance money. Or I don’t want my boss to find out I embezzled money. And how many people choose murder as the way out of a bad, or even not so bad, marriage, because they want money, freedom or are having an affair or whatever? Haven’t they heard of divorce? Yeah, there’s alimony and all that, but it’s better than sharing a 6’ X 8’ cell with Bubba.

I have to admit watching these shows makes me a little insecure sometimes. So I turn to my wife and
say, “Just divorce me, don’t kill me.” If she asks to up my life insurance or gives me a sweet green drink that she says is Kool Aid, but there’s an empty anti-freeze container in the trash, I know I’m in trouble.

And, of course, almost always, the person murdered is the most wonderful, sweetest, kindest and most beautiful person in the world, male or female. It’s pretty rare that someone will come out and say that John Doe was a bastard and deserved to die. But I have to admit I do wonder sometimes if the families of the deceased are upset when the actors portraying their loved ones are not as attractive as the real people...

There are shows for every taste and every location, from Evil Kin and Momsters: When Moms Go
Bad (w/ a smiling Roseanne Barr...) to Swamp Murders and neighbors from hell on The Nightmare Next Door, which sounds like a bad horror movie title, but these are real horrors. There is one show that I don’t like as much as some of the others, Disappeared. And the reason is because there is often no resolution. People disappear, never to be heard from again and it leaves one, at least this one, with an unsatisfying feeling. Another show that I don’t watch much, if I remember the name, is Twisted. It’s just too twisted.

Obviously I’m not the only person that likes these shows as evidenced by the multitude of them popping up all the time (see list below). People are fascinated by murder. And maybe this is part of why murder mysteries and crime novels are so popular. We want to understand—even as we are repelled by the idea. And if I’ve offended anyone with my attempts at black humor in this piece I’m sorry. Gallows humor is the only way I know to handle these things.

Some Discovery ID Titles – Let the titles do the talking:
50 Ways To Leave Your Lover
Alaska: Ice Cold Killers'"
American Occult
A Crime to Remember
A Stranger In My Home
Bad Teachers
Beauty Queen Murders
Behind Mansion Walls (currently airing under reruns)
Bloodlands
Blood, Lies, and Alibis
Blood Relatives
Breaking Point
Catch My Killer
Cause of Death
Cold Blood
Cry Wolfe
Cuff Me If You Can
Dangerous Persuasions
Dateline on ID
Dates From Hell
Dark Minds
Deadline: Crime With Tamron Hall
Dead of Night
Deadly Affairs
Deadly Devotion
Deadly Sins
Deadly Women
Death By Gossip with Wendy Williams
Did He Do It?
Do Not Disturb: Hotel Horrors
Evil-in-Law
Evil Twins
Evil, I
Evil Kin
Facing Evil with Candice DeLong
Fatal Encounters
Fatal Vows
FBI: Criminal Pursuit
Fear Thy Neighbor
Frenemies: Loyalty Turned Lethal
Happily Never After
Handsome Devils
Hate In America
Heartbreakers
Hell House
Homicide Hunter
House of Horrors: Kidnapped
How (Not) To Kill Your Husband
I (Almost) Got Away With It
I'd Kill for You
In the Line of Fire
Indecent Proposal
Injustice Files
Inspire a Difference
Karma's a B*tch!
Killer Instinct with Chris Hansen
Last Seen Alive
Let's Kill Mom
Momsters: When Moms Go Bad
Most Evil
Most Infamous
Most Likely To...
Motives & Murders
Murder Book
Murder Comes to Town
Murder in Paradise
My Dirty Little Secret
My Strange Criminal Addiction
Nightmare Next Door
Nowhere to Hide
Obsession: Dark Desires
On the Case with Paula Zahn
On Death Row
Over My Dead Body
Poisoned Passions
Pretty Dangerous
Pretty Bad Girls
Redrum
Scorned: Love Kills
Secret Lives of Stepford Wives
See No Evil
Serial Thriller: Angel of Decay
Serial Thriller: The Chameleon
Sex Sent Me to the Slammer
Sins and Secrets
Southern Fried Homicide
Stalked: Someone's Watching
Stolen Voices, Buried Secrets
Surviving Evil
Suspicion
Swamp Murders
Tabloid
The Devil You Know
The Killing Hour
The Mind of a Murderer
The Perfect Murder
The Worst Thing I Ever Did
True Crime with Aphrodite Jones
True Nightmares
Twisted
Twisted Tales of 9 to 5
Unraveled
Untouchable: Power Corrupts
Unusual Suspects
Vanity Fair Confidential
Very Bad Men
Web of Lies
Wives with Knives
Who the (Bleep) Did I Marry?
Who the (Bleep)...
The Will
Wicked Attraction
Women in Prison
Young, Hot & Crooked
Your Worst Nightmare
But never fear, if you’ve already seen everything on Discovery ID there’s several other channels that play murder shows off and on all day long, but of course only Discovery ID will serve your 24 hour jones.

*** *** ***

And now for the usual BSP stuff:

Down and Out Books is putting a whole bunch of great books on sale for 99¢ for the next two weeks, including Coast to Coast: Murder from Sea to Shining Sea, with mystery stories from such luminaries as 4 Time Edgar Winner and Co-Creator of “Columbo,” William Link • Mystery Writers of America Grand Master Bill Pronzini • Scribner Crime Novel Winner William G. Tapply • Shamus Winner Paul D. Marks • EQMM Readers Award Winner Bob Levinson • Al Blanchard Award Winner James Shannon • Derringer Award Winner Stephen D. Rogers • Sherlock Holmes Bowl Winner Andrew McAleer and other poisoned-pen professionals like Judy Travis Copek • Sheila Lowe • Gayle Bartos-Pool • Thomas Donahue


And my new noir-thriller Vortex is also on sale in e-form for 99¢.

“…a nonstop staccato action noir… Vortex lives up to its name, quickly creating a maelstrom of action and purpose to draw readers into a whirlpool of intrigue and mystery… but be forewarned: once picked up, it's nearly impossible to put down before the end.” 

—D. Donovan, Senior Reviewer, Midwest Book Review

 
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30 November 2015

Scandal in the Bahamas


I just got back from a wonderful vacation, a cruise to Key West and the Bahamas. As any writer would, the first leg was a quick trip to the Hemingway House. Met a few six-toed cats and got the grand tour. His work was always a little too “a man's gotta do what a man's gotta do” for my taste, but there's no denying he was bigger than life. I was on the trip with a friend I've had since we were in our teens, and on the second leg we stopped in Freeport and took a tour on a guided bus. There were ten other people on the bus, and at the end, one young woman said, “Let's meet tomorrow in Nassau!” So eight of us did. Have no idea what happened to the other four.
I'm the first to admit that I'm not great at self-promotion. When I started in this biz, I thought the whole idea was to sit at my desk and write. And, of course, cash the checks when they came pouring in. I had no idea I had to go out there and sell myself.

After twenty-seven years in this business, I'm still not very good at it. So, of course, I never mentioned what I did for a living to anyone on the cruise. Some people talked about what they did – one owned a hair salon, one an event center – but I saw no reason to bring it up.

But of course my friend, who has been a supporter for all these many years, decided it was her job to do so. The other six on our tour of Nassau were very excited about the entire thing, and basically wrote a book for me.

So if you ever see the title SCANDAL IN THE BAHAMAS, know that I was not alone in the writing of it. And when the movie version comes out, the premier will be in the Bahamas, of course, and we're all going to meet there for the reunion.

So there was some alcohol involved in all this. Come on, it was a vacation!

29 November 2015

Ellery Queen in the Village of Good and Evil


by Dale C. Andrews (with much help from Kurt Sercu)
Escaping the glare and grime of summer in Manhattan, Ellery Queen, the celebrated novelist and gentleman detective, arrives in the small New England town of Wrightsville looking for a quiet place to write a new book . . . . 
                                       Playbill from Calamity Town 
                                       A theatrical presentation by Joseph Goodrich 
                                       New Dramatists New York City read-through
                                       January 29, 2013 
[Ellery's] exploits [in] Wrightsville [are always] likely to be the signal for the commission of one or more murders. 
                                        Julian Symons, 
                                        Bloody Murder (From the Detective Story to the Crime Novel: A History) 
                                        1972 
[The book] is a story of an actual murder . . . . The cast includes . . . the author himself, transplanted temporarily from the Upper West Side to Savannah's gossipy historic quarter.. . . [T]he murder happens in the middle of the book.
                                        John Berendt, 
                                        describing his best seller Midnight in the Garden of Good and Evil                                                       September 28, 1997 interview 

     I am writing this on board Amtrak’s Auto Train, heading home to Washington, D.C. And that seems only appropriate. Just over ten years ago I was excitedly preparing to leave by train for New York City to attend the Ellery Queen Centenary Symposium hosted by Ellery Queen Mystery Magazine. Kurt Sercu, proprietor of the seminal Ellery Queen website, Ellery Queen: a Website on Deduction, had flown to Washington, D.C. from his native Belgium so that we could take the train up to New York together. So excitement was in the air -- I had known Kurt for some years on-line, but given the distances between the District of Columbia and Bruges, the Belgian city where Kurt and his wife Martine reside, we had (understandably) never met in person before that trip to the symposium.

Kurt Sercu and me -- a photo pastiche
       In anticipation of the trip I joined in on a discussion thread among those who intended to attend that was unfolding on the old Readers’ Forum that EQMM and Alfred Hitchcock Mystery magazines used to co-host. You know -- the online forum that, according to the EQMM website, has been “unavailable while we continue to address technical issues” for something like the last 7 years!

       Just before leaving for the train station I checked the thread one last time and found a question posed to Kurt and me by Doug Greene, well known to all of us as the brains (as well as brawn) behind Crippen & Landru, the preeminent publisher of all things mystery. Doug’s question was this: In the Ellery Queen novels we generally encounter Ellery feverishly working on his latest novel while he is also solving the mystery at hand. So, what were the books Ellery was writing? Were they other actual, i.e. published, Ellery Queen mysteries, or were these, perhaps, fictional references to works that do not, in fact, exist? 

Doug Greene, proprietor of Crippen & Landru
       At first blush I was surprised by the question. The issue had almost never occurred to me. To the extent that I had thought of it at all it seemed to me that Ellery must have been working on one of his actual novels, either previously or subsequently published, while he solved the mystery presented in the book I was then reading. This would pre-suppose that Ellery solved a mystery, wrote it up as a novel, and then moved on to solve the next mystery.

       But, as with all things Ellery Queen, the answer, on reflection, is not all that easy. Melodie Campbell's article yesterday focused on authors whose protagonist is modeled after themselves. Well, suffice it to say that things can get particularly complicated -- at times even surreal -- when the author’s name on the spine of the book and the detective solving the case between the covers are one and the same. In any event, I continued to ponder Doug’s question over the last ten years. 

       And as I pondered it became evident that no one answer is apparent. Ellery is often in the midst of writing a novel while he is solving a mystery, but rarely, if ever, are any clues given as to what novel our friend is in fact writing at the time. In fact, the Queen library contains very few references that even tie the various books together. There are, of course, shared characters -- Ellery, the Inspector, Sergeant Velie, Dr. Prouty, Djuna (early on), Nikki Porter (later) and Paula Paris (in Hollywood). Recurring characters are also and even more prevalent in the Wrightsville mysteries
-- Chief Dakin, and later Chief Anselm Newby, town gossip Emmeline DuPré, newspaper editor Frank Lloyd, to name a few. 

       While rarer, there are also instances where the Queen mysteries refer to earlier works -- The Finishing Stroke, for example, references The Roman Hat Mystery. And Last Woman in his Life begins precisely (same day, same locale) where the earlier Face to Face leaves off. Similarly, the Wrightsville books at times refer to previous mysteries solved by Ellery in that “calamitous” town. But these references, while tying books together, usually tell us nothing concerning the novels Ellery was working on while solving the depicted mystery. 

       In the 1975 NBC Ellery Queen series there are scattered references to Ellery Queen mysteries that do not in fact exist -- "The Mad Hatter’s Tea Party" episode, for example, references a non-existent Queen mystery entitled The Adventure of the Alabaster Apple, and "The Adventure of the Lover’s Leap" episode involves an equally non-existent Queen opus of the same name. But, again, all of these references, even those in the TV episodes drafted by others, are, in each instance, to already completed works, not to the works in progress, novels that Ellery is depicted as struggling to complete while he is also grappling with the mystery at hand. 

       Ellery Queen novels do, at times, refer to other cases solved by Ellery that have not appeared in print -- such as the reference in Ten Days Wonder to “the case of the spastic bryologist, in which Ellery made the definitive deduction -- from a dried mass of sphagnum no larger than his thumbnail
-- and reached into the surgery of one of New York’s most respectable hospitals to save a life and blast a reputation . . . .” Nowhere is that mystery set forth in published form. And Ten Days’ Wonder also contains a reference to “the case of Adelina Monquieux, [Ellery’s] remarkable solution of which cannot be revealed before 1972.” That mystery was never recorded in a Queen work, though it did provide the premise for Francis Nevin’s 1972 Ellery Queen pastiche “Open Letter to Survivors.” (In "Open Letter" Ellery is working on a novel that clearly is "Cat of Many Tails," but this does not progress our analysis here since the story was written by Mike Nevins, not by Dannay and Lee!)

       Similarly The French Powder Mystery and The Dutch Shoe Mystery mention, respectively, the Kingsley Arms Murder and The Murder of the Marionettes, and Dutch Shoe goes so far as to state that the latter mystery was recounted in a manuscript authored by Ellery. But none of these mysteries is in fact the basis of an Ellery Queen manuscript. Moreover, these references, again, are all to mysteries, or manuscripts, already completed, not to novels that are in the process of being drafted. 

       In an email exchange I had with Joe Goodrich, author of the theatrical version of Ellery Queen’s Calamity Town, Joe mentioned that from various clues in Ten Days’ Wonder one could conclude that the novel Ellery toiled on during the course of solving that mystery might well have been Cat of Many Tails, actually published two years later. But other than that one possible example, and it is premised on fairly obscure clues, there is nothing that directly answers Doug Greene’s question. 

       Nothing that directly answers. But what about indirectly? 

       After first despairing that there is no good answer to Doug’s question, I took another look at Calamity Town. And when I did so it struck me that this mystery’s structure is remarkably similar to John Berendt’s “true crime” bestseller Midnight in the Garden of Good and Evil. The quote at the head of this article really says it all. 

        In Garden of Good and Evil the author, John Berendt, is a character in his own story. Berendt uproots himself from his hometown (New York City) to another locale (there, Savannah) for the sole purpose of secluding himself while writing a book about the characters that populate that locale. Berendt's tale purports to be written in real time, but the narration begins before the story itself has transpired.  Then, in mid-book, a murder takes place. And the murder -- seemingly unanticipated at the beginning of the book -- becomes the book’s backbone by mid-narrative. So, the surreal aspect of the book is that it’s narrative, based on actual events, begins before the crucial events of the story have even occurred. In other words, the book that John Berendt is “writing” during the narrative of Midnight in the Garden of Good and Evil is in fact Midnight in the Garden of Good and Evil. And he is writing this as the story unfolds.
      
       With that in mind, and being careful, as always, to stear clear of “spoilers,” let's compare Calamity Town to Garden of Good and Evil.

       First, and most obvious, we are confronted with one of the stranger quirks of the Ellery Queen mysteries.  Ellery, like John Berendt, is both the author and the protagonist.  Each tale opens with the arrival of the author, in our case our friend Mr. Queen, in a town where the author intends to stay for a prolonged period. Thus, Calamity Town opens with Ellery disembarking from the train in Wrightsville. He immediately seeks rental accommodations and is asked: 
"[W]hat kind of work are you planning, . . ?” 
“A novel," said Ellery faintly. "A novel of particular sort, laid in a typical small city . . . ."
       Ellery then, like John Berendt, settles in, and waits for events to occur. And for Ellery that wait is not without a degree of impatience. When, at first, town life in Wrightsville proceeds without incident, that is, without murder, this coincides with grumblings on Ellery’s part that his novel is progressing slowly. Thus, a ways into the book we encounter the following: 
So Mr. Queen decided he had been an imaginative fool and that [any mystery in the town] was buried beyond resurrection. He began to make plans to invent a crime in his novel, since life was so uncooperative. And, because he liked all the characters, he was very glad.
       This, in itself, is an interesting (and doubtless tongue-in-cheek) aside by Ellery. There have been a lot of jokes over the years to the effect that if you value your life you shouldn’t hang around with Ellery Queen since someone in his immediate ambit always ends up murdered. And here we have it --  the proof: Ellery expects a murder in Wrightsville. And, while grumpy, he is also heartened since he likes the folks he has encountered in Wrightsville.   Important to our current analysis is the fact, then, that like John Berendt Ellery purports to be writing his book in anticipation of a murder happening. Also like Berendt he is not disappointed. 

Wrightsville as depicted in the front-piece of Calamity Town
       There are other similar references. Like this one, for example: 
"It’s a queer thing," grumbled Ellery, " . . . Something’s been annoying me for weeks. Flying around in my skull.  Can’t catch it… I thought it might be a fact—something trivial—that I’d overlooked. You know, I… well, I based my novel on you people—the facts, the events, the interrelationships. So everything’s in my notes that’s happened." He shook his head. "But I can’t put my finger on it.” 
       And finally, when the mystery of Calamity Town is ultimately solved, eo instante the novel Ellery has been drafting is also completed.  Listen to Ellery when he returns, to Wrightsville, in the final pages of Calamity Town
“But tell me! What brings you back to Wrightsville? It must be us—couldn’t be anyone else! How’s the novel!”
“Finished.”
"Oh, grand! Ellery, you never let me read a word of it. How does it end?” 
“That,” said Mr. Queen, “is one of my reasons for coming back to Wrightsville.” 
       So, if you are reading either Calamity Town or Midnight in the Garden of Good and Evil, and someone wanders over and poses that question Doug Greene asked Kurt and me ten years ago, specifically what is the book the author purports to be writing at the same time he is telling his story, the answer in each case is the same. Surreal as it may seem, the book each author was writing is the book that you are reading! 

 *     *     *    *     *     *     *     * 

        This winter is a great occasion to re-visit Calamity Town, Ellery Queen’s first Wrightsville tale and one of Ellery's greatest mysteries. As recounted earlier in the article and in previous posts, Joe Goodrich is the author of the new theatrical version of Calamity Town.

       The play had a public reading in New York in 2013, was first produced in 2014 in preview in Claremont, New Hampshire (a town that in all likelihood provided the model for Wrightsville) under the staging hand of Arthur Vidro.

       It will now have its official world premiere this coming January 23 through February 21 at the Vertigo Theatre in Calgary, Canada. If you are anywhere near Calgary, try to catch it. I only wish I could!
      

28 November 2015

I’m Not My Protagonist! Oh, wait a minute…


My college Crafting a Novel students often hear me say, “You can’t make every character sound like yourself.” And it’s true. Most beginning novelists (at least the ones in my class) write themselves into their books. The star of the book – the protagonist - sounds and looks an awful lot like the writer himself. Has the same likes, dislikes, and insecurities. But is of course, more heroic.

In fact, we come slamming up against the famous saying, “Write what you know.”

And some know themselves pretty well. (Others, not at all, but I digress…)

A protagonist who is a barely veiled, idealist version of yourself? We’ll allow you that for your first book. But if an author persists in writing the same protagonist over and over again, in every book and series they write, things get pretty stale.

So that prompted me to look at my own series to see what I had done. Ten books in now, I held my breath.

The Character I wish I was

I started the Land’s End Fantasy Trilogy when I was dearly in need of escape. My mother was dying. I remember looking at her hospital bedroom wall, and thinking, ‘if I could walk through that wall into another world right now, I would.’ That’s how the first of the series, Rowena Through the Wall, came about. I started writing it in the hospital.

Rowena isn’t me. She is the ‘me I wish I was,’ at least at that difficult time. I wrote the character I wanted to be. She’s prettier than me, more generous than I am, and in the end, more courageous. I was dealing with the issue of courage at that time. Courage to face what was coming and what was inevitable. I wonder how many readers of that series would nod their heads, hearing me say that now?

The ‘Me’ my Mother Wanted Me to Be

Next I grabbed A Purse to Die For off my shelves, a book I co-wrote with Cynthia St-Pierre. This book is in a different genre – it’s amateur detective, or classic mystery. The second book in the series, A Killer Necklace, has just come out.

The protagonist is a fashion diva – a television personality from the Weather Network. She’s drop-dead pretty, and always put together.

I am not. Spending more than ten minutes on my long hair is an impossible chore for me. You won’t find high heels in my closet. I like clothes, but am not a slave to fashion.

But my mother was. My mother was a fashion diva until the day she died. We’re pretty sure she was the longest subscriber to Vogue magazine, ever. Mom dressed me in designer clothes all my childhood. She was delighted when I did a little modeling as a young woman.

I never quite came up to her standard of fashionista though. “Put on some lipstick,” she would say.
“You look like a ghost!”

Looking at the series now, I can see that the main character is the ‘me my mother wanted me to be.’ It was, in a way, my tribute to her. Wish she could have been here when the first book was published.

The Closest I get to Me

So where am I in all my books? That’s easy.


I’m The Goddaughter. Sort of. In this wacky crime caper series, the protagonist is a mob goddaughter, who doesn’t want to be one.

I’m half Sicilian. I had a Sicilian godfather. I had to wait until certain people died in the family before I wrote this series.

In Gina Gallo, the ambivalence is there. ‘You’re supposed to love and support your family. But what if your family is this one?” Gina says this in every book of the series. Those words came directly from my mouth.

This book is meant to be laugh out loud funny. I let loose with my own wit, and shook off the inhibitions. Not that I’m very inhibited normally. But in The Goddaughter series, you get the real me peeking out. Not idealized. Not always upstanding. Sometimes just looking for a way out of a real mess, possibly of my own creation. But kind of fun to be with, I think.

So that brings us back to the beginning. One of the delightful things about being an author is allowing yourself to ‘become’ a character other than yourself, as you write. Fitting yourself into their skin, so to speak. As you write more, this becomes more fun, and more of a goal. I LOVE putting myself into the mind of a killer in a short story, if only for a little while. It’s a kick to ‘pretend’ to be someone else, by writing their story.

Let’s be honest: who needs drugs, if you’re an author? THIS is the ultimate escape.

Do you relish creating characters and living their lives through your fiction?

On Amazon

27 November 2015

Black Friday Interview with Christopher Irvin


In true bumbling fashion, when I first met Christopher Irvin in person at Bouchercon back in October, I asked him, "So do you write too?" Clearly I should've looked more closely at his name tag first, but at least I can blame the general Bouchercon blur for my stumbly faux pas.
He does indeed write—and terrifically well, as I'd already known at the time. And if you haven't yet discovered it yourself, you're in for a treat.  

Christopher Irvin is the author of two novellas—Burn Cards and Federales—and of short stories that have appeared in publications including ThugLit, Beat to a Pulp, All Due Respect, Plots With Guns, Spinetingler, Needle, and Shotgun Honey, among many other journals and anthologies. In May 2015, Keith Rawson at LitReactor named Christopher one of "5 Crime Short Story Writers You Should Be Reading Right Now"—noting that "Irvin’s tone is lightening fast, hard hitting, and leaves the reader breathless and shocked with the sudden and realistic portrayal of violence."

Earlier this month saw the publication of Christopher's first short story collection, Safe Inside the Violence, which has already been earning high praise from various corners. At My Bookish Ways, Angel Luis Colón wrote, "Irvin has a knack displaying the desolation of crime—that near soul-shattering silence and loneliness that comes with the dark places people can end up." At LitReactor, Dean Fetzer wrote, "Irvin has mastered the noir short story, that’s plain." And Paul Tremblay wrote, "A fine collection of crime stories told from the point of view of regular people, forgotten people, and their painfully human decisions are a roadmap to their inexorable Hell."

I'll add myself that it's a terrific collection and a surprising one in many ways—both in terms of where simmering violence might burst out into the world and in how that inner turmoil might manifest itself in more subtle ways. I'm pleased that Christopher agreed to a quick interview about the collection and his work in general—and here on Black Friday and with Small Business Saturday ahead, I also want to call attention to a terrific "Buy Local" promotion underway right now: Purchase a copy of Safe Inside the Violence from an independent bookseller before the end of the month and Christopher will send you for free a limited-edition chapbook featuring four additional stories and artwork by Joe DellaGatta. Details on the deal can be found here.

In the meantime, hope you enjoy here my chat with Christopher Irvin on his fine work.


Art Taylor: So many of the stories in Safe Inside the Violence present characters who—whatever surface they present to the world—hide inner lives, inner turmoil, troubles which may or may not spill outside for others to see. I hesitate to ask that simple question about which comes first for you—characters, situation, plot—but I am curious what drives your storytelling in that direction generally.

Christopher Irvin
Christopher Irvin: Thanks so much for the opportunity, Art. For better or worse, character and situation drive my storytelling, often playing off one another in their development. For example, I wrote "Napoleon of the North End" with the publication Plots With Guns in mind (accepted and published in their final issue, Fall 2014). I approached it with the situation of A) a gun has to be present in the story, and B) recent news of a series of sexual assaults in the North End of Boston in which a white male had groped several women and run off. The police arrested a suspect—even releasing his name—only to come out later that they had the wrong guy. It was prominent in the news for several weeks, though I don't recall what came of it in the end. Anyway, the idea of the garbage collector came next, partially out of trying to use the gun without firing it, or using it “as a gun,” and from his character the rest of the story fleshed out. In another case, "Nor'easter," I had a depressing idea of a man who works as a mall Santa during the holidays, but who is separated from his family. He gets to experience the Christmas/holiday joy around him—and he loves it—but he's lacking that deep personal connection. Again, the situation and character built off each other until threads of plot revealed themselves and I went from there. That's probably where I get some of my “slow burn” style. Plot takes a while for me to develop and feel comfortable in.

How does setting inform your work—Boston particularly?

I used to say setting is everything, and I still mean that in some ways. It should be critical to a story—otherwise, why are you setting it there? I love small details—not the first things you see, but maybe the second, third or fourth that really makes a setting unique and come alive. Instead of pointing out the cobblestones around Faneuil Hall, point out how “newer” brick paths run alongside them and how people will stay on those to avoid tripping or scuffing their shoes on the uneven stones. I've lived in Boston for six years, but I feel like I've only recently been able to write about it. Whitey Bulger, North End Mafia, the “Boston accent” (don't get me started on the “pahk the cah” tourism)—these are classic Boston that have been done to death, and honestly don't interest me as a writer or a reader. I think this is part of why it took me so long to write about the city. The parts I've grown to know, Jamaica Plain, especially, are now on the forefront of my mind. It's a “new” Boston—post-Whitey, post-Big Dig. A newer, more gentrified Boston. That's the Boston I know and identify with, that interests me. I'm sure in another decade it will have transformed even more.

I mentioned that I moved away from the “setting is everything.” It's become much more of a situation, or at least in the way I think about it. How characters interact with their environment, what about the setting adds to their story, what's important to them, etc.

Safe Inside the Violence carries the subtitle Crime Stories, but I don’t think I’d categorize a story like “Digging Deep” that way—even as it brims over with constant tension, the threat of trouble. What constitutes a “crime story” for you? And more generally, how does genre—the expectations of genre—impact your writing?

This is a tough one. There is a great sense of melancholy in my favorite crime stories—perhaps a sense of inevitability, but not without hope. Underdogs I love to root for even though I know they'll stumble and fall eventually. In some ways this feeling, or perhaps a focus on it, has pushed me from the genre definition of crime—a focus on criminal acts—to what? Literary crime? Dark literary fiction? I'm not entirely sure, but it is where I want to be—at least today. I wrote the four new stories in the collection ("Digging Deep," "Imaginary Drugs," "Lupe's Lemon Elixir," and "Safe Inside the Violence") all without a crime publication in mind, and they all turned out in this vein. I was pretty anxious as a kid and I think that comes out in my work, even more so now that I'm aware of it. That's what I'm interested in more than the crime—how people exist in situations that rub up against crime, what their fears/anxieties are, how they make it through the day. As confident as I may seem with the direction of my writing, “genre expectations” do weigh on my mind. When a reviewer praises these stories as being different, I take that as a huge compliment—but is it what people want to read? I hope so. I hope the emphasis on quiet moments, or quiet crimes, is something people can relate to/empathize with and be interested in delving into further. Maybe even want to read a full novel of one day.

You have two children now. How has fatherhood changed your writing—both the process of writing and the content of your work?

Fatherhood has really opened my eyes to the portrayal of children in stories, especially violence and uncertainty. Situations, perhaps more so in movies—take Tom Cruise's character in Minority Report, whose son is kidnapped right in front of him—which did little for me before, really strike me now. Again, going back to that anxiety, the worst-case fears of a father, loss of control/powerlessness. That's really on display in "Union Man," the first story that really incorporated my feelings as a father—my “coming of age” fatherhood story. I wrote it when my son, George, was about six months old. He's three now, and I have a second son, Freddie, who's approaching the four-month mark. In terms of process, I need to be more focused than ever with the number of projects and ideas I have going, but I started getting up in the morning to write before work about a year before George was born, so at least I had that down. One less adjustment. It's an adventure.

A more general question about short story collections: Several of these stories have been previously published elsewhere, several are new to the collection, and other stories that have been published elsewhere didn’t make it into the book; how do you determine what’s in, what’s not, and what guides you generally in determining the contents and order of a collection like this?

For this collection it really came down to theme/similarities (threads of family throughout) which I didn't realize until I began to seriously compile a list of stories. It wasn't until I had ARCs that I noticed the through line of anxiety. It's been eye opening to see what notes readers pick up on. Doing interviews like this—forced reflection—has been incredible. I'm a much more intelligent writer, much more aware now, than even six months ago. Some stories that hit the theme were left out because they'd been published too recently in other books, others because they were too short and I wanted to keep the number of stories in the low teens. I read an articleby Richard Thomas (on LitReactor, I think) a while back about how he arranged one of his collections. His use of “tent pole” stories to structure the beginning, middle, and end stuck with me. Other than that, just making sure that the first stories set expectations which carried through to the end. I hope I was successful in choosing the arrangement. I thought hard on it for months, going through several iterations, even up to the last minute.

In addition to the story collection here, you’ve published two novellas, Burn Cards and Federales—short-form storytelling still, though at the longer end of the spectrum. [Note to Chris: I’ll link each.] What is it about the novella, the short story, the flash that attracts you more than a full-length, full-fledged novel? And what are the biggest challenges about writing short versus writing long?

I love short stories, especially dark/weird speculative fiction where you can get away with lack of explanation. For me, as a reader, I enjoy being able to finish something and reflect on what I've just read—the way it leaves me feeling, or a story's ability to stick with me for days, or even years. Short fiction, in general, has stuck with me much more than novels. I think it's because of the focus on the moment, where novels can wander. Not to say that's bad, it's just different. I often find myself wanting to just finish novels—even those I'm enjoying—partially because my “to-read” stack is so huge but also because I've already taken away the style/characters, the 'feel' of the book that's either going to stick with me or not, regardless of the end. It's rare that I'm so captivated by a novel, but it happens all the time with short fiction. Perhaps, because of the short length, there's the mystery of the gaps. What we don't see that can be equally or more powerful than what we do.

Challenges? Uncertainty in where I'll end up. Is it even a story? Does this matter? My few longer works are driven much more by outlines, but I fly by my gut and a loose outline or series of moments on short fiction. Much more subconscious, while I'm making more conscious decisions—especially in terms of plot—on longer works. I've questioned everything—process, style, etc.—on almost every story I've written this year. The farther I stray from “crime,” the more I question my sanity.

Looking at your other work, you’ve also written in collaboration with graphic artists, including Charred Kraken and Expatriate. How is that work an extension of your prose writing, and to what degree is it a significant break?

In a lot of ways, writing comics seems easier than writing prose. For one, I'm much faster at it (I can write about an issue a week). It's much more of a conscious process—like solving a puzzle. Take a five- or six-issue arc, break that overall story down by issue, then down my page, and again by panel. I love this organizational bit, which I do entirely by hand. I really enjoy writing by hand. I start every story by hand, but usually transition to my laptop after several pages—once I have a feel for the tone/direction. So it's fun to do an entire draft by hand when working on comics.

More plans in that direction ahead, or what’s next for Christopher Irvin?

I have quite a few projects at various stages (mostly comics) and a novel that's due for a full rewrite. The novel is my priority for the winter months (it's sat for close to a year.) Between the novellas and the short story collection, it's become a bit of a monkey on my back. I want to prove to myself that I can complete a novel that reaches, or exceeds, the level of my short fiction.

25 November 2015

The Trail of Tears


by Brian Thornton


 A few years back I wrote a book called The Book of Bastards. The following piece on the Trail of Tears was originally intended for that book, but since it centered around a specific incident, rather than around the actions of an individual, it didn't really work thematically. Lately there's been a lot of talk amongst a number of individuals campaigning for the U.S. presidency about registering Muslims, limiting immigration, and basically treating an ethnic and religious minority as second class citizens. 

We've been here before.  

In light of these emerging and troubling facts, I've decided to include my piece on the scar of Cherokee Removal here, since it's about settlers' interactions with Native Americans, and I a descendant of both white southern settlers and displaced Cherokees, am thankful this holiday notions such as "Indian Removal" quite rightly seem unspeakably barbaric to our modern sensibilities.

 Here's hoping they always will. Happy Thanksgiving to all of you and all of yours!

So imagine that you’re a member of one of the tribes of Native Americans that lived in the eastern part of North America when European settlers first landed. Further imagine that instead of fighting the encroaching Europeans, you embraced their technological advances, their way of life, their concepts of God, even of having your own alphabet.

What if, in other words, you did what few if any other tribes tried to do: you tried to straddle a middle ground between your own indigenous culture while adopting what you and the other members of your tribe judged to be the best aspects of European culture? Surely the Europeans, especially those so eager to convert the “heathens” native to the continent, would be pleased and accept you and be impressed by your efforts to both become part of the new country they were building and yet still not lose the distinctiveness of your native traditions, right?

Not if you were the Cherokee Indians of North Carolina, Tennessee, Georgia and Alabama.
Cherokee Chief John Ross

The Cherokees did it all: they dressed like the whites, they farmed like the whites, lived in frame clapboard houses like the whites, even bought and owned black slaves to help them bring in cash crops like the whites.

And in the end, none of it mattered.

Why?

Because the Cherokees had the bad grace to live on land where gold was discovered in the late 1820s. After that it was only a matter of time before the Cherokees, as had their neighbors the Creeks, Choctaws and Chickasaws before them, were pushed off their land.

Chief Justice John Marshall, who wrote the majority opinion
But the Cherokees had learned much in their study of the ins and outs of white culture. Like any good American who felt they were being treated unfairly, they got lawyers and filed law suits. When the state of Georgia tried to force a cession treaty on them where they “voluntarily” surrendered their lands in the southern Appalachian Mountains, the Cherokees sued. The case, known as Worcester v. Georgia, contested the sovereignty of an individual state with regard to either policing or parceling out Cherokee land, which by treaty right was considered sovereign territory.

This was tied up in court for years, until the Supreme Court heard the case and in 1832 ruled against the state and established as settled law the matter of whether Indians had legal rights to both occupy and control their own land. Several other court victories reinforcing the legal rights of Indians to their treaty lands followed.

Can't take him off of the twenty dollar bill quick enough!
In the end it was all for naught. The United States government is separated into three branches, and while the court system has every obligation to rule on and establish the laws, it is the job of the Legislative branch (Congress) to make appropriate laws in the first place, and of the Executive to enforce said laws. Neither the Congress nor the President (in this case Andrew Jackson, a man who initially made his reputation fighting tribes such as the Creek Confederacy as a general of Tennessee volunteer troops) lifted a finger to halt Cherokee removal.

Jackson is reputed to have said: “Mr. [U.S. Supreme Court Chief Justice] Marshall has made his decision, now let him enforce it.” He said no such thing. Instead he noted that “the decision of the Supreme Court has fell still born, and they find that they cannot coerce Georgia to yield to its mandate.”

The end result was the forced removal of most of the Cherokee Nation from their ancestral lands beginning in 1838 (some residual tribal members still live in the region, including a group living on a special reservation in western North Carolina). The route these two large groups of Cherokees followed westward through Tennessee, Kentucky, Illinois and Missouri into what is now Oklahoma became known in the Cherokee language as “nu na hi du na tlo hi lu i,” which translates as “the Trail Where They Cried.”



More than 4,000 of the 13,000 Cherokees who made the journey perished on the trail; some were infected with smallpox picked up from used blankets that were given to them by a Tennessee sanatorium that had recently suffered an outbreak of this disease against which the Indians had no immunity.



Truly a dark and ignoble chapter in the history of this country–one that continues to be a cautionary tale for successive generations to this very day.

Kinda puts the likes of Donald Trump and his "Muslim Registration" notions into a crystal clear light, doesn't it? Can't say it couldn't happen here, after all.

Because it happened before.

And we all know that "registration" is usually just the first step down a slippery slope toward what in the future will likely be branded a "cautionary tale."

Food for thought.

Happy Thanksgiving.

America First


Couple of things led to this week's musing. After my speculations about the Duke of Windsor's political sympathies. Eve Fisher suggested John Gunther's INSIDE EUROPE (1938) for a good picture of the rise of fascism, and then she wrote wrote a column about anarchist history - how none of it develops in a vacuum. This was followed by Jan Grape's piece on terrorism, and then there was Donald Trump's widely-reported prescription for a register of Syrian refugees, and bringing back waterboarding. It doesn't matter what you or I think of Trump, or what we think about torture, for that matter, or immigration policy, or radical salafist Islam. Certainly there's a debate to be had about national security, but that's another conversation. Right now, let's talk about the hysteria index. This doesn't exist in a vacuum, either, or outside historical context.


We've got a long track record in this country of what Harry Truman once called Creeping Meatballism. Examples go back to the Know-Nothings, a nativist, anti-Catholic political party of the 1850's. One constant is fear of the Other, as in the captive narratives that were popular after the Deerfield Raid in 1704, white women and children carried off by Indians, and much the same sentiment as No Irish Need Apply or the Chinese Exclusion Act or Jim Crow laws, or various incarnations of the Red Scare. It boils down to marketing skills, and the lowest common denominator.

Charles Lindbergh got famous three times. First, for his solo flight across the Atlantic, then when his son was kidnapped, and last, for his active engagement with the America First Committee, established in 1940 to keep the U.S. out of any European war. Although there was plenty of isolationist feeling in the country, or at least a strong bent toward neutrality, in the end America First damaged Lindbergh's reputation and later legacy, because he was not only an admirer of Germany and an apologist for Hitler's rearmament policies, but he ascribed support for the war to the Jewish influence. This echoed the anti-Semitism of the more notorious America Firsters - one, Laura Ingalls (not the LITTLE HOUSE ON THE PRAIRIE writer) went to jail for sedition after Pearl Harbor, because she'd taken money from Nazi spymasters.

Joe McCarthy might seem a little obvious, and more than a little below the salt, which is why he was written off as a blowhard at first, but there was nothing ridiculous about him, not if you got tarred with the Commie brush. The blacklist was used to settle a lot of scores, and nobody's motives were pure, so you wonder how come it provoked so much fevered melodrama. What gets lost, or eroded over time, is the actual experience people lived through, the climate of paranoia and lynch law. That's why survivors on both sides of the quarrel still hold a grudge.  

Generally speaking, I'd guess you could make a pretty good case that this kind of phenomenon arises in times of uncertainty. As a friend of mine once remarked, people don't have much tolerance for ambiguity. The more complicated and intractable the problem, the more likely it appears to encourage simple-minded posturing and wishful thinking. "The cheaper the crook, the gaudier the patter," Spade says, which holds true for any unserious argument.

The world, which seems to lie before us like a land of dreams, is in fact an increasingly ambiguous and treacherous place, and we don't have too many navigational aids. Is there any such animal as True North? I can't say. The difficulty with taking refuge or comfort in
certitude, is that the goalposts are gonna move. There's no sure thing. Orthodoxy is snake oil. The received wisdom is a high-mileage trade-in with too many previous owners. The evidence of your own senses is open to question. It depends what's in the drinking water. In other words, we've got a trust issue. Somebody comes down from the mountaintop, you have reason to wonder whether the air up there's too thin to breathe.

We prefer to imagine it's all those other guys who are so gullible, and open to suggestion. Truth is, there's probably a closet jihadi in each of us - not in the literal sense, the Islamist moral midgets, but in the sense that each of us harbors a need to be protected, inside the mouth of the cave, safe from predators. Told it's okay. Better perhaps to know too little than too much, and not to be challenged by a world that doesn't conform to our hermetic comforts. The jihadi is sealed off, at a remove. I'm sure there's a psychological term for it. Inversion? It's reassuring, and self-contained. It feeds off its own inner heat, it has no outside frame of reference.

We're talking, I believe, about a defense mechanism. A reaction to uncertainty and confusion, and the loss of confidence. An arrested mania, a retreat. Why not call it a pathology? There's a fascinating book called EXTRAORDINARY POPULAR DELUSIONS AND THE MADNESS OF CROWDS. We might reflect on this, in our fortress mentality. These are uneasy times. They conjure up bafflement.

DavidEdgerleyGates.com