27 December 2019

Jan and Dean, and the Writer Who Brought Them Back from Dead Man's Curve


Jan Berry had it all.

Jan and Dean's '63 drag race classic,
"Dead Man Curve." 
He was the Jan of Jan and Dean, the pop duo who, along with the Beach Boys, made surfing and drag racing something to sing about. Like the Beach Boys' Brian Wilson, Jan wrote and produced. He was writing charts for the Wrecking Crew (if that term doesn't ring a bell, check out the the 2008 doc of the same name) while Brian Wilson and his brothers were still the primary musicians on Beach Boy records. Brian Wilson wrote "Surf City" with Jan. They appeared on each other's recordings.

Brian Wilson and Jan Berry were flip sides of the same coin. Brian Wilson was a studio progeny who stopped touring with his band so he could devote himself to creating gems like "God Only Knows" and "Wouldn't it Be Nice." While Jan Berry was a technically savvy producer, Brian blossomed in the studio. He directed the Wrecking Crew like Dudamel conducts the LA Philharmonic.  Brian was pudgy, and younger brother Dennis (famously the one true surfer of the group) was the only Beach Boy who seemed a natural on an album cover. Though the leader of the Beach Boys, Brian was cowed by his overbearing dad until he and his band of brothers kicked pops out of the control room. Pops got his revenge by selling the Beach Boys library for, if not peanuts, peanut brittle.

Brian Wilson, '66
If you took Brian's musical know-how and combined it with younger brother Dennis' good looks and athleticism, you'd get a closer picture of Jan Berry.  Jan Berry was a BMOC, a West LA high school football player and rule-breaking prankster who took orders from no one. According to Paul Morantz's groundbreaking Rolling Stone essay "The Road Back from Dead Man's Curve," Jan ran away from home for six months after his dad embarrassed him by picking him up at a party in front of his friends. "He had always been his own man and disliked authority of any kind. He was, said a friend, so much smarter, quicker, stronger than anyone else that he just made up his own rules," Morantz writes.

Jan and Dean
Jan Barry was living the dream. While making hit records and touring, Jan was, amazingly, a pre-med student at UCLA, minoring in music. He was the ultimate mid-sixties hyphenate. It's almost as if he had a duel identity, like Adam West's groovy '60s Batman.  Jan Berry, medical student by day, surfer-auteur by night. Jan and Dean even riffed on this idea in the album Jan and Dean Meet Batman. According to Dean Torrence, Jan didn't sweat it if record execs tried to push the duo around. "He's pre-med, I'm at the School of Architecture at USC. What do we care?" Dean said in a 2004 interview with Rolling Stone.  "You're going to kick us off the label? We'll start our own."

Jan dated Ann-Margret. Jan dated Yvette Mimieux. Jan drove his Corvette Sting Ray fast. Sometimes he worked while driving. "I'd seen him transpose stuff (music) while driving in his car,"  Dean remembers. "Why he just didn't ask me to drive while he changed the notes, I don't know."

Jan Barry crashed his Sting Ray into a parked pick-up truck in 1966, not far from the real Dead Man's Curve that he and Dean made a hit record about. Jan Berry suffered permanent brain damage. When once nothing seemed to exceed his grasp, now he had to relearn how to sign his name.  The go-it-alone attitude that had served Berry when he had the talent to back it up now only pushed people away. Los Angeles lowlifes leeched money from Berry, some plying him with drugs. He retained dreams of a come back, but who wanted a singer who couldn't sing? Dean, like the rest of the world, moved on.

Paul Morantz,
attorney, journalist, author
Paul Morantz is a LA hyphenate too; he's a lawyer and an investigative journalist.  As an attorney Morantz has successfully taken on shady cults.  Probably his most famous case was battling Synanon in the '70s. Synanon was a drug rehab facility based in Santa Monica that slowly morphed into a dangerous paramilitary cult. After Morantz became too big a threat, Synanon put a rattlesnake in Morantz's mailbox. The snake bit Morantz, and he spent six days in the hospital. Thanks in large part to Morantz's many lawsuits (and the snake incident), Synanon dissolved in 1991.

Perhaps Morantz's most famous piece of journalism is one of his first. According to his website (PaulMorantz.Com), Paul first met Jan Berry in 1969. Paul was a USC law student vacationing in Palm Springs, where he met a "strange figure with a handicapped body and a broken voice" sitting in the lounge chair next to him.   Paul wrote an article for the Daily Trojan about his two-day encounter with Jan Berry. This was the basis for "The Road Back from Dead Man's Curve," published in Rolling Stone in 1974.

"The Road Back from Dead Man's Curve" details the rise and fall of Jan and Dean, with the focus on the aftermath for Jan. I just want to stop here and say how good Morantz's writing is. He really paints a scene with his words. Here he is describing the leeches who ripped Jan off:

They came like scavengers to a shipwreck. Strangers walked in, used his bedroom and kitchen, and walked out, some with his stereo equipment and others with his records, clothes, or liquor. For those who stayed awhile Jan bought gifts and lent his car but eventually they left, too.

The story builds as Jan slowly, painfully, puts his life back together.  Morantz gives a fully formed picture of Jan before the accident:

He was concerned only with achievement. He worked constantly and kept few friends. His mind was always working on everything at once...

Jan lost the power to concentrate after the accident. Writing lyrics became impossible, though music still flowed through him. Unlike before, Jan has no choice but to take everything slow. He spends his time taking walks. He yearns for friendships. It's clear he'll never get to where he was, but it's enough that he just gets happier. The lessons that Jan Berry has to learn apply to all of us. Morantz is cleverly writing not just about Jan's comeback, but about the human condition. It's really a beautiful tale.
TV movie Deadman's Curve

"The Road Back from Dead Man's Curve" struck a chord. Interest in Jan and Dean picked up. The duo began performing together for the first time in years. Morantz's article became Deadman's Curve, a '78 TV movie for CBS that he co-wrote.  Richard Hatch played Jan, Bruce Davison played Dean. I saw it on TV when I was a kid and loved it.  It fit in nicely with all the '50s-early '60s, Happy Days-stoked  nostalgia of the era. And it's a great comeback story.

Jan Berry was fearless and smart. If the music thing didn't pan out, he'd be a doctor. Maybe he and Jan would have their own TV show. He had a lot of irons in the fire. He wasn't interested in making sensitive music about his feelings, and he wasn't necessarily sympathetic to the counter culture that was rising around him. Even so, "Dean Man's Curve," is a stone cold classic, the best of the drag racing tunes. I like its attention to detail. The Sting Ray. The Jag. The  deserted Sunset Strip. It's a tale of hubris that ends in death.

Jan Berry did walk back from Dead Man's Curve, but unlike his former self, he couldn't go it alone. He had the help of Paul Morantz, a writer who dug deep again and again until he got to the heart of a story.

Check out PaulMorantz.com to read "The Road Back from Dead Man's Curve." Paul Morantz is a terrific writer and journalist who has many great stories to tell. 



I'm Lawrence Maddox.

My novel Fast Bang Booze is available from DownAndOutBooks.com

MadXBooks@gmail.com
Or on Twitter, Lawrence Maddox@Madxbooks.

26 December 2019

Happy Boxing Day & Happy Kwanzaa!


Get it?
First off, Happy Boxing Day to all who practice it!

And speaking of the day originally set aside by our friends across The Pond in the U.K. for "The Help" to get to open their own presents (sort of a poor-person-in-service's bargain rate Christmas-the-day-after-the-actual-event), did anyone else grow up thinking it was weird to look at a calendar to see that Canada set aside a day to celebrate boxing?

Stay with me, here.

(Happy Kwanzaa too!)



When I was a kid, the calendar–and this was that thing we hung on a wall and consulted, not an app that came with our phone chock full of pop-up alarms/reminders and with plenty of room in it for personalization so we could add even more new reminders about stuff only we personally need to be reminded about–read "Boxing Day (Canada)." No mention of the United Kingdom, or any of the other dominions of the British Empire anywhere in evidence on said calendar entry. So I naturally assumed that the people who made the calendar knew something I didn't: that Canadians set aside a day to celebrate the Sweet Science.

This seems more like it.
Now, bear in mind that I was about six at the time. Which kind of explains my thinking, "Huh, I'd expect them to have 'Hockey Day' before 'Boxing Day.' I guess boxing is way more popular in Canada than I thought." I would revisit this notion several months later, during the Summer Olympics. I was truly perplexed that it seemed as if every good boxer was either Cuban, American, or Russian. Not a Canadian in the bunch.

And I was once again puzzled at the popularity of boxing in a country which didn't field very impressive athletes in that sport. This was in 1972, so it was several years before the likes such PR efforts as the "Jamaican Bob-Sledding Team" became a thing.

It was only years later that I came to understand that Boxing Day was a cultural remnant passed on to our cousins to the north by the British. The same British, of course, also settled the original thirteen American colonies. And yet for some reason the tradition of "Boxing Day," widely considered to date back well into the 17th century, just never caught on here, south of the 49th parallel.


And nowadays I'm given to understand that (in Canada, at least), Boxing Day is very much like our American tradition of Black Friday. Can't help but wonder whether internet commerce hasn't played Hell with that tradition up in Canada the way it has here in the States. Due to Black Friday deals shifting online, nowadays we have whole stores that go untrampled, with zero fights erupting over the last "This Year's Must-Have Item" at your local Nordstrom Rack, and any number national retail brands no longer bothering to dragoon all of their available sales forces to go in to work at around 10 P.M. on Thanksgiving Night, in preparation for the busiest shopping day of the year.

But regardless, Canada (and the rest of the dominions of the British Empire, for that matter), you do you.

And Happy Boxing Day!


While I'm at it, a quick shout out to those who celebrate Kwanzaa, which also starts today, and runs through New Years' Day. A relatively recent addition to the interfaith midwinter holiday tradition, Kwanzaa nevertheless has a lot to recommend it, and I am a fan of the intentions behind the holiday: to highlight the contributions of members of the "African Diaspora" to the societies throughout the Americas where they and their ancestors were brought as slaves, and to which they and their descendants will continue to contribute as citizens.


The seven principles Kwanzaa celebrates are Unity, Self-Determination, Collective Work and Responsibility, Cooperative Economics, Purpose, Creativity and Faith. For my money, these are all worth celebrating, and tying that celebration in to African traditions and their cultural echoes in our ever-diversifying culture? Also definitely worthwhile.



So Happy Kwanzaa, and Happy Boxing Day!

See you in two weeks!

25 December 2019

Raymond Briggs


I was first introduced to Raymond Briggs with Fungus the Bogeyman, and then his dystopian heartbreaker When the Wind Blows. I hadn't realized he was already famous in the UK for his holiday stories, The Snowman, and the two Father Christmas books. Briggs himself claims to have no real attachment to Christmas, but for all that, here's some cheer. You'll probably recognize the line in his drawings, which feels altogether specific and familiar.

Bless us each and every one, in this season of both want and plenty.















24 December 2019

My Secret About "Alex's Choice"


This column is about my newly published short story "Alex's Choice" in the anthology Crime Travel. If you plan to read the story, I recommend you do so first before proceeding here. What I'm about to reveal isn't a plot spoiler but it may impact your reading experience.

Okay. Let's get started. (And if you just read the story, I hope you liked it!)

When you start writing a short story or novel, you have some basic decisions to make. Who will my main character be? What will this person's name be? Job and hobbies if relevant? Appearance? What journey will the character face? And perhaps one of the biggest questions, what will the character's gender be? Maybe that question shouldn't be important, but it is, as it can (though it doesn't have to) affect so much in how a story is told.

It's a decision I've made for the main characters as well as the minor ones in all of my stories, except for one. When I wrote my story "Alex's Choice" (published earlier this month in the crime/time-travel anthology Crime Travel), I purposely chose not to make that decision for the title character. I chose the name Alex because it was the most gender-neutral name I could think of. Alex could be short for Alexander or Alexandra, for Alexi or Alexa or Alexis. Or the name might not be a nickname at all. I polled Facebook friends, asking if they thought someone named Alex would be a boy or girl with no other clues. For those who hazarded a guess, the results were pretty evenly split. So is Alex in my story a twelve-year-old boy or girl or perhaps even nonbinary? I never tell you. The answer is up to the reader.

Actually, I wrote the story hoping the reader would not consciously make that decision. Given that the name could be viewed as male or female, I hoped it would lead each reader to assume--without realizing it--that Alex is of the same gender as that reader. That was important because I wanted readers to remember stories they read as a child, fantasies or adventures that swept them away, and to get that same feel from this story. By not telling the reader Alex's gender, I allowed every reader to identify with Alex and perhaps picture themselves as Alex. At least I hope I did.

While I've done no research on this, I'd guess my decision not to tell the reader Alex's gender is similar to the gender-neutral approach to the Choose Your Own Adventure books popular when I was a kid. "You" were the main character, as I recall. The books were oriented toward every child. The main character's gender was never mentioned, likely because the author and publisher wanted every child to be able to see themselves as that character and go on that adventure. (Illustrations in some the books unfortunately depicted the main character as a boy, but I believe the stories themselves never did that.)

This no-gender-mentioned approach added challenges to the writing process. For instance, when talking about toys Alex had when younger, as well as activities Alex enjoys now, I chose things that I hoped readers wouldn't  associate as male or female. This was important because, while boys can play with dolls and girls can play with action figures, for some readers, a reference to dolls will automatically make that reader think the character is a girl, and a reference to action figures will automatically make the reader think the character is a boy.

One choice I made that made the writing process a little easier was telling the story in first person. I didn't have to avoid using pronouns in reference to Alex.

Of course I'm not the only writer to have ever written about characters' whose genders are ambiguous throughout the entire tale. Most such novels and stories, it seems, have been penned in the science fiction realm. As for crime fiction, my research has turned up the Detective Hilary Tamar four-novel series by the late Sarah Caudwell. Tamar's gender is never revealed in any of the books. In Steven Rigolosi's novel Androgynous Murder House Party, the author never reveals the gender of any of the seven main characters in the book. He hints near the end about some of their genders, but they are only hints. And Louise Penny has a character in two of her books, Bean, whose gender is never revealed.

So now you know a big secret about "Alex's Choice." If you read the story before you read this column, did it work--did you picture yourself as Alex? Did you assume Alex was the same gender as you? I'd also love to know if you've read any of the other books/authors I've mentioned above. If so, did not knowing the characters' gender affect the reading process and your enjoyment of the works?

And if you're now intrigued and are dying to buy Crime Travel or are at least thinking about it, here's some helpful information. It has fifteen short stories. The authors with stories in the book are: Melissa H. Blaine, James Blakey, Michael Bracken, Anna Castle, Brendan DuBois, David Dean, John M. Floyd, Heidi Hunter, Eleanor Cawood Jones, Adam Meyer, Barbara Monajem, Korina Moss, Art Taylor, Cathy Wiley, and, of course, me. We've had some solid reviews. To find them, just Google Crime Travel and my name. (I edited the book.) The anthology is available in trade paperback and ebook. (A hardcover version is coming but hasn't been shipped from the printer yet.) You can buy Crime Travel from the usual online sources. Indie bookstore Mystery Loves Company in Oxford, Maryland, also has copies they are happy to mail to you.

I wish you a wonderful holiday season and new year. And happy reading!

23 December 2019

Christmas (On-stage) in Connecticut


Remember the old seasonal entertainment traditions around Christmas? Growing up, I always watched Perry Como's Christmas program on TV, and there were other holiday specials I came to take for granted, too. The Grinch still guarantees a green Christmas, and the Peanuts special a white one.

In Connecticut, and I assume elsewhere, local theaters bombard us with Christmas-themed productions, some funny, some traditional, some downright scary.

Leading the pack is the Hartford Stage Company's production of A Christmas Carol.
It stays faithful to Dickens with elaborate staging including flying ghosts, spectacular lighting effects and creepy sounds. Students from nearby Hartt College play supporting characters, and local children become the Cratchit family. In this, the production's 22nd season, the four-week run was sold out before the opening show. I only got to see it because my wife, who acted at Hartford Stage a few years ago, still gets comps to most shows. Naturally, we grabbed them.

A newer standby is TheaterWorks Christmas on the Rocks. Artistic director Rob Ruggiero invited local playwrights to create monologues in which well-known characters from various other works sit in a bar and discuss their lives since their moments in the spotlight. This year's production features Ted Lange, formerly known as Isaac, the bartender on The Love Boat, as the bartender. He listens to an older Tiny Tim, Charlie Brown, Zuzu from It's a Wonderful Life, and Clara from The Nutcracker, among others.
The production premiered in 2013 and has become a local tradition, gathering momentum and new characters each year.







Joe Mantello adapted The Santaland Diaries, originally an essay by David Sedaris in 1992, telling of his working as an elf in Macy's Santaland. At least three different productions are now running within driving distance of our condo.

And, of course, last but longest-running, a "radio" play production of It's a Wonderful Life, complete with the foley table for sound effects and old microphones the actors pretend to read into. My wife was in a production of this decades ago and, again, we can find several different versions less than a gas tank away.

Like Perry Como in a previous generation, all of these have come to mean Christmas in Connecticut, almost as clearly as mobbed shopping malls and neighbors singing carols after getting fortified with high-test eggnog.

Only two shopping days left, so remember that books are great gifts. There's a book out there for everyone, they can be re-read and shared, and they're easy to wrap. Just sayin'...

Happy Christmas to all, and to all a good night.

Oh, and BSP for the holidays, "This Year's Model" won Honorable Mention for this year's Black Orchid Novella Award, sponsored by The Wolfe Pack and Alfred Hitchcock's Mystery Magazine. I received the news ten days ago.

22 December 2019

Jefferson's Love Letter


Apologies up front: This isn’t a Hallmark Christmassy article. Begun last week, it happened to occur where the schedule fell. Think of it as a Christmas love story, one involving a founding father— author of the Declaration of Independence, future Secretary of State for George Washington, Vice President, and our third President. In Paris, Thomas Jefferson fell in love with a European beauty: English, raised in Tuscany, brilliant, talented, artistic, musical, and a great motivator. And, uh, married.

Not sure about friction, as the French say, but emotional sparks had definitely ignited.

The letter is strong but circumspect. It bears meaning to those who understand. Jefferson even managed to slip in a not-quite-subliminal “I love you,” en français near the end.

Speaking of… the sources I found contained transliteration anomalies of one sort or another. These included transcription errors, a misunderstanding of French, and differences between original and modern spelling. For example, the word ‘shewed’ (meaning showed) was transcribed as ‘skewed’. Mine isn’t a perfect rendering, merely an effort to reduce copy errors.

Settle in with hot chocolate and enjoy a long read. Happy Christmas!

— Leigh

To Maria Cosway, Paris, 12 October 1786


Maria Cosway, 1760-1838
Maria Cosway, 1760-1838
My Dear Madam,

Having performed the last sad office of handing you into your carriage at the pavilion de St. Denis, and seen the wheels get actually into motion, I turned on my heel & walked, more dead than alive, to the opposite door, where my own was awaiting me. Mr. Danquerville was missing. He was sought for, found, & dragged down stairs. WE were crammed into the carriage, like recruits for the Bastille, & not having soul enough to give orders to the coachman, he presumed Paris our destination, & drove off. After a considerable interval, silence was broke with a “Je suis vraiment affligé du depart de ces bons gens.” This was a signal for a mutual confession of distress. We began immediately to talk of Mr. & Mrs. Cosway, of their goodness, their talents, their amiability; & tho we spoke of nothing else, we seemed hardly to have entered into matter when the coachman announced the rue St. Denis, & that we were opposite Mr. Danquerville’s. He insisted on descending there & traversing a short passage to his lodgings. I was carried home. Seated by my fireside, solitary & sad, the following dialogue took place between my Head & my Heart:

Head. Well, friend, you seem to be in a pretty trim.

Heart. I am indeed the most wretched of all earthly beings. Overwhelmed with grief, every fibre of my frame distended beyond its natural powers to bear, I would willingly meet whatever catastrophe should leave me no more to feel or to fear.

Head. These are the eternal consequences of your warmth & precipitation. This is one of the scrapes into which you are ever leading us. You confess your follies indeed; but still you hug & cherish them; & no reformation can be hoped, where there is no repentance.

Heart. Oh, my friend! This is no moment to upbraid my foibles. I am rent into fragments by the force of my grief! If you have any balm, pour it into my wounds; if none, do not harrow them by new torments. Spare me in this awful moment! At any other I will attend with patience to your admonitions.

Head. On the contrary I never found that the moment of triumph with you was the moment of attention to my admonitions. While suffering under your follies, you may perhaps be made sensible of them, but, the paroxysms over, you fancy it can never return. Harsh therefore as the medicine may be, it is my office to administer it. You will be pleased to remember that when our friend Trumbull used to be telling us of the merits & talents of these good people, I never ceased whispering to you that we had no occasion for new acquaintance; that the greater their merits & talents, the more dangerous their friendship to our tranquillity, because the regret at parting would be greater.

Heart. Accordingly, Sir, this acquaintance was not the consequence of my doings. It was one of your projects which threw us in the way of it. It was you, remember, & not I, who desired the meeting at Legrand & Molinos. I never trouble myself with domes nor arches. The Halle aux blés might have rotted down before I should have gone to see it. But you, forsooth, who are eternally getting us to sleep with your diagrams & crotchets, must go & examine this wonderful piece of architecture. And when you had seen it, oh! It was the most superb thing on earth. What you had seen there was worth all you had yet seen in Paris! I thought so too. But I meant it of the lady & gentleman to whom we had been presented; & not of a parcel of sticks & chips put together in pens. You then, Sir, & not I, have been the cause of the present distress.

Head. It would have been happy for you if my diagrams & crotchets had gotten you to sleep on that day, as you are pleased to say they eternally do. My visit to Legrand & Molinos had publick utility for its object. A market is to be built in Richmond. What a commodious plan is that of Legrand & Molinos; especially if we put on it the noble dome of the Halle aux blés. If such a bridge as they shewed us can be thrown across the Schuylkill at Philadelphia, the floating bridges taken up & the navigation of that river opened, what a copious resource will be added, of wood & provisions, to warm & feed the poor of that city? While I was occupied with these objects, you were dilating with your new acquaintances, & contriving how to prevent a separation from them. Every soul of you had an engagement for the day. Yet all these were to be sacrificed, that you might dine together. Lying messengers were to be despatched into every quarter of the city, with apologies for your breach of engagement. You particularly had the effrontery to send word to the Duchess Danville that, on the moment we were setting out to dine with her, despatches came to hand which required immediate attention. You wanted me to invent a more ingenious excuse; but I knew you were getting into a scrape, & I would have nothing to do with it. Well, after dinner to St. Cloud, from St. Cloud to Ruggieris, from Ruggieri to Krumfoltz, & if the day had been as long as a Lapland summer day, you would still have contrived means among you to have filled it.

Heart. Oh! My dear friend, how you have revived me by recalling to my mind the transactions of that day! How well I remember them all, & that when I came home at night & looked back to the morning, it seemed to have been a month agone. Go on then, like a kind comforter & paint to me the day we went to St. Germains. How beautiful was every object! The Port de Reuilly, the hills along the Seine, the rainbows of the machine of Marly, the terrace of St. Germains, the chateaux, the gardens, the statues of Marly, the pavilion of Lucienne. Recollect too Madrid, Bagatelle, the Kings garden, the Dessert. How grand the idea excited by the remains of such a column! The spiral staircase too was beautiful. Every moment was filled with something agreeable. The wheels of time moved on with a rapidity of which those of our carriage gave but a faint idea. And yet in the evening when one took a retrospect of the day, what a mass of happiness had we travelled over! Retrace all those scenes to me, my good companion, & I will forgive the unkindness with which you were chiding me. The day we went to St. Germains was a little too warm, I think; was it not?

Head. Thou art the most incorrigible of all the beings that ever sinned! I reminded you of the follies of the first day, intending to deduce from thence some useful lessons for you, but instead of listening to these, you kindle at the recollection, you retrace the whole series with a fondness which shews you want nothing but the opportunity to act it over again. I often told you during its course that you were imprudently engaging your affections under circumstances that must have cost you a great deal of pain: that the persons indeed were of the greatest merit, possessing good sense, good humour, honest hearts, honest manners, & eminence in a lovely art; that the lady had moreover qualities & accomplishments, belonging to her sex, which might form a chapter apart for her: such as music, modesty, beauty, & that softness of disposition which is the ornament of her sex & charm of ours, but that all these considerations would increase the pang of separation: that their stay here was to be short: that you wrack our whole system when you are parted from those you love, complaining that such a separation is worse than death, inasmuch as this ends our sufferings, whereas that only begins them: & that the separation would in this instance be the more severe as you would probably never see them again.

Heart. But they told me they would come back again the next year.

Head. But in the meantime see what you suffer: & their return too depends on so many circumstances that if you had a grain of prudence you would not count upon it. Upon the whole it is improbable & therefore you should abandon the idea of ever seeing them again.

Heart. May heaven abandon me if I do!

Head. Very well. Suppose then they come back. They are to stay two months, & when these are expired, what is to follow? Perhaps you flatter yourself they may come to America?

Heart. God only knows what is to happen. I see nothing impossible in that supposition. And I see things wonderfully contrived sometimes to make us happy. Where could they find such objects as in America for the exercise of their enchanting art? especially the lady, who paints landscapes so inimitably. She wants only subjects worthy of immortality to render her pencil immortal. The Failing Spring, the Cascade of Niagara, the Passage of the Potomac through the Blue Mountains, the Natural Bridge. It is worth a voyage across the Atlantic to see these objects; much more to paint, and make them, & thereby ourselves, known to all ages. And our own dear Monticello, where has nature spread so rich a mantle under the eye? Mountains, forests, rocks, rivers. With what majesty do we there ride above the storms! How sublime to look down into the workhouse of nature, to see her clouds, hail, snow, rain, thunder, all fabricated at our feet! And the glorious sun when rising as if out of a distant water, just gilding the tops of the mountains, & giving life to all nature? I hope in God no circumstance may ever make either seek an asylum from grief! With what sincere sympathy I would open every cell of my composition to receive the effusion of their woes! I would pour my tears into their wounds: & if a drop of balm could be found on the top of the Cordilleras, or at the remotest sources of the Missouri, I would go thither myself to seek & to bring it. Deeply practised in the school of affliction, the human heart knows no joy which I have not lost, no sorrow of which I have not drunk! Fortune can present no grief of unknown form to me! Who then can so softly bind up the wound of another as he who has felt the same wound himself? But Heaven forbid they should ever know a sorrow! Let us turn over another leaf, for this has distracted me.

Head. Well. Let us put this possibility to trial then on another point. When you consider the character which is given of our country by the lying newspapers of London, & their credulous copyers in other countries; when you reflect that all Europe is made to believe we are a lawless banditti, in a state of absolute anarchy, cutting one another’s throats, & plundering without distinction, how can you expect that any reasonable creature would venture among us?

Heart. But you & I know that all this is false: that there is not a country on earth where there is greater tranquillity, where the laws are milder, or better obeyed: where every one is more attentive to his own business, or meddles less with that of others: where strangers are better received, more hospitably treated, & with a more sacred respect.

Head. True, you & I know this, but your friends do not know it.

Heart. But they are sensible people who think for themselves. They will ask of impartial foreigners who have been among us, whether they saw or heard on the spot any instances of anarchy. They will judge too that a people occupied as we are in opening rivers, digging navigable canals, making roads, building public schools, establishing academies, erecting busts & statues to our great men, protecting religious freedom, abolishing sanguinary punishments, reforming & improving our laws in general, they will judge I say for themselves whether these are not the occupations of a people at their ease, whether this is not better evidence of our true state than a London newspaper, hired to lie, & from which no truth can ever be extracted but by reversing everything it says.

Jefferson ☞ Cosway letter, page 1
Jefferson ☞ Cosway letter, page 1
Head. I did not begin this lecture my friend with a view to learn from you what America is doing. Let us return then to our point. I wished to make you sensible how imprudent it is to place your affections, without reserve, on objects you must so soon lose, & whose loss when it comes must cost you such severe pangs. Remember that last night. You knew your friends were to leave Paris to-day. This was enough to throw you into agonies. All night you tossed us from one side of the bed to the other. No sleep, no rest. The poor crippled wrist too, never left one moment in the same position, now up, now down, now here, now there; was it to be wondered at if its pains returned? The Surgeon then was to be called, & to be rated as an ignoramus because he could not divine the cause of this extraordinary change. In fine, my friend, you must mend your manners. This is not a world to live at random in as you do. To avoid those eternal distresses, to which you are forever exposing us, you must learn to look forward before you take a step which may interest our peace. Everything in this world is a matter of calculation. Advance then with caution, the balance in your hand. Put into one scale the pleasures which any object may offer; but put fairly into the other the pains which are to follow, & see which preponderates. The making an acquaintance is not a matter of indifference. When a new one is proposed to you, view it all round. Consider what advantages it presents, & to what inconveniences it may expose you. Do not bite at the bait of pleasure till you know there is no hook beneath it. The art of life is the art of avoiding pain: & he is the best pilot who steers clearest of the rocks & shoals with which he is beset. Pleasure is always before us; but misfortune is at our side: while running after that, this arrests us. The most effectual means of being secure against pain is to retire within ourselves, & to suffice for our own happiness. Those, which depend on ourselves, are the only pleasures a wise man will count on: for nothing is ours which another may deprive us of. Hence the inestimable value of intellectual pleasures. Even in our power, always leading us to something new, never cloying, we ride serene & sublime above the concerns of this mortal world, contemplating truth & nature, matter & motion, the laws which bind up their existence, & that eternal being who made & bound them up by those laws. Let this be our employ. Leave the bustle & tumult of society to those who have not talents to occupy themselves without them. Friendship is but another name for an alliance with the follies & the misfortunes of others. Our own share of miseries is sufficient: why enter then as volunteers into those of another? Is there so little gall poured into our cup that we must needs help to drink that of our neighbor? A friend dies or leaves us: we feel as if a limb was cut off. He is sick: we must watch over him, & participate of his pains. His fortune is shipwrecked; ours must be laid under contribution. He loses a child, a parent, or a partner: we must mourn the loss as if it were our own.

Heart. And what more sublime delight than to mingle tears with one whom the hand of heaven hath smitten! To watch over the bed of sickness, & to beguile its tedious & its painful moments! To share our bread with one to whom misfortune has left none! This world abounds indeed with misery: to lighten its burthen we must divide it with one another. But let us now try the virtues of your mathematical balance, & as you have put into one scale the burthen of friendship, let me put its comforts into the other. When languishing then under disease, how grateful is the solace of our friends! How are we penetrated with their assiduities & attentions! How much are we supported by their encouragements & kind offices! When heaven has taken from us some object of our love, how sweet is it to have a bosom whereon to recline our heads, & into which we may pour the torrent of our tears! Grief, with such a comfort, is almost a luxury! In a life where we are perpetually exposed to want & accident, yours is a wonderful proposition, to insulate ourselves, to retire from all aid, & to wrap ourselves in the mantle of self-sufficiency! For assuredly nobody will care for him who care for nobody. But friendship is precious, not only in the shade but in the sunshine of life; & thanks to a benevolent arrangement of things, the greater part of life is sunshine. I will recur for proof to the days we have lately passed. On these indeed the sun shone brightly. How gay did the face of nature appear! Hills, valleys, chateaux, gardens, rivers, every object wore its liveliest hue! Whence did they borrow it? From the presence of our charming companion. They were pleasing, because she seemed pleased. Alone, the scene would have been dull & insipid: the participation of it with her gave it relish. Let the gloomy monk, sequestered from the world, seek unsocial pleasures in the bottom of his cell! Let the sublimated philosopher grasp visionary happiness while pursuing phantoms dressed in the garb of truth! Their supreme wisdom is supreme folly; & they mistake for happiness the mere absence of pain. Had they ever felt the solid pleasure of one generous spasm of the heart, they would exchange for it all the frigid speculations of their lives, which you have been vaunting in such elevated terms. Believe me then my friend, that that is a miserable arithmetic which, could estimate friendship at nothing, or at less than nothing. Respect for you has induced me to enter into this discussion, & to hear principles uttered which I detest & abjure. Respect for myself now obliges me to recall you into the proper limits of your office. When nature assigned us the same habitation, she gave us over it a divided empire. To you she allotted the field of science; to me that of morals. When the circle is to be squared, or the orbit of a comet to be traced; when the arch of greatest strength, or the solid of least resistance is to be investigated, take up the problem; it is yours; nature has given me no cognisance of it. In like manner, in denying to you the feelings of sympathy, of benevolence, of gratitude, of justice, of love, of friendship, she has excluded you from their control. To these she has adapted the mechanism of the heart. Morals were too essential to the happiness of man to be risked on the incertain combinations of the head. She laid their foundation therefore in sentiment, not in science. That she gave to all, as necessary to all: this to a few only, as sufficing with a few. I know indeed that you pretend authority to the sovereign control of our conduct in all its parts: & a respect for your grave saws & maxims, a desire to do what is right, has sometimes induced me to conform to your counsels. A few facts however which I can readily recall to your memory, will suffice to prove to you that nature has not organised you for our moral direction. When the poor wearied soldier whom we overtook at Chickahomony with his pack on his back, begged us to let him get up behind our chariot, you began to calculate that the road was full of soldiers, & that if all should be taken up our horses would fail in their journey. We drove on therefore. But soon becoming sensible you had made me do wrong, that tho we cannot relieve all the distressed we should relieve as many as we can, I turned about to take up the soldier; but he had entered a by-path, & was no more to be found; & from that moment to this I could never find him out to ask his forgiveness. Again, when the poor woman came to ask a charity in Philadelphia, you whispered that she looked like a drunkard, & that half a dollar was enough to give her for the ale-house. Those who want the dispositions to give, easily find reasons why they ought not to give. When I sought her out afterwards, & did what I should have done at first, you know that she employed the money immediately towards placing her child at school. If our country, when pressed with wrongs at the point of the bayonet, had been governed by its heads instead of its hearts, where should we have been now? Hanging on a gallows as high as Hamans. You began to calculate & to compare wealth and numbers: we threw up a few pulsations of our warmest blood; we supplied enthusiasm against wealth and numbers; we put our existence to the hazard when the hazard seemed against us, and we saved our country: justifying at the same time the ways of Providence, whose precept is to do always what is right, and leave the issue to him. In short, my friend, as far as my recollection serves me, I do not know that I ever did a good thing on your suggestion, or a dirty one without it. I do forever then disclaim your interference in my province. Fill papers as you please with triangles & squares: try how many ways you can hang & combine them together. I shall never envy nor control your sublime delights. But leave me to decide when & where friendships are to be contracted. You say I contract them at random. So you said the woman at Philadelphia was a drunkard. I receive no one into my esteem till I know they are worthy of it. Wealth, title, office, are no recommendations to my friendship. On the contrary, great good qualities are requisite to make amends for their having wealth, title, & office. You confess that in the present case I could not have made a worthier choice. You only object that I was so soon to lose them. We are not immortal ourselves, my friend; how can we expect our enjoyments to be so? We have no rose without its thorn; no pleasure without alloy. It is the law of our existence; & we must acquiesce. It is the condition annexed to all our pleasures, not by us who receive, but by him who gives them. True, this condition is pressing cruelly on me at this moment. I feel more fit for death than life. But when I look back on the pleasures of which it is the consequence, I am conscious they were worth the price I am paying. Notwithstanding your endeavours too to damp my hopes, I comfort myself with expectations of their promised return. Hope is sweeter than despair, & they were too good to mean to deceive me. In the summer, said the gentleman; but in the spring, said the lady: & I should love her forever, were it only for that! Know then, my friend, that I have taken these good people into my bosom; that I have lodged them in the warmest cell I could find: that I love them, & will continue to love them through life: that if fortune should dispose them on one side the globe, & me on the other, my affections shall pervade its whole mass to reach them. Knowing then my determination, attempt not to disturb it. If you can at any time furnish matter for their amusement, it will be the office of a good neighbor to do it. I will in like manner seize any occasion which may offer to do the like good turn for you with Condorcet, Rittenhouse, Madison, La Cretelle, or any other of those worthy sons of science whom you so justly prize.



I thought this a favorable proposition whereon to rest the issue of the dialogue. So I put an end to it by calling for my night-cap. Methinks I hear you wish to heaven I had called a little sooner, & so spared you the ennui of such a sermon. I did not interrupt them sooner because I was in a mood for hearing sermons. You too were the subject; & on such a thesis I never think the theme long; not even if I am to write it, and that slowly & awkwardly, as now, with the left hand. But that you may not be discouraged from a correspondence which begins so formidably, I will promise you on my honour that my future letters shall be of a reasonable length. I will even agree to express but half my esteem for you, for fear of cloying you with too full a dose. But, on your part, no curtailing. If your letters are as long as the bible, they will appear short to me. Only let them be brimful of affection. I shall read them with the dispositions with which Arlequin, in Les deux billets spelt the words “je taime,” and wished that the whole alphabet had entered into their composition.

We have had incessant rains since your departure. These make me fear for your health, as well as that you had an uncomfortable journey. The same cause has prevented me from being able to give you any account of your friends here. This voyage to Fontainebleau will probably send the Count de Moustier & the Marquise de Brehan to America. Danquerville promised to visit me, but has not done it as yet. De la Tude comes sometimes to take family soup with me, & entertains me with anecdotes of his five & thirty years imprisonment. How fertile is the mind of man which can make the Bastile & Dungeon of Vincennes yield interesting anecdotes! You know this was for making four verses on Mme de Pompadour. But I think you told me you did not know the verses. They were these: “Sans esprit, sans sentiment, Sans etre belle, ni neuve, En France on peut avoir ie premier amant: Pontpadour en es l epreuve.” I have read the memoir of his three escapes.

Thomas Jefferson, 1743-1826
Thomas Jefferson, 1743-1826
As to myself my health is good, except my wrist which mends slowly, & my mind which mends not at all, but broods constantly over your departure. The lateness of the season obliges me to decline my journey into the south of France. Present me in the most friendly terms to Mr. Cosway, & receive me into your own recollection with a partiality & a warmth, proportioned, not to my own poor merit, but to the sentiments of sincere affection & esteem with which I have the honour to be, my dear Madam, your most obedient humble servant.
Thomas Jefferson signature
[Th÷Jefferson]

21 December 2019

Get Thee Away, Thesaurus!



How many times have you heard it? All of us write too much.

Alas, this doesn't mean we write too often. It means we write too many words. Certainly in our first drafts, and sometimes in later drafts as well--and one of the ways to make those drafts readable is to cut some of the words out.

Coco Chanel once said, "Before you leave the house, look in the mirror and remove one accessory." Probably good advice--and overwriting is worse than overdressing. Before your story or novel manuscript leaves the house, you need to look at it and remove a lot of accessories.

The trick, of course, is to know what to take out and what to leave in.


Size does matter

Here's something else you've probably heard. We write (and speak) too many BIG words.

I'm a firm believer that you can sound dumb, even if you're not, by using big words--and you can sound smart, even if you're not, by using simple language. (Of Faulkner and Hemingway, can you guess who I'd rather read? Even if I am from Mississippi.)


Police spokesmen do the big-word thing a lot. I heard the following on our local TV news the other night: "The two motorists exited their vehicles, at which point the first individual discharged his weapon, the other individual responded with gunfire, and both sustained fatal wounds." In other words, they got out of their cars and shot each other dead. I wish they'd just say that and get it over with.


The K.I.S.S. method

No matter how much you'd enjoy showing off your wide vocabulary, and no matter how proud your
mother would be if you did, here are some words (not all of them big) that you probably shouldn't overuse. Especially in dialogue.

Instead of: utilize               say: use
                  frequently               often
                  inquire                     ask
                  myriad                     many, or countless
                  avocation                occupation, or job
                  perhaps                   maybe
                  audacious               bold
                  eschew                    avoid
                  domicile                   home
                  frankly                      honestly
                  apropros                  appropriate
                  irregardless             regardless
                  cognizant                 aware
                  inebriated                 drunk
                  per se                       really
                  tranquil                     calm, or peaceful
                  erroneous                 wrong
                  plethora                    a lot (see myriad)
                  umbrage                   offense
                  elucidate                   explain
                  sans                          without
                  taciturn                     silent, or reserved
                  inundate                    flood
                  coiffure                      hairdo
                  milieu                        most anything besides milieu

The same goes for phrases, if you like shortcuts.

Instead of: shrug your shoulders    say: shrug
                  nod your head                        nod
                  stand up                                  stand
                  sit down                                  sit
                  I, personally                            I
                  in point of fact                        in fact

This kind of thing isn't a huge wordsaver, but it can help streamline your manuscript.


Synonym mania

It's impossible to talk about "writing tight" without including a few words about dialogue attribution. I'm not rabid enough to say you should never use anything but "said" as a speech tag, but I do think it works better than all the others. Now and then, usually when judging fiction contests or reading first-timers' manuscripts, I come across something like "he vociferated," or "she retorted," or "he expostulated." Don't do that. If you do, you'll have the reader thinking about the writing, and the writer, instead of about the story, and you'll have your submission coming back to you in next week's email. Or tomorrow's.

Unless you occasionally want to have a character moan, or call, or blurt, or shout (all of which work fine, in moderation), just use "said" or "asked." They're both transparent words, and the reader's eye will skip right over them--and that's what you want. The accompanying dialogue, if done correctly, will usually tell the reader how the words are spoken. If you write, "The back yard's on fire," she said, the reader's smart enough to know it probably wasn't whispered.


Sense and sensibility

On the subject of dialogue, it should sound the way people really talk. Or at least reasonably so. I was watching an old western on TV the other night, and a ranch hand shouted to his pardners (I kid you not), "Come quickly!" The Grammar Sheriff would be pleased, but I'd bet the house and farm that nobody in the Old West, except maybe a schoolmarm, ever used the word quickly, especially when things are happening quickly. To be convincing, he shoud've said (the screenwriter should've written), "Come quick!"

Here's another no-brainer: Don't use a lot of corporate buzzwords in ordinary speech or writing. For a while, when I was with IBM, every meeting I went to included words like synergy and paradigm and empowerment. Those tedious, eye-rolling words are seldom heard now, and good riddance.

Personal observations

This is getting away from the main topic, but here are a few words and phrases (some spoken, some written) that I've come to dislike:

No problem -- Almost every waiter/waitress says this, when I thank him/her for something. I know there's no problem. How about "You're welcome"?

Amazing -- The most popular, and misused, adjective in the free world. If you introduce someone as "my amazing boyfriend" and you're not Lois Lane, you should stop doing that.

All about -- A guy on TV the other night said he's all about the environment. And a political candidate awhile back said she's all about law enforcement. Good grief.

I'm like (when used to mean "I said") -- Unless I'm writing teenager dialogue, I'm like, "I don't like 'I'm like.'"

Alright -- Writing "alright" is not all right. It's two words. I've been told this gives English teachers a mild fit.

Everyday -- Same deal. Unless it's used as an adjective, it's two separate words.

Awesome -- I know it's here to stay, but Jeez Louise. The Diamond Head crater is awesome. Your favorite restaurant, not so much.

Stunning video -- How many times have you heard news anchors use this term to entice viewers? I've found that they're usually half right: it's video.

Reach out to -- Am I the only one tired of this cliche? Unless your character is in quicksand, substitute "call" or "email" or just "contact."

Give 110% -- Ballplayers and actors and salesmen cannot give 110%, no matter how many times their coach or director or boss asks them to.

I could care less -- Enough said.

You know -- I'm finally, you know, almost finished, and I'm glad you hung in there, you know, to the end.


P.S.

What's your feeling, about this whole tight-writing business? What about realistic dialogue? Do you have any pet peeves, with word usage? Is it fairly easy for you to weed out the chaff when you're rewriting? How about everyday speech? Do you find yourself using bigger words than you should? Is your thesaurus still on your desk, or in a Jurassic Park paddock with the other -sauruses (-sauri)?

"Alright, I'm like, 'We're done here,'" he ruminated perspicaciously.



Have a great Christmas.









20 December 2019

Homicide Stays With You


by O'Neil De Noux

It was the worst of times. The nearly three years I spent as a Homicide Detective was the worst of times but it was the best work I ever did. As the lead detective of 15 murder cases, with the help of my fellow detectives, I solved every case. In Homicide, you don't work alone, which is what I do as a writer.

Homicide is a permanent assignment, as final as death. You can move on to other work – in or out of law enforcement – but you will always be a homicide detective with a different view of life. You remember the bodies, the blood, the carnage, the guy-retching feeling when you arrive at a murder scene. You remember the victims more than you remember the killers because you connect with the victim if you're any good at detective work. You become their avenging angel. You are responsible for getting the person who did this.

Family members grieve and others are shocked but you have work to do. Homicide is forever.

It is personal. I always brushed the hand of each victim at their autopsy. Let them know someone was there, someone who would catch who did this to them.

I'll share some pictures now of the men and women who I worked with at the Jefferson Parish Sheriff's Office Homicide Division in the late 1970s and early 1980s.

JPSO Christmas Party. Left to right.
Back row: Joe Morton, Eddie Beckendorf, Steve Buras, Pat Rooney, Bob Masson, Marco Nuzzolillo
Middle row: Omalee Gordon, Dennis Gordon, Susie Miller, Russell Hidding,
Front row: Tom Gorman and me


My first Homicide partner Marco Nuzzolillo on my left and our sergeant Bob Masson on my right. Marco taught me so much. He was the best detective I've ever known. Bob Masson was the best supervisor I ever worked for. We were a team. A couple Italian-Americans and a white boy. No, we never shot anyone, never beat up anyone. We killed a lot of ball point pens. Good writing brought good convictions.


At Barry Wood's wedding:
Left to right: Curtis Snow, me, Pat Rooney, Barry Wood, Steve Buras
In front: Russell "Hollywood" Hidding who was in love with his hair.


Detective Barry Wood and me during the canvass of the Shoe Town Murder, Jefferson Highway, Metairie, Louisiana, 1981. This extensive canvass produced a witness with information which led us to the murderers. I fictionalized this case in my novel NEW ORLEANS HOMICIDE. I moved it into the city because who wants to read about Metairie.


My father was a homicide detective.

On the left, O'Neil P. De Noux, Sr., at the crime scene of the Maguerite Kitchen Murder, Gretna, Louisiana, 1967. Other detectives pictured: Arthur Theode in the background, Sam Chirchirillo, Eli Lyons. My father caught the killer.


My father bending over with a speed graphic camera as he photographed a murder scene when he was a CID Agent with the US Army in South Korea, 1954. He solved that case as well.


Homicide stays with you. It doesn't haunt. It just reminds you of past evils and the way we faced them.

My youth is gone now. My health declining with age. I have had some success as a writer – not a lot.

But nothing can take away what we did those long nights and days when there was so much blood and guys like me and my partners chased down murderers. There is so much junk in this world, so much pain but damn, it's good to be alive.

Happy New Year, everyone.