WELL READ Magazine November 2022

byAyeletBaron

Theuniverseisfullofwonderandwisdom…andsoareyou. Allaroundus—innatureanddeepwithinourhearts—exist endlessopportunitiestolearn,create,unlearn,overcome, contribute,loveandbe.Youfindyourselfwonderingwhether there’smuchmoretolifethanyouweretold.Butoften,weare soimmersedinthechaoticpursuitof“success”asdefinedby societythatwesimplydon’tmaketimetoexperiencethe universe’swonderandwisdomandtotrustourinnerconnection toit.Ifyouarereadyforthistodoyourinnerwork,thenjoinus onajourneyofalifetime.

Wouldyouliketounlockthevastpossibilitiesofyourlife?

Areyouwillingtoquestioneverythinginordertounleashthe powerofyourownimagination?

Areyouopentolivingamoreintentionallifeinwhichyou consciouslydecidewhatisuniquelyhealthyforyourmind,body, andsoul,andletgoofwhatisunhealthy?

Leavebehindtheexhaustion,overwhelm,burnout,stress,anger, fear,blameandjudgementofsociety’sdecayingsystemsand revealyourselftotheuniverseinallyourwonder.Lifewillnever bethesame.Thejourneywillbeintense.Itisnotforthefaintof heart.Butasyoulearnhowtoaccessandtrusttheuniversal wisdomwithinyourownheart,yourlifewillbegintoshift dramatically.Weareheretocreate,notsufferthroughoutrage anddespair.Weareborntocolortheworldwithourvivid

imaginationandliveinunity,notconformityoruniformity. Comeandlearnhowtounlockyourcalling.Joinauthor,futurist andhealerAyeletBaron,inthefirstofaseriesofthreebooks,as shetakesyouonajourneydeepinsideyourselfinwhichyou willlearntotrustthecurrents,livethelifeyouweremeantto live,andbecomethecourageouspioneerourworldneedsright now.

Anotefromtheauthor:Mydreamandinvitationisahealthy worldinwhichwepromotetheflourishingoflife—shapingour ownlivesandcreatingtheregenerativesystemsweneedto thrive.

BuckminsterFullerremindsusthat“Wearebeingcalledtobe thearchitectsofthefuture,notitsvictims.”Areyoureadyto navigatethesetransformationaltimesandactualizeyour aspirationaldreams? "Moreoftenthannotweforgetwe'reonajourneyofourown choosing.Thisexcellentbookgivesusacompassforfindingjoy, meaning,andfulfillmentonourownterms." —JonasKoffler, NewYorkTimesbestsellingcoauthorof Hustle:ThePowertoChargeYourLife withMoney,Meaning,andMomentum “Whenyouwalkalongtheroadless traveled,itiswonderfultofindanother adventurerandspendtimetogether.Ioften foundmyselfsayingoutloudYES,Iget this!Ayelet'sbookistheperfectcompanion forthosewhoquestionthemeaningoflife today.”

FiveStarReaderReview

Whentheunthinkablehappens,onlyonequestionmatters:Whatdoesit meantotrulylovesomeone?

CathrynMcAllister,afreelancephotographer,travelstoIcelandfora photoshootwithanenigmaticartistwhowantstocapturethecountry’s iconicblueicebergsinglass.Herplanistoheadout,whenthejobis done,onacarefullycuratedbest-of-Icelandsolovacation.Widowed young,Cathrynhasraisedtwochildrenwhileachievingprofessional success.Ifthepriceofthatefficiencyhasbeenthedimmingofher fire—well,shehasn’tletherselfthinkaboutit.Untilnow. Bitbybit,CathrynabandonsheritinerarytoremainwithMack,the glassblower,whoawakensahungerforall thethingsshe’stoldherselfshedoesn’tneed anymore.Passion.Vulnerability.Risk.

Cathrynfindsherselftornbetweenthelife sheknowsandthenewworldthatMackis openingforher.Justwhenherpathseems clear,she’sfacedwithashocking discovery—andadevastatingchoicethat showsherwhatlovereallyis.

TheArtofTraveling Strangers by ZoeDisigny

It'sthe1980s,andarthistorian ClaireMarkhamreelsfromaseries ofheartbreakinglosses.Desperateto escapehershatteredreality,she becomesanartguideinEuropefor quirkystrangerVivChanceyand embarksonalife-changingjourney throughtheart-filledcitiesofMilan, Venice,Ravenna,Florence,Siena, Rome,andParis.

Onceabroad,Clairetriestohideherwoesbyfocusingon Viv'sarteducation,butViv--whoisnotwhosheseems--has adifferentlearningexperienceinmind.Frustratedand wantingtoreimagineherlife,Claireembracestheideaof realityasillusionandfindsherselfslippingintothetalesof artandhistory.

Whenthreatenedwithonemorecrushingloss,Clairemust learnfromthespiritofhereccentriccompanionandthe lessonsfromthearttheyencountertotakechargeofherlife orlosethemostpreciousthinginit.

TheArtofTravelingStrangersisajourneyofselfdiscoveryandpersonalempowermentinspiredbythegreat artmasterpiecesofItalyandFrance.It'sataleoffemale bondingandtheamazingpowersofperception.Afterall, reality,likeart,isjustanillusion.

“AudiencesfamiliarwiththegeneraloutlineofGiselle willfindPorter’snarrativenaturallyengaging,butshe’s takencaretokeepotherreadersinvolvedaswell...An absorbingandtouchingtale...afullyrealized,moving portraitofthestoriedcourtofLouisXIV.” Kirkus Reviews

“Readersabsorbthebackdropofthetimesagainstthe friendshipbetweenthreeverydifferentyoungwomenwho eachreflectdiversechoices,directions,andtheirrapidly changingtimes.Apowerfulstory,highlyrecommendedfor itsrealisticquandariesandstrongfemalecharacters.” MidwestBookReview

“Lushlyatmospheric...richwithhistoricaldetail.Porter imaginesthestorybehindtheiconicGiselle,transporting ustoFranceduringtheearlyreignoftheSunKing. Betrayalandredemption,magicandreligionallcross pathsindangerouspasdedeux—andPrincessBathilde finallygetsheropportunitytotakecenterstage.” Leslie Carroll,authorof RoyalRomances:TitillatingTales of PassionandPowerinthePalacesof Europe

“Asaretellingofthisstorygetstop marks.Notonlydoesthestoryline moveeffortlesslybetweenthechapters, butthecharacterscomealive.There’s plentyofhistorybuiltintoaccurately depictthetimeperiodandroyal politics.” NovelsAlive

OurLyingKin by Claudia H.Long

"Hello?Iknewyourfather...better thanyoudid." ZaraandLillyareback,buttheir relationshiphassomecracksinit. Throughthelongpandemic isolation,Zara'sgonefrom straight-lacedtorigid,whileLilly, truetoform,hasindulgedinsome dubious--andnot-particularly-legal--adventures.But they'restillsisters,andsistersarespecial.

WhileZaraisvisitingNewYorktohelpLillytestify againstthethiefandmurdererWalterRosen,asurprise phonecallrockstheirviewoftheirfamily:awoman claimsashockingrelationshiptotheirdeceasedfather,and nowtothem.ZaraandLillyturntheirconsiderable sleuthingtalentstowardunravelingaseriesoffamily mysteries...buttheirquestbeginsinearnestwhenthey learnthatRosen,whonearlykilledLillythelasttimethey met,hasescapedfromcustody.

CanZaraandLillydiscoverthetruthabouttheirnewfound--possiblyersatz--relative,whilekeeping themselvesandtheirlovedonessafefromaNazi's vengeance?

Ninety-NineFireHoops:A Memoir byAllisonHong

Merrill

AllisonHongisnotyourtypical fifteen-year-oldTaiwanesegirl. Unwillingtobendtothe conditioningofherChinese culture,whichdemandsthat womensubmittomen'swill, shedisobeysherfather's demandtostayintheirfaith tradition,Buddhism,andinstead joinstheChurchofJesusChrist ofLatter-daySaints.Then,six yearslater,shedropsoutofcollegetoserveamission--a decisionforwhichherfatherdisownsher.

AfterservinghermissioninTaiwan,twenty-two-year-old AllisonmarriesherChinese-speakingAmericanboyfriend, CameronChastain.Butsixteenmonthslater,Allison returnshometotheirTexasapartmentandisshockedto discoverthat,inhertwo-hourabsence,Cameronhastaken allthemoney,movedout,andfiledfordivorce.Desperate forloveandacceptance,AllisonmovestoUtahandenlists inanimaginary,unforgivingdatingwaragainstthe bachelorettesatBrighamYoungUniversity,wherethe rulesdon'tmakesense--andwinningisn'twhatshethought itwouldbe.

“IlluminatingandGripping:Anexceptionalstoryofthe 1960’sJimCrowSouth.” AmyHillHearth,NewYork Timesbestsellingauthor

“DebutnovelistSanchezhascraftedamovingandtimely story,basedonherownexperiences,aboutschool integrationintheSouthin1969andtheissuesthatstill lingertoday.Thispowerfultaleoffersabeaconofhope thatindividualscaninspirechange.” –LibraryJournal PremiumReview

“[A]potentillustrationoftheformidableobstaclesto equalitythatremained—andpersist—post-Brownv.Board ofEducation.” —KirkusReviews

“…adeftlycraftednovelthat,althoughaworkoffiction, isbasedontheauthorEileenSanchez’personal experienceteachinginLouisianainthelatesixties. “FreedomLessons”isheartfelt,unflinchingnovel,and inherentlyrivetingnovelabouttheunexpectedeffectsof schoolintegrationduringthattimetakesontheissuesour nationcontinuestofaceregardingrace,unity,and identity.” ~MidwestBookReview

“Toldinalternatingviewpoints,this impressivenovelreachesbackintime totheearlydaysofschoolintegration, andtoaplaceinAmericawhere resistancetointegrationwas substantial.” —HistoricalNovel Reviews

ChampagneWidows by RebeccaRosenberg

Champagne,France,1800. Twenty-year-oldBarbe-Nicole inheritedLeNez(anuncanny senseofsmell)fromhergreatgrandfather,arenowned champagnemaker.Determined touseLeNeztomakegreat champagne,shelearnsher childhoodsweetheart,François Clicquot,wantstostarta wineryandmarrieshimdespitehismentalillness.

Herhusband'stragicdeathforceshertobecomeVeuve (Widow)Clicquotandgrapplewithadomineeringpartner, thecomplexitiesofmakingchampagne,andsixNapoleon wars,whichcrippleherabilitytosellchampagne.When shefallsinlovewithhersalesmanager,LouisBohne,who askshertomarry,shemustchoosebetweenlosingher winerytoherhusband,asdictatedbyNapoleonCode,or losingLouis.

Intheultimateshowdown,VeuveClicquotrisks imprisonmentandevendeath,defyingNapoleonhimself.

Sampleofart by

RandallWatsonistheauthorofNoEvilisWide, (MadvillePublishing),whichreceivedtheQuarterlyWest prizeinthenovella,TheGeometryofWishes(Texas ReviewPress),afinalistintheJuniperandTampaReview PoetryPrizes,TheSleepAccusations, whichreceivedtheBlueLynxPoetry PrizeatEasternWashington University,(currentlyavailable throughCarnegieMellonUniversity Press),andLasDelacionesdel Sueno,translatedbyAntonioSaborit withanIntroductionbyAdam Zagajewski,publishedinabi-lingual editionbytheUniversidad VeracruzanainXalapa,Mexico.

I’llBeSeeingYou thenewreleasefromJoanneKukanza Easley,themulti-award-winningauthorof SweetJane and JustOneLook. “Readerswillquicklyfallinlovewiththecharismatic Lauren,acompellingmixofinnocenceandpizzazz,who partiestoomuchandfallstoohardforthewrongmenin thebigcity.ThroughoutLauren’shigh-flyingmoments, BlackhousekeeperVandineandgayfriendHaroldare loyalconstants,offsettingherpainfulexperienceswith lovingkindnessandaddingrefreshingdiversitytoEasley’s storyline,whiletacklingcrucialissuesofequalityinthe mid-20thcentury.Easleymanagestoevokeboththeglitzy nightlifeofthe‘40sandthepassionofanever-evolving bluesscene,andfansofherearliernovel,SweetJane,will bepleasedtorecognizesomecontinued characters.”ExcerptfromBooklifeReview

Comingfromonewho’sdealtwithfamilydamagedby addiction,Icantellyouthiswomanknowswhereofshe writes–andshewritesitwell.Giveitatry.It’llreachoutand touchyou.Andasabonus,theauthorhasgreattastein music.Icanalreadyheartheaward-winningsoundtrackif someadventurousproducerisuptothechallenge.

Alcoholism,suicide,death,infidelity,andmiscarriageare someofthedifficultthemesIcover.

Mylatestnovel, I’llBeSeeingYou,tellsthestoryofLauren Eaton,SweetJane’sAAsponsor,alwayssecretiveabouther pastandwhopromisedtotellJaneherstoryoneday.Iloved thecharacterofLaurenandthoughtlongandhardonher story.

SweetJane and JustOneLook willbere-releasedwithRed BootsPressinlateSeptember.

Aretiredregisterednursewithexperienceinboththecold, clinicaloperatingroomandtheemotionallyfraughtworldof psychiatrichospitals,Joannelivesonasmallranchinthe TexasHillCountry,whereshewritesfictionabout complicated,twentieth-centurywomen.Hermulti-awardwinningdebut, SweetJane, wasnamedtheadultfiction winnerattheTexasAuthorProjectand shortlistedfortheSartonAwardandEric HofferAward,amongothers. JustOne Look,Joanne’ssecondnovel,wasaMay 2022PulpwoodQueenBookClubPick. I’llBeSeeingYou,herthirdnovel, featurescharactersfrom SweetJane.Her prize-winningshortstoriesandpoetry haveappearedinseveralanthologies.

AWoman'sStory by FrancineRodriguez

thatnight,suspicionturnstoJanet.JanetaccusesSandraof attemptingtomanipulatethemediabyafake disappearance,butisitastunt,orissomethingmore sinisteratplay?

SarahBoothandTinkiewillhavetodivedeepintothe historyofBaySt.Louis,andevenAlCaponehimself,to gettothebottomofthiscase.Butthetrailinfactleads thembacktoseveralprominentfamiliesstillresidinginthe area.Familieswhomaynotwanttheirsecretsknown… Welcometomywebsite.I’mawriter,loverofanimals,reader, teacher,andmischiefmaker.Perhapsit’sthelastcategorythat Imostwanttoexcelat!Onthesiteyou’llfindstoriesabout readers/friendsandtheiranimals,Jittyadvice,contests,book news,newsletters,andphotosofthethingsthatmatterinmy life.

Ilovetohearfrommyreaders,sofeelfreetodropalineto mye-mailaddress,andIwillwriteyouback. Ifyouspawnmischief,I’lljoinyouinit! Mycalendarisalsoonthewebsite,and whilemytravelsaremostlyconfinedto theSouth,youneverknowwhenImight popupsomewhere.Socheckthecalendar toseeifI’mgoingtobeinyourneckof thewoods.IwishIhadtimetotravel,but Ialsohaveasmallanimalrescue (Good FortuneFarmRescue) andthatkeepsme closetohome. Again,welcome!

Oliver by MandyHaynes

TheCicadaTree by Robert Gwaltney

“AtonepointinTheCicadaTree, MissWessie,thetoughandtakeno-sasscaretakeroftheNewell family,describesaboywhodidn't starttalkinguntilhewasfour yearsold.Whenhefinallyspeaks, hiswordsarelinesofexquisite poetry.Likethislate-speakingboy, andthecicadaswhichrestdormantundertheearthfor seventeenyearsbeforeemergingtomaketheirpresence knownviaear-splittingscreech,thepublicationof Gwaltney'sdebutnovelmarkstheappearanceofafully formedtalent.

Althoughsomeofthethemesarefamiliar,suchasthe dividebetweenrichgirlMarlissaMayfieldandpoorgirl narratorAnaleiseNewell,aswellastheracialtensionsin 1950ssmalltownGeorgia,thisSoutherngothicstory,with itsflourishesofmagicalrealism,feelslikesomethingnew. Gwaltney'scommandoflanguageisimpressive--thereis atleastonegasp-inducingphraseoneverypage--andhis earfordialogueisspoton.Alsoawe-inspiringishis accuratedepictionoftheplaygroundpoliticsofyoung girls.Atonepoint,thebeautifulandwealthyMarlissa,

PullingDowntheSun:The Pueblos,theGreatHouses andtheCliffDwellings by J. M.White

Thisbookchroniclessomeofthe livingpueblosinNewMexicoand ArizonawithemphasisonZuni,Taos andHopiandvisitsthegreatestofthe massiveruinsoftheirpredecessorsat ChacoCanyonandMesaVerde.This bookexplorestheancientculturesof thisregionandtheirrelationshiptothe livingpueblos.Mostpeopleare woefullyignorantabouttheindigenouspeoplewhooccupied thislandbeforetheEuropeaninvasions.Mostareequally ignorantabouttheirdescendantswhoarewithustoday.These journalsofferaglimpseintotheindigenouspastthat,for uncountedmillennia,wasourheritage.Whileallofusshare anindigenoustribalheritage,formostitislostinthehazeof prehistory.However,thereareavenues,portsofentry,tolearn aboutourtribalheritage.Itispossibletovisittheindigenous peoplewhohavemanaged,byvariousquirksoffateandsheer determination,tobringtheircultureandtraditionsintothe twenty-firstcentury.Therearepresentlytwentylivingpueblos locatedinthedesertsofNewMexicoandArizona.Ofthe twenty,Taos,HopiandZuniareoutstandingexamplesof thosewhohaveretainedtheirtraditionsinspecialways.Taos andHopistillhavemultistoryadobebuildingsthatpreserve theancientarchitectureasaremnant,arevenant,of prehistorictimes.

Ifyou’reanauthor,abookstore,orthe facilitatorofaworkshop,retreat,orany typeofbookisheventandyou’dlike topromoteithere,sendaninquiryto wellreadmagazine@gmail.com

hearhischaracter’svoices,seethegrimexpressionson theirfaces.

MostofGay’spaintingshegiftedtofriendsandfamily, andaccordingtotheleadarchivist,MichaelWhite,Gay lovedChristmas,sowithseveralpaintingsonewillfind theholiday,“Christmas,”alongwiththeyear,andhis signatureatthebottomcorner,e.g.,“Leigh,Christmas 2005,WilliamGay.”Othertimes,thisinformationwas writtenonthebackofthecanvas,orhejustsignedthe bottomcorner.Andothertimesheneglectedtosignthe paintingatall.Althoughhenevertitledhispaintings, becausehenotedtheoccasionandyear,theteamhasbeen abletodateatleastpartofthecollection.

BecauseGaydidnottitlehispaintings,membersfrom TeamGay—agroupofscholars,professors,poets, authors,andphilosophers,whoworkedtogethertoedit andpublishGay’sposthumousworks,aswellasadvocate andpromoteGay’swork—sometimescreatenamesforhis paintings,like“DeVries’sCabstand“or“TheBellWitch House.”Personally,Ihavestartedassociatingmanyof Gay’spieceswithspecificpassages.Ioftenfindmyself invokinganameforapaintingusingthetitleofashort story.Forinstance,Istartedcallingagroveofbeechtrees “TheLightpainter,”becauseinthestorythemain characterpaintsthisimage.Or,Ihave“named”apainting usingalineofprose.In“Wittgenstein’sLolita,”the

characterscomeacrossanenclosureofpinetrees:“They hadcometoaclearing,abarrencirclesurroundedbylofty pineswithtrunkslikethebonesofaruinedcathedral” (22).Iassociatethesimile—“likethebonesofaruined cathedral”—withanotherimageoftrees,andtherefore, havenamedthepieceafterthisline.Itisawaytoinstantly relatetoandidentityGay’suntitledpieces. In2019,myhusbandandItraveledtoBrushCreek, Tennessee.First,IwantedtovisitwithMichaelWhiteand SusanMcDonald—whoformedtheoriginalteamof archivists,alongwithLamontIngalls,PaulNitsche,and SheilaKennedy.Theydidmostofthefoundationalwork oflocating,organizing,andtranscribingGay’sworks. Overtheyears,MichaelandSusanhavecollectedGay’s paintings.Ineededtoseethepaintingsinpersonandtake photosofthem,soIcouldcontinuetowriteandadvocate forGay.Manyofhispaintingsmaybeviewedonthe WilliamGayArchivewebsite,butitdoesnotcompareto seeingtheminperson.So,myfirststopwasBrushCreek. MynextvisitwasGay’shometownofHohenwald, Tennessee—aonestoplighttownwheremosteverything shutsdownonSunday.Mygoalwastolocatesettingsin Gay’snovelsandshortstoriesthathemayhavepainted. MichaeltookmeonthegrandtourofHohenwald, pointingoutlocationsthatwerealsosettings,andIgotto meetsomeofGay’sfamilymembers.IaskedChrisGay,

William’syoungestson,ifherecalledacabstandin Hohenwald.Ithoughtitunusualthatsuchasmalltown wouldrequiretaxiservices.Fortunately,hedidremember theircarbreakingdownonedayandtakingataxihome.It stuckwithhimbecausehewasachild,anditwasunusual tobedriveninataxi.Iaskedhimifheknewwhereitwas oncelocatedinHohenwald,andhetoldmetotrySouth MapleStreet.Offwewent(withmypoorhusbandintow) drivingalloverHohenwaldlookingforfictionalsettings thatwerepossiblyreal.Keepinmindthatthroughoutthe years,andcertainlyafterthefictionaltimeperiodGaywas writingabout,buildingsweredemolished,convertedinto otherbusinesses,ordestroyedbyfires,sofindingthis locationin2021wasabitofapipedream,butIhadthis gutfeeling.Icannotexplainit.Ijustknewweweregoing tofindthecabstand.Andwedid.

Theoriginalcabstand/poolhalllocationisbehindThe StrandTheatre—anothersettingGaywroteabout—and theindentationsoftheoriginalwindowsanddoorswere stillvisible,althoughbrickedover.Itookmultiplephotos tocomparetothepaintingofDeVries’s.Thiswasahuge find.Wecouldnowmatchupafictionalsettingwitha painting.Itinspiredmetolookformoreplaces.Ialso verifiedwiththelocallibrarian,historian,andarchivistof theLewisCountyLibrary,CrystalNash,thatHohenwald hadacabstand,andsheprovideditsfascinating,if

somewhatdisreputable,history.Nashwasasaintfor providingmewiththisresearch.

Nashscouredphonebooksfromthe1950stothe1980s, identifyingallthecabstandsintown.Therewere numerouscabstandsandtheymovedaroundfromstreetto street,buttheoneIwasinterestedinwasindeedonSouth MapleStreet.Nashstatedthat:“Mayfield’sCabService operatedat25SouthMapleandwaslistedinthe1967 through1982phonebooks.MayfieldCabservicehada reputationformakingalcoholdeliveriesforresidents,and theremustbesometruthtothisstoryasthebusinesswas raidedin1969withtwoandahalfcasesofwhiskeybeing confiscated.”Withthissingleimagethehistory,the setting,theprose,andthepaintingcametofulllife. However,noneofthecabstandbusinessesNashprovided werenamed“WolfdeVriesPoolhall,TaxiandColdBeer.” IwaslessconcernedaboutthisaspectbecauseGayhada habitofmergingcharactersandsettings.Plus,itisa fictionalsetting.Gayprobablyadjustedthename.His settingswereanamalgamationofacoupleoftownsand hischaracterswerealsoamixofvariouspeopleheknew. WealreadyestablishedWolfDeVries’scabstandand poolhallwasafictionalsettingthatGayalsopainted.What issignificanthere,waspositivelyidentifyingthereal locationwiththefictionalsettingaswell. MatchingrealplacesGaywroteaboutwithhisartwork

realisticworldwithhorrificanddarkfantasticalelements.

Gaywasanincrediblytalentedauthor,butmostpeople werenotawarethathealsopaintedandcertainlynoone wasmakingtheseconnectionsbetweenhiswritingandhis artwork.Withthisarticle,Ihopetoilluminatethe relationshipbetweenGay’spaintingsandproseby focusingonaspecificpainting—thatDeVries’sCabstand/ PoolhallpaintingthatledmetofurtherstudyGay’sfolk art.Iwillshowhowthatpaintingmaybeusedtoelucidate thecharacterofDeVriesmorethoroughlybutalsoprovide afully,immersive,readingexperience.UsingGay’sshort memoir,“CalvesHowlingattheMoon-Toacceptartyou havetoacceptmystery”forreference,IwilldiscussGay’s influencesaswellashisthoughtsaboutpaintingtheSouth. Finally,IwillexploreGay’ssubjectmatter—his landscapes,forest,oldbarns,shanties,farmhouses,roads, windows—theimageshepaintedandrepaintedthatalso servedashisliteraryworkingsymbols.

EarlyPaintingsandInfluences/HoningHisCraft

ForChristmasoneyearwhenGaywasateenager,hewas givenapaint-by-numberskitwithanimageofaclown printedonasmallcanvas.Gaywasneverafollowerof rules,andsoheturneditoverandpaintedatrainona trestle.ThetraintrestleimageisGay’searliestknown

shelves,andpickingouttitlesthatIpromisedmyself Iwouldreadoneday…

She[schoollibrarian]noticedthatIwasalways drawingpictures,comic-bookpanelswithZaneGrey Westernerspummelingeachotherwiththeirfistsor battlingwithsix-guns.(119-120)

Theelementaryschoollibrarian,whoalsoworkedasthe highschoollibrarian,musthaveseensomethingspecial aboutayoungWilliamGaybecauseshe“broughtdowna coffee-tablebookofprintsofthegreatAmerican landscapes”fromthehighschoollibrary(120).This momentresonatedwithGay,asitwouldhavewithmost children.Shetoldhim:“…takeithomeandstudyitfora fewdays.Lookatsomethingbesidestrash,shesaid.But don’ttearit.Anddon’tspillanythingonit”(120).

Asachild,Gaywasmovedbytheimageof Christina’s World totheextenthewouldlaterusetheimagetodepict thestarknessofonehisownfictionalsettings—the Liskuses’shomeinhisshortstory,“UptoBatwiththe BasesLoaded.”HereGayalludesto Christina’sWorld: “Theyardwastreelessandgrasslessandthegrayhouse hadthestarkausterityofalandscapebyWyeth”(127). Wyethpaintedanimageofawomanheknewfromhis townwhowasdisabledandwouldcrawleverywhereto getplaces.Inordertogettothetrainstation,shewould

SandyThibodeaux,whoisextremelysuperstitious,is alwayslookingforsigns.Onhiswayouttothedilapidated MineralSpringsresorthedrivespastAuntMattie’s,the Geecheefortunetellerhevisits,andhewondersifAunt Mattielooksforthesignsintheskylikeheislookingfor alightfromaplanefullofdrugslandinginadeserted airstrip:“Hewondereddidsheaswellwatchforthelights atnight,shewiththeconstrainedgleeofaprophet.Signs. There’ssignsiffolkscouldreadthem,shehadtoldhim. Hethoughtofherwatchingtheskieswithabalefuland expectanteye.Well,yes.Hethoughtofsweetrevenge,of allthosefolksinapaintingbyBosch”(38).

Thibodeaux’sinterpretationorwhatheperceivesasa signfrombeyondisusuallytwistedforhisconvenience; AuntMattienevertellshimtobeonthelookoutforthe lightfromaplanetraffickingdrugsinsomedesolate woodsinTennesseeorencouragehimtostealdrugmoney andtakeoffwithCapHolder’sgirlfriend,Cathy Meecham.ThatisallThibodeaux’sdoing.Hismoral compassiswhateverandwheneverisexpedientforhim. Bosch’snightmarishimagesofwomenandmensuffering Medieval-styletorturesfortheirsinswasacommonimage hepainted,butrevengeisnotoneofthesevendeadlysins. Wrathandprideare,however,andbothcanleadto vengeance.ForsomeonelikeThibodeaux,gettingbeaten upbyCapHolderwouldcertainlyelicitthoughtsof

vengeanceonthescaleofaBoschpainting. Later,JohnStoneburnerreflectsontheeventsthat broughthimtotheedgeofmadness,tryingtomakesense ofit: Theedgeisafascinatingplace,I’dtightropeditall mylife,andlatelyI’dstoodtransfixedonitsrocky ledgesandgazedoffintotheabyss.Despite Nietzsche,Icouldn’ttellthatitwaslookingback.It seemedlargelytoignoreme.Ididn’tseethejumble ofchaoticimagesyou’dexpectmadnesstobe,it wasn’tatalllikeapaintingbyDaliorBosch.No meltingwatches,noorgies.Farfromit.(127)

Stoneburnerrecognizeswhatwouldbringhimpeace— “thedreamypastoralcountrysidedriftinginthemorning mist,greenrollinghillsandadarktimberedwoodthat stretchedtoinfinity,atinytownwithacourthousesquare andachurchsteeple(Gay127)—”butheturnshisback onthisimaginedplaceofsolaceandchoosesmadness, goingtoworkforCapHolderandchasingdownhisNavy buddy,SandyThibodeaux.Thosepastoralimagescalling to Stoneburner,arethesamepastoralimagesofGay’s paintings,yetStoneburnerconsciouslydeniestheserenity ofahomeforthechaosoftheroad,andwhatevercomes hisway.

…Ashelfofcloudspartedandwhathesawtherein themoonlighttookhisbreathaway.Pasttherimof themountainavalleywrappedsilentlyinsnow,eerily beautiful,ahologramofallthemythicChristmases thateverwere.AsifheandCathyhadbeenmagically teleportedinsideanoldCurrierandIvesChristmas card,ablackandsilverworldsnowlockedand steepedinavaleofsilence.Evergreensshapelessas Rorschachinkstains,faracrossthewhitelandscapea yellowlightflaringlikeabeaconwarmlyagainstthe blackandformlessfoothillsofthemountain.(75)

Thefarmhousebecomesamirageofsomethingperfect,a printedChristmassceneGaymorethanlikelysawasa childbutdidnotexperiencehimself.Thibodeauxand CathyMeechamfacefreezingtodeathiftheydonotfind shelterandfinditsoon,sothegrandiosityofthisscene with“ayellowlightflaringlikeabeacon(Gay75),”seems validgiventheircircumstances.Gayexaggeratesthe exteriorappearanceoftheoldfarmhouse,makingit granderthroughtheimaginationofThibodeaux.The farmhouse,however,symbolizesmuchmorethanshelter forThibodeaux,whoalmostdoesnotbelieveinitsreality. Heviewsitas“ahologramofallthemythicChristmases thateverwere.AsifheandCathyhadbeenmagically teleportedinsideanoldCurrier&IvesChristmascard”

Amoreaccuratedepictionofrurallifecanbefoundin FugitivesoftheHeart.MarionYateshopsatraintogoto thecircusinAkerman’sFieldandheobservesthe sharecropperscominginforthenightafteralongdayof work: Thetrainwentonintothefallingnightpastfarmers andpastrichfieldsheavywithcorn,pastweary sharecropperswho’dletnightfallonthemleading theirmulesfromthedarkeningfields,pastleaning clapboardshantiesyellowlitagainstwhatever prowledoutthereinthedarkness.Thereinthebarren roomsthewearysharecropperssoughtforthenightto replacewhatthedayhadstolenand,inthehot chargeddarkness,theydreamedtheirtangleddreams. Hewentonpastweatherbeatencountrystores,with theirrustedgaspumps,attendantandhighballingon intotheflatlands(95).

ThisistherealAmerica—atruerrepresentationoflifeof thesharecropperinpost-Depression-era,ruralTennessee. Williamwouldhavebeenfamiliarwiththelivesofthe “wearysharecroppers”hedescribedabove;manydayshe hadwitnessedhisfatherploughingfields,andasachildhe wouldhavehelpedwiththefarming.

In“CalvesHowlingattheMoon,”Gaystatedthatthe

firsttimeherecognizedhehadsometalenttopaintwas whenhewasservingintheNavyandpaintedanimageof wolvesforaChristmaspresentforhisfather: ThefirstpictureImadethatIactuallythoughtofasa paintingwasapresentformyfather.Iwasinthe Navythen,theVietnamWarwasgoingfull-tilt,andI wasonadestroyerintheSouthChinaSea.Privacy washardtocomeby,andlateatnight,when everyoneexceptthewatchsectionwasasleep,Iused toeasedowntomyworkstation,thecomputerroom, toreadandwrite.Idecidedtopaintthere.Myfather hadathingaboutimagesofwolvesandtrains…Now ChristmaswasapproachingandIwasgoingtopaint them:threewolvesonasmokyslope,agauzyyellow moontobayat,theirbreathsmokingintheiceair (121).

ThefirstthingGayclaimsisinthatsamememoiristhat hedoesnotviewhimselfasapainter.Eventhoughheis writingaboutpainting,heimmediatelydisqualifieshis artwork: I’mnotanartist.Ijustpaintforthereasonsmost peopledothethingstheylike,becausethey’refun andbecauseofthesatisfactionyougetwhenyou havecompleted(ordecidedyou’vecompleted)a picture.Andbecauseyouhaveanideainyourhead, youtrytopaintpicturesthatequalit.Theyneverdo, butthefeelingthatyougetalittleclosereachtimeis partofthatsatisfaction.(119)

Hedidimprove,themorehepainted,butwritingwould alwaysbehisfirstpassion.Considerablethoughtwentinto buildingeachandeverysentence.Whitesaid,“Gaywould workblue-collarjobsduringthedaylikecarpentry,dry wall,andpainting,andwhileworkinghewouldcompose inhishead.Whenhegotoffworkandcamehome,he couldpickuppenandnotebooktoputdownwhathehad beenwritinginhismindthatday.”Ifonearbitrarily selectsapassagefromanovelorshortstorytoreadand considerhiswordchoices,thelayeringofimagery,and builduptotheendofthesentence,itisconclusive—Gay wasamasterathiscraft.Hisproseisadjectival,fullof

bootlegger,honky-tonkowner,pimp,psychoticmurderer, andthedevilincarnateorotherwisetheantagonistof The LongHome,DallasHardin,headstotownafterbeing attackedbywhitecapsandgoesstraighttoDeVries’s.He knewabout“anall-nightcabstandoutofwhichaman namedWolfdeVriesranabootleggingestablishmentand analmostperpetualpokergame”(107).WithYates,the readercouldvisualizewalkingtowardsthepoolhall, observingtheplate-glasswindowandlettering,and enteringthepoolhallarea,butwithHardinthereader travelsfurtherintotheinterior:“Hewentinthefrontdoor andpassedbyadeskwhereawomansleptwithhermouth openandherheadpillowedagainstatelephone”(107). Thereadercanassumethiswomananswerslatenightcalls forpeopleneedingataxi,althoughmorethanlikely whoevercallsiswantingwhiskeyratherthanapickup. Hardincontinuesdownthehalltoagreendoorand knocks: Afteramomentthedooropenedacrackandaface studiedhim.Thedooropenedwider.Staleblue smokeboiledoutandHardincoughed.Hefannedthe airwildly.“JesusChrist,”hesaid.Theygointofind everoneofyousotsinheresmotheredtodeathsome mornin.Doesthisplacenothaveawinder?”(106)

1943versionin FugitivesoftheHeart and TheLong Home tothecirca1950’sversionin Twilight.However,the townchangessignificantlywhenitsfictionaltimemoves intothe1970s,thetimeperiodof TheLostCountry and Stoneburner.Forstarters,in1943thetownspeoplearestill travelingbyhorseandbuggy.WhenYatesvisits Ackerman’sField,heobserves,“Sidewalkshereofoak plankingnailedtosills.Atavacantlotbeforethehotel threebuggieswereparkedandthreeresignedhorsesate oatsfrombuckets”(99).In TheLongHome,Hardin “parkedinfrontofthecabstandandcutthelightsand switch”(107).Hardindrivesanautomobilein TheLong Home,butheisananomalybecausemosttownsfolks droveamuleandwagonratherthanaBuick. Bythe1970s,generallymosttownspeopleown automobiles.MainstreetinAckerman’sFieldisaplaceto cruise,tobeseen.In TheLostCountry afterRoosterfish’s wifeleaveshimforanotherman,hefantasizesabout makingagrandentranceinhisDeSoto:“He’dhadan intensevisionofhimselfdrivingitdownthemainstreetof Ackerman’sField,pastthehousewherethewifewho’d cuckoldedhimstilllived.Parkingitinfrontofthe SnowwhiteCafé,deVriescabstand”(65).Thecabstandin the1970smuststillmeansomethingtoRoosterfishifhe wasfantasizingabouttheeffectitwouldhaveonhisexwifewhenhedrivesintotownandparksinfrontit.

made.Windblewascrapofnewspaper,oldnewsof separationandreconciliation,hands-onviolence. Therewouldsometimesbethesoundofsirensasthe policeministeredamongtherestless,telltale fragmentsofdisquietlikefaultedsplotchesofthe night:sirenwailing,anambulanceunmindfulof redlightscamepasttheSnowwhiteCaféandhecould heartherattleandslapwhenithittherailroadtracks andsawinhisminditrockbackonitsshocksand springsflatoutintothelongslopingcurvepastthetie yard,drawnbyviolence,likeamothtoflame, unifyingthefolks’troubles,carwreck,ashootingor cuttinginSycamoreCenter.(341)

Withtheabovepassage,theviewerofthepaintinglooks upwardatthesecond-storywindow.ThereisEdgewater behindthewindow,shiveringandinasourmood.Thereis hisrunningmate,Roosterfish,bunkinganddrinkingwith him.Edgewater’sappraisalofthetownfromthetopofthe concretestepsofDeVries’spoolhallisafarcryfromthe townYatesexploredaftervisitingthecircus,consistingof thelayersofdirtandfilththathaveamassedaroundthe poolhall.Thecarnage,orevil,hasspread,extending beyondtheconfinesofDeVries’s.Assuggested previouslythecabstandofthe1940sandearlierwasthe startofthegerm.Ackerman’sFieldofoldentimeswasa

countrytownwherefolkscameoutonSaturdaysto socialize,maybevisittheoccasionalcircus,buttherewas theknowledgethattheywouldbeinchurchonSunday. Thosechurchgoersarelonggonebythe1970s.Itisasif onceDeVriescametotown,adiseasetookover,crawled underthedoorandinfestedthealleyway,andpermittedto freelyroam,itateawayatthetown. WhoisDeVries,deVries,deVries,WolfdeVries,

Itmayseemlikeoverkilltoanalyzeacharacterwhois neithertheprotagonistnortheantagonistinanyofGay’s novelsandshortstories,butwhoeverDeVriesisheisnot justacameo.Hispoolhall/cabstand/beerjointisvitalto thethreadandthrumofGay’sfictionaltown,Ackerman’s Field.In2007,DonNobleinterviewedGayonBookmark onAlabamaPublicTelevisionatTheBooksmithin Homewood,Alabama.DuringthisinterviewheaskedGay abouthisinspirationforhisevilcharacters:whathis understandingofevilwas;werehischaractersbornevil? Gaysaid,“Ithinkthepeoplewhoarereallyevilareborn thatway.They’reevilfromthetimethey’relittleevil babiesuntiltheygrowup.In TheLongHome,Ihadthis ideaaboutevilwhichHardinrepresentedandtheideaof thebookwasthatifevilexistsintheworld,thenthere’s

gottobesomebodywhosortofrisesuptoopposeit.”

Attheendin TheLongHome,anunlikelyopponentrises uptodefeatevil—theoldmanWilliamTellOliverdefeats andkillsHardin.IfGay’stheoryofgoodandevilare appliedthenwherethereiseviltheremustbesomethingto challengeit.TheSheriffBellwether,theactingsheriffof Ackerman’sField,whoappearsasoftenasDeVries,is alwayscharacterizedasafair,law-abidingman.DeVries isnotasevilasGay’svillainsand,likewise,Bellwether maynotrepresenteverythinggood,buthecanbecounted ontoactjudiciously.InGay’snarrativestheantagonist balancestheprotagonistandviceversa.Inturn,thefoils ofthe“goodguy”andthe“badguy,”orDeVriesand Bellwether,balanceeachother.

AstotheimageofWolfdeVries’sTaxi,Billiardsand ColdBeeritself,Gaycreatedacompellingperspective.In manyofGay’spaintings,thelandscapeorientationisnot focused.TheimageofDeVries’sisnotcentered,andthe businessnameiscutoff.Inaddition,thewindowismade ofmirroredglasssothattheviewerofthepaintingcannot seethroughit.However,whentheviewerisalsoareader, thoseimagesdeemedoutsidethescopeofthepainting maybefoundinGay’snarratives.Thereader/viewermay lookoutsidethewindowandseeRoosterfish,inallhis glory,pullinguptoDeVries’sinhisDeSotooropenthe doortothepoolhall’ssmokyenvironment.Havingthis

TheHarrikin,AManmadeHell

mostmovingimageryoccurswhenhischaractersenterthe forest.ItisasifsomethingturnedoninGayandhisprose becomespoetry.Withoutadoubt,Gayhadanintimate relationshipwithnature.Itshowsinhisattentiontodetail fromthefloraandfaunatotheclimateandterrain.Though theHarrikinisoftenreferredtoasGay’sunderworld,at onetimeitwasanEden,anditwasonlyafterhumanity strippeditofitsnaturalresourcesthatitbecamea manmadehell.Gaywasparticularlyfascinatedwiththe ghosttowns,ortheremnantsoftheoldminingtown,and thepeoplewhoremainedevenaftertheminingoperations ceased.Heexploredtheseoldhauntstotheextentthatthe HarrikinwasnotonlyoneofGay’spredominantsettings butthatreadersofGayassociatetheHarrikinwithhim. TheHarrikinforGaydidwhatNarniadidforC.S.Lewis. ItmakessensethatGaywouldalsowanttopaintthis setting.Ofcourse,notallauthorscandraworpaint,but manyofthemostrecognizedworld-buildingauthors,like J.R.R.TolkienorC.S.Lewis,alsoillustratedtheirsettings. CouldTolkienorLewis’sartworkstandonitsownoutside oftheirwriting?Probablynot.Thepaintingssupplement Gay’swritingandcreateaspaceforthereadertovisually connecttohisfictionalworld.

TheHarrikinisawasteland,andthoughnowarhas occurredinthisterritory,itseemsasifitiswar-tornor Apocalyptic.In TheLongHome,NathanWinerand

MotormouthdrivedeepintotheHarrikin:

Theydrovethroughalandinruin,asprawling, unkeptwoodofthousandsofacres,landboughtby distantcompaniesorfolkswho’dneverseenit.Yet theypassedunlithousesandoldtiltinggrocerystores withtheirrustinggaspumpsattendantanditwaslike drivingthroughacountrywherecivilizationhad fallenandvanished,wherethegodshadturned vengefulorperversesothatthedenizenshadpicked uptheirlivesandfled.Oldcantedobliqueshanties builtwithoutregardforroadsortheusesofthem, folksforwhomfootpathswouldserveaswell.Dark bulksrisingoutofthemouthsofhollows,trees growingthroughtheiroutragedroofs.Oldstoneflues standingblackenedandsolitarylikesentriesfrozenat theirpostswaitingforreliefthatdidnotcomeanddid notcome.Longdesertedghostroads,hauntsof homelessdrunksandhaphazardlovers.(155)

GaypersonifiestheHarrikin,amanmadehellwith“trees growingthroughoutragedroofs”andthe“fluesstanding blackenedandsolitary”(155).Allthatisleftisunwanted. ThereisadistinctbeautyinGay’spaintingsaswithhis language;theybothencapsulateahardscrabble determinationandtoughexterior,anunapologeticaccount

TidewaterhasauniquerelationshipwithJenny.She giveshimtheattentionhedoesnotgetfromhisown family,andheisclosertoherthantothem.AsLisaand Jennygetolder,theystopbeingfriends.Jennystarts hangingoutwithabadcrowd—thoughshereallynever stoodachancewiththeparentsshewasdealt—and Tidewatertakesherunderhiswingasaseconddaughter. Inanironictwisttowardstheendofthestory,Jenny’s bodyisdiscovered:“InthemorningJenny’smotherhad gonetoputaletterinthemailboxincasethemailman madeitupthehill,andfoundJennyfrozentodeathina smallstreamofwaterthatwoundthroughawashed-out gullybelowJenny’shouse”(282).Noteventhe LightpaintercansaveJennyfromherself.Asmuchas TidewatertriedtohelpJenny,hislightwaseithernot strongenoughorherlifehadgottentoodark.Tidewater strugglestoidentifythatmomentintimewhereshe becamelosttohim,replaying“everywordandactofher lifeandsolocatethemomentwhenthecankerappeared ontherose,whenthefairy-talewooddarkenedandthe treesborethorns,whenacautionarywordcouldhave turnedasidefate”(282).Aftergoingtothefuneralhome, Tidewatergoestothesitewhereherbodywasdiscovered, lookingforclues:“Hewasnotsurprisedtoseethathewas drivingtowardtheHarrikin,thoughtheroadwasperilous andevenwiththechainsonthevanspunonhillsandonce

sliddizzilysideways,sothatforamomenttheheadlights sweptthefrozenwoodsinaneeriefrieze,thetrees trackingpalelyofftheglassinelongatedprocession” (286).WhenJenny’sparentsfindTidewater “investigating”thescene,themotherattackshimandhe fallsdownintheexactspotwhereJennydied.Itisa macabrescene,andheliesthereattemptingtomakeone lastconnectionwithher—“Heknewthathewaslying whereshehadlain.Heknewwithoutseeingthemthat longstraightstrandsofbrownhair,likehorsehairs,were seizedintheicewherethey’dsnappedwhentheypried herfree”(288).Heeventuallygetsup.Hedoesnotdiein theHarrikinaswell,butinasense,somethingdiesinhim andGayendswithoneofhisphantasticendings:“The lightpainterfeltlikeoneoftherusticagrariansinhisown paintingswhohadthrownasidebrushhookandpitchfork andattainedanalmostundetectablemotion,easingfrom thepastorallandscapethathadshelteredhimtowardthe whitevoidofchaosatthepicture’send”(289).Thisisan intriguingpassage,becauseGayiscontemplating Tidewaterliterallybeinginsidehisownlandscape paintings.ButGaydoesnotstopwithplacinghischaracter intotheimagehere.Tidewatermovesoutsidethepicture ortheend,to“thewhitevoidofchaos,”thatunknown territorywheretheartends.Thisisextremelyimportant whenoneconsiderstheearliertreatmentdiscussedonthe

trulywantstogettothebottomofwhyartistsdowhat theydo.Andhedoesnotarriveattheeasiestexplanation andstatedthat“maybetheworldneedsartiststodream whiletheworldsleeps,togointotheunknownwhereon ancientmapstheoldcartographersdrewdragons. (Sometimestheoldcartographerswereright.)”(126).He leavesthereaderofthismemoirwithsomethingtowonder about,andanothergrandexit:“Artistsarelike astronomerswhopostulatetheexistenceofunknown planetsbythepulloftheirgravityonknowncelestial bodies.Themysteryisinvisiblebutfelt,tugginggentlyat whateveriswithinit,unknowableuntilthenextpanelis painted”(126).Mostartistswouldprobablyagreethereis acompulsiontocreateart.Yes,itmaybenicetolookat, butthereasonthereisartisbecauseartistanswerthatcall.

timberroadsovertakenbygrowth;roadsmadeimpassable fromsnowdrifts;roadsleadingtoabandonedbarnsand farmhouses,ortoexquisitehorizons.ForGay’scharacters, theroadmayleadnowherebuttoendlessdaysofdrinking inonetownafteranotherwiththeirrunningmatesintow, ordownthathighwayofthegreatunknownandthe endlesspossibilitiesthatprovides.

Gaymaybeginanovelwithsomeonetravelingdowna roadandendwiththemaincharacterthumbingtheirway towhereverthefateshavedecreed.Hischaractersseemto alwaysbeatacrossroad,whethermetaphoricallyor literally;theyareaimlessandatthemercyofwhatever comesnext.ForsomeonelikeGay,ageniuslivingin obscurity,roadsandendlesshorizonsmusthavemadehim wonderabouthisownpossibilities,somelost,butperhaps, somegainedthroughthesheerimaginationandwill-power ittooktobecometheartisthewas.

In ProvincesofNight,BoydBloodworthandE.F. Bloodworthtraveldownroads,buttheirjourneysare metaphoricallyquitedifferent.BoydBloodworthtravelsto Detroit,Michiganseekingrevengeonawifewholefthim, andE.F.Bloodworthreturnshometotryandregainwhat helostonhisownaccordasayoungmandriventothelife ofamusician.Theyoungergenerationseeksfasttimes andquickmoney,whiletheoldergeneration,nowatthe endoflife,hopestoreturnandessentiallydieintheirown

home.Asnotedpreviously,Gaywasanautobiographical author,andhischaractersemulatedhisexperiences.Per White,andlikeBoydBloodworth,“Gaybrieflylivedin redneckghettosandworkedinfactoriesinDetroit, Michigan.”

Thibodeauxand Stoneburnerfrom Stoneburner and Edgewaterfrom TheLostCountry,likeGay,were dischargedfromtheNavyandhitchhikedthroughoutthe U.S.AccordingtoWhite,“WilliamwentAWOLwithapal andwasheadedtoTennesseebutwasarrestedinTexas.” Edgewatereventuallytravelstowardhomebecausehis fatherisdying,buthetakeshistimeandiseasily distractedbywomen,runningmates,andhonkytonksand whenhereturns,heconstantlyhearsthecalloftheopen road:“Edgewaterdidnotreply,wasnotevenlistening.He waslookingpastBradshawtowardthedistanthorizon, wherethedarkskymetstilldarkerinkslashesofcrazed trees.Thehighwaywastheresomewhere.Thehighway washummingalmostasilentinvitationhecouldaccept anytime”(200).Gaywriteswithsuchlongingwhenhe writesabouttheopenroad—theroadisliterallyhumming orbeckoninghischaracters.

InGay’ssynopsisattheendof FugitivesoftheHeart he providesinsightaboutwhattheroadmeanttohis character,Yates,wholeavestheruinsoftheminingtown ofAllen’sCreekandjumpsatrain:“Yatesfleesina

boxcarintoafuturewhich,whileuncertain,isstillmore hopefulthanthebleakanddesecratedAllen’sCreek communityheleavesbehind”(240).Escapismintheform oftheroadisapredominantthemefoundinGay’snovels andevenwhenhisyoung,maleprotagonistsbecome distractedbywomen,getajob,liveinsomethingother thanadilapidatedshack,andtrytosettledowntheir attemptsatsettlingdownarenotsustainable.Theyendup quittingorgettingfired,losingthegirlandthehouse,and eventuallyleavingtown.Thosecharactersthatreturnto Ackerman’sFieldonlystayforashorttime.

Gay’swayoutfromhishometownwastojointhe military,andhedidsoaftergraduatinghighschool, enlistinginatimewhenmostyoungmenweretryingto avoidthedraft.Hisdesiretoseetheworldandescape povertywasstrongenoughtomakehimenlistduringthe VietnamWar.Readers,whohaveaccusedGayofvague endings,shouldreflectonwhatanopenroad,without directionordestination,representedtohimandthebright youngmen—manyofwhomdesiredtobewriters themselves—whohewroteabout.Itwouldnotbeastretch toreplaceGay’snamewithhischaracter’snamesandto makehisyoungman’sdesiresandfearshisdesiresand fears.

Evenwhentheroadprovesdangerous,Gay’scharacters arewillingtotaketheirchances.Attheendof Twilight,

impossibletotravelwhichcouldimplyitisnotgoingto beaneasytrip.Gaycapturesthesameideologyfoundin JackKerouac’sfamousnovel, OntheRoad.Hisroad narrativesspeaktotheBeatmovementandwhatthe authors,poets,andmusiciansoftheperiodaspiredtoand accomplishedthroughjazzmusicorstream-of-conscious poetry.Perpetualmovementandtherelationshipbetween theselfandtheroad,withoutadestinationoranobjective, offersinfiniteexperienceandultimatelyastateofdivinity. GaytraveledafterhewasdischargedfromtheNavy.He residedinNewYorkforshorttime,thinkingthatwasthe placewherewritersgotowrite.Andthoughheultimately returnedtoHohenwald,gotmarried,hadkids,or“settled down,”itwasnotsustainable.Heinevitablylostorquit hisjobstodowhatheconsideredtobehisrealworkof writing.

thehouse?Eachpainting,likeeachscenehewrote,is unique.Obviously,apaintingismeanttobelookedupon, butthereisanaddedsenseofvoyeurismwhenthe onlookermustalsolookthroughawindowpaneatwhat theartistpaintedthere.SomeoftheinteriorscenesGay paintedandwroteaboutdependedonthelightcoming throughthewindowtoliterallylighttheroom,butthe lightalsocreatedanatmosphere.Hereisacomparisonof twowindowsceneswiththesamecharacter,Nathan Winer,from TheLongHome:“Latertheylayinbed,her backtohim,thelengthofherbodyagainsthim.Thesun wasloweringitselfinthewestandthrewthewindow yellowlightandobliqueontheeasternwall.Pasther roundedshoulderhewatcheditslideslowingacrossthe limegreenplasterandhewishedtherewassomewayto haltitbuttherewasnot”(201).Thepaintingofthegreen plasteredroomsprovidesanopportunitytopicturethe sceneasGaymayhave.Inaddition,thesoft“yellowlight” fromtheloweringsuncreatesanintimatescenewith lowlightandalmostcandlelighteffect.Thewindowand thelightcomingthroughit,allowsGaytoexperiment moodoratoneinthisscene.

AfterWinerisnolongerallowedtoseeAmberRose,he becomesdepressed.Gaycaptureshislowmoodby creatingascenewithhimlookingoutawindow;but,as opposedtothesoftwarmlightoftheloweringsuninthe

scenesdepictedinhispaintings.

Sometimes,Gaypaintedinteriorsthatlookedouttoa pastoralscene.In TheLongHome,ThomasHovingtonis slowlydying.HishomehasbeenovertakenbyHardin,but heistoooldandtoosicktodoanythingaboutit.Hesits andstaresoutsideawindow.

InHovington’slastdaystheymovedhisbedoutof thelongfrontroomandintoasideroomasifthe sightofhisdyingmightoffendthesensibilitiesof suchdrunkardsandwhoresasthenightsseemedto drawevermoreof… …Theroomhadonefourpanedwindowandheused toliecurledfacingitandpeeracrosstheweedstothe branchandpastthattowherethehillsgavewayto autumnsky.(57)

Again,thewindow setsthemoodforthe settingandthe character.Hovington hasresignedhimselfto die;heistrapped,and whatlittlepeacethere isforhimhefinds gazingoutatanautumnscene.

entranceorexitintoanotherrealm,whichiswhathas occurredinthisscene.

In Twilight,Gayusesthereflectivepropertiesofan automobilewindowtoallowTylertoseehimselfforwhat hehasbecome.BeforeTylerclimbsintotheblackBuick Roadmaster,hestudieshisreflection: ...faroffdowntheblacktoptherewasasoundoftires onmacadamthenthecaritselfwaveringand ephemeralthengainingsolidityinarush.ABlack BuickRoadmaster,hedidn’thavetothumbit.It stoppedandsatidlingandhetookupthesuitcaseand peeredthroughthewindowglassandacurioustrick oflightbehindhimrenderedtheglassopaqueand mirroredsothatinsteadofthedriverhesawonlyhis ownreflectionleaningtowarditself,andinthis alteredlightitwasanewTyler,older,perhaps,wiser, andmoreversedintherecklesswaysofareckless world,asifinsomewayhehadnotchedaridewitha moresinisterself,tenyearsdowntheline(249).

TylerwentintotheHarrikinaboyandcameoutaman. ThepersonheseesreflectingbackfromtheRoadmaster’s windowisadifferentversionofhimself—afutureversion, buttheimplicationallalongin Twilight wasthe inevitabilityofTylerbecominganotherSutter.Jews observingShivacovermirrorsforthreedaysafterthe deathofalovedonetoallowthemournersatimeforselfreflection.Inpastcultures,itwasbelievedamirror,or

thejeweler’scase.Hewantedtheknife.Hewanteditlike athirstymanwantswater,adrowningmanwantsair” (44).Eventually,Yatesacquireshisknife,alongwitha newfriendinBlackCrowe,whonegotiatesthepurchase. ButthesalestartsawarbetweenCroweandDowCook thatleadstoalynchmobgoingafterCrowe.Gayputsa lotattentionintointroducingthisknife,butitisalso Chekhovianinthatoncetheknifewasintroducedithadto beused.Inthiscase,Yates’snewknifefuelsthe townspeopletoattempttokillCrowe.ForYates,theknife isallbutsurroundedbybrightlights,simultaneously tauntinghimwhilealsoremindinghimofhislowly stature.Yates’sdesire,coupledwiththeknowledgethat whathewantshewillneverpossess,isathemeGay exploresthroughoutthiswork.

Gaygrewupverypoorandtheobjectsbehindwindows instorefronts,itemsthathecouldnotaffordtopurchase, likelyhadgreatappealtohim.Themanyreferencesto windowsinGay’swritingandthenumberofimagesof windowshepaintedindicatestheirpersonalimportance. LikeYates’sdesireforaknife,Bloodworthfrom ProvincesofNight longsforatypewriter.Asmentioned previously,WilliamGay’syoungprotagoniststookon manyofhisowncharacteristics.Bloodworthpossesseda compulsiontowriteasdidayoungWilliamGay.In ProvincesofNight,Bloodworthreceivesarejectionletter

stating,“Weregretthatweareunabletoreadhandwritten manuscripts”(9).Tosolvethisproblem,Bloodworthsaves upforatypewriter:“YoungFlemingBloodworth,withthe proceedsoftwoweeksofherbgatheringfoldedinthetoe ofhisrightfrontpocket,stoodbeforeBreece’sVariety StorestaringatahugeoldRemingtontypewriter enshrinedbehindplateglass”(66).Bloodworthviewsthe Remingtonasamagicalcontraptionof“gleamingcopper gearsandsteelsprings...somealchemicaldeviceoutofa long-lostcivilizationfoundedonmagic,capableof transmutinglifeintoneatlystackedmanuscripts.Itlooked asifithadathousandtalestotellandneededonlyhis complicitytobeginthetelling”(67).Onecanalmostseea youngGayreceivingasimilarrejectionandmaybeGay himselflookingthroughanotherwindowatanothertime, marvelingoverthestorieshisowntypewritercouldcreate ifhebutpossessedit.Whitestatedthat“Gaynever masteredtypingandwouldreceiverejectionsfor submissionshesentinlonghand.Later,hisdaughters wouldhelptypehiswork,buthewrotewithpenandpaper therestofhislife,andwhenhepassedawayallofthe workinlonghandhadtobetranscribed.”

Gay’stalentasawriterinconjunctionwithhis developingartisticeyehelpedGayconveymoresuccinct imagery,setting,andatmosphere.OnpaintingSouthern landscapes,in“CalvesHowlingattheMoon,”hewrote

collectionofshacksandshantiesfallingawaytoruin, appearingasthoughtheyhadsproutedtherelike weedsonlywaitingtobechoppedaway,forthey appearedastemporaryastheirresidentswhosat abouttheircantedporcheseveninmidday,workless andlucklessandhopeless,childrenplayingnakedin theyardandonthefacesoftheporchsitters,an expressioncuriouslystunned,somehowresembling anoldphotographofthesurvivorsofsomegreat holocaust. Streetsandalleywaysrunningwithoutplanorpattern andfadingatsomepoint intopadded,needledpathsintothepinewoodsthat gavethecommunityitsname.Atnightpolicecruisers crawledalonglikesentries,asifinanticipationofthe nextfightorwife-beatingorcutting,easingamongst theclosedfacesintheyardslikeathreat.

Andatnightthesehousesgarishwithlightorperhaps darkandmeterless,fallen preytotheidiosyncrasiesoftheelectriccompanyor perhapsaghostlyflickeringlamplight,wavering beyondgauzycurtains,asmellofcoaloilintheair (57-58).

However,notallthe paintingsoffarmhouses orbarnsweredepicted incompleteruin.Some ofGay’sfarmhouses paintingsaresimple, tidyillustrations, comparabletothe pastoralscenesofthe Currier&Ives’simages hewroteabout.Yet, whenGaydescribesa pastoralsettingthatstartsouttooneatortooperfect,the sceneeventuallydescendsintodarkness.Intheshortstory, “ADeathintheWoods,”Pettijohnwalksdownhissteps andtakesintheworldbeforehim: Hewentoutandsatdownonthestonesteps.Theday seemedtogrowstillandhesatandsmokedandgrew stillalongwithit.Suddenly,herealizeditwasalmost night.He’dsatdowninbroaddaylightandnowit wasthedarkestshadeof Twilight andthecriesofthe whippoorwillswerewashingoverhimfromoutfrom thetrees. Atlengthheroseandwentaroundthehouseand throughthebackyard.Hestoodatthefenceand watched.Thehorizonhasalmostmergedwiththe darkness.Itwasdissolvingrapidly,likeahorizoncut frompaperanddroppedintoacid.Thespikytopsof

Besideslovinghistory,Kentuckybourbonandchocolate, Abigailloveshoneybeesandformanyyearsmadeher livingbysellinghoneyatafarmers’market.

Sheisanaward-winningbeekeeperwhohaswonmany honeyawardsattheKentuckyStateFairincludingthe BarbaraHornAward,whichisgiventobeekeeperswho rateaperfect100inahoneycompetition.

Astrongsupporteroffarmers'marketsandlocalfood economy,MissAbigailhastakenherknowledgeof beekeepingtocreateafictionalbeekeepingprotagonist, JosiahReynolds,whosolvesmysteriesintheBluegrass.

Asabeekeeper,Abigaillovesweavingbeekeepingfacts intohermysteriesaswellashistoricalfactsabout Kentucky,whichhasafascinatingpast.

Shemadeherlivingsellinghoneyatafarmers’marketfor tenyearsjustasherprotagonistdoesintheJosiah ReynoldsMysteries.

Kamata:Forthosereaderswhodon’tknowyou,could youpleasetellabitaboutyourbackground?

O’Harra:FromtheageofthreeuntilIgraduatedfrom highschoolateighteenIlivedinatinytowninnorthwest IndianacalledRollingPrairie–population500.Astudent atIndianaUniversitymajoringinEnglish,Ispentmy “JuniorYearAbroad”atLancasterUniversityinEngland. OngraduatingwithaBAwithspecialdepartmental honors,IlivednearParisforayear,workingforthree monthsasanaupair.Ithensetupakindofprivateschool toteachEnglishconversationtoFrenchhousewivesand businessmen.IreturnedtoLancastertodoanMAin18thcenturyEnglishliteratureandsubsequentlygota scholarshiptodoadoctorateatEdinburghUniversityon thecontemporarycontextofAlexanderPope’spublished letters.AsanEdinburghgraduate,Iwasinvitedtoapply forapostatanewlyopeneduniversityontheislandof ShikokuinsouthwesternJapan:itsdeanhadspenta sabbaticalyearatEdinburghandwantedtoestablishalink betweenthetwouniversities.Iwasemployedfull-timeas anEnglishprofessorforthenextthirty-sixyears.Imarried aJapanesefarmerandwehadthreesons.Onretiringfrom mypositioninthespringof2020,Imovedbackto LancasterintheUKandalternatemytimebetweenmy homehereandtheoneIsharewithmyhusbandin Takamatsu.

Kamata:Youearnedadoctoratedegreein18thcentury literatureatEdinburghUniversityinScotland,while studyingalongsidethelikesofPhilippaGregoryandIan Rankin.Thosewritersalsoveeredfromacademiainto popularfiction.Howdidyougofromwritingacademic articlestowritingcrimefiction?

O’Harra:IsupposeanyonewhostudiesEnglishliterature harborsahankeringtowrite.Thisisespeciallytrue, perhaps,ofindividualswhostudyliteratureatgraduate levelandgoontoteachandengageinliteraryresearch. PhilippaGregorywasayearaboveme,workingona doctorateonearlynovelsoftheeighteenthcentury,andwe sharedthesametutor,GeoffreyCarnall.Iusedtoseeher sittingonthefloorbyhisofficeintheDavidHumeTower, alwayswearingyellowdungarees.IanRankinwasseveral yearsbelowmeandoftensubmittedstorieshe’dwrittento Cencrastus,auniversityliteraryjournalfoundedinthe wakeofScotland’sfailedbidfordevolutionin1979.Iwas anassistanteditorforthreeyearsandregrettosaywe oftenrejectedhisstories!Ididn’tknoweitherIanor Philippa–knownthenas‘Pippa’–well.Iadmireand applaudtheirgreatsuccess!Asforme,onmovingto Japan,Ipublishedwidely–articles,essays,bookreviews andacademicmonographs–onEnglishandJapanese literature.Butatacertainpoint,Ifeltdissatisfied.Iwanted todosomethingdifferent!Iwasundoubtedlyinfluenced bytheexampleposedbymyformerfellowEdinburgh postgrads.Ibeganastoryaboutamurderatmyuniversity

campusinJapan.

Kamata:YourpreviousthreenovelsweresetinJapanand featuredInspectorInoue,amaleJapaneseprotagonist, whichmakes DeadReckoning abitofadeparture.Why didyoudecidetosetanovelinsmalltownAmerica? O’Harra:MyInspectorInouemysteryseriesconsistsof threenovels,eachlinkedtoaseason.Thefirst, Imperfect Strangers,publishedin2015,issetinthesummer;the second, Progeny,publishedin2016,issetinthewinter; andthethird, LadyFirst, publishedin2017,issetinthe spring.Oncompleting LadyFirst, Iwantedtoletsome timeelapsebeforeIpublishedafourthandfinalbookof theseries,thatwouldbesetintheautumn,contemplating itwouldinvolvetheagingandthedeathsofseveralofthe keyfigures.In2018,Iinitiallysetmyselfthetaskof writingafamilymemoir.Thiseventuallyevolvedintoa crimefictionnovelsetinmyhometowninIndiana: Dead Reckoning.ItismoreautobiographicalthanI’dlike,tobe honest.Butinwritingit,IthinkI’veachievedthesortof catharsisI’denvisagedwhenoriginallyembarkingona morestraightforwardlyconfessionalkindofnovel.

Kamata:Youareoneofthemostcheerfulandpositive peoplethatIknow.Howdoyouaccountforthedarkness inyournovels?

O’Harra:Ilovechange!I’mverygratefultohavebeen grantedtheopportunitytoembarkonanewphaseoflife. HereintheUK,Ihavefacedmanychallengesand difficulties.Ingeneral,Iwelcomethem,particularlyas theyareaccompaniedbymanydelightsandpleasures.I believewestartdyingwhenwestoplearning.Asforthe effectmytransitionfromJapantoBritainhashadonmy writing,Iregrettoadmitit’sresultedinmynotdevoting myselftoitasmuchasIshould.Therearesomany distractions!I’mavolunteeratanaturereserveandata theatre/cinema.Ibelongtoaspeechclubandtoabowling club.Iattendlecturesandmeetingsonavarietyof academictopicsprovidedbythe‘u3a’groupherein Lancaster.Itakelongwalksandcyclerides:thescenery aroundhereisquitespectacular.Ibelongtoalocalgym thatIvisitthreeorfourtimesaweek.Havingsaidallthat, Iamworkingonafifthnovel,butitwillbeastandalone crimefictionbooksetinJapan.If,infuture,Iwrite somethingabouttheUK,Ithinkitwillbea‘sliceoflife’ novelratherthanamurdermystery.

Kamata:Anyadviceforaspiringcrimewriters?

O’Harra:Asforadvicetoaspiringcrimewriters,IthinkI wouldsimplysuggesttheybe“truetothemselves.”That is,theyshouldbeconversantwiththeworkofmany mysteryauthorsbut,ultimately,theyneedtofindthestyle andcontentthatsuitsthembest.It’snogoodtryingto

copyortoimitate.

Kamata:Whatareyouworkingonnow?

O’Harra:AsI’vementionedabove,I’mworkingonone moremurdermysterysetinJapan,butit’sintheveryearly stagesofcomposition,soIwon’tsayanythingmoreabout it!

Kamata:Anythingelseyou’dliketoadd?

O’Harra:Finally,Iwouldliketonotedownafew thoughtsaboutcrimefiction.Apparently,itisnowthe mostpopularliterarygenreinthewesternworld,making upto25–40%ofallfictionsales.Why?Beforemaking anygeneralizations,itisimportanttoobservethat,of course,crimefictiontakesmanyforms,includingthe detectivestory,thecourtroomprocedural,themystery novel,andthepolicenovel.Itisalsoanancientgenre, with TheArabianNights (composedinthelate1200s) containingastoryrelatedbyScheherazadecalled“The ThreeApples”thatisa‘whodunit’withmultipleplot twists.Therearesomewhoareattractedtothe‘puzzle’ aspectofcrimefiction;otherswhosimplylikea‘pageturner’fullofexcitementandadventure;andstillothers whofindinthemurdermysteryaninvestigationofhuman

Butaheadshotisamusttofulfillourwriterlyobligations andhaveapresenceonsocialmedia.

Mymaintiptowomenauthorswhoarewary?Hirea womanwhoidentifiesasafemalephotographer.I’mnot sayingdon’thireamalephotographer(perhapstheyarea friendandyoufeelcomfortablewiththemoryoulove theirwork,asisthecasewithsomeofourtipsters).But womenforthemostpartunderstandhowyouwantto appear,andnothavingamalebehindthecameramakes manycamera-shywomenfeelmoreatease.Itallowsthem tofeelsafeandtodiscardthepressuretolookgoodfora man.

AuthorandphotographerAshleyInguanta,whohas photographedmanyfemaleauthors,offersthiswisdom fromsomeonebehindthecamera:“Themediahassaida lotabouthowourbodies'should'be,butinreality,wego gray,wegetsick,webecomeexhausted;inrealitywe shinebright,too,glowingandradiant.Butmywishfor youisthat—beforeyourphotoshoot—youtakeoneaction toshowloveforyourbody,andpromisetotakemore lovingactionsatyourownpace.That'sit!Wearwhatyour heartfeelsinspiredtowear,talktoyourselfwithcareand camaraderie.”

Writinginavarietyofgenres,hereareadditionalauthor experiencesandtips.Ihopetheyhelp.

EmmaBolden

Afterdecadesofdealingwithchronicpain,my relationshipwithmybodyiscomplicated,tosaytheleast —somuchsothatitfeelsstrangetosay“mybody.”It seemsseparatefromme,aforceactingbeyondandagainst mywill.It’sdifficult,ifnotimpossible,formetofindmy body—myself—beautiful,afeelingdoubledwhenIsee myselfasseenthroughsomeoneelse’slens.Icouldnever findtheconfidence—untilIreframedthewayIthought aboutauthorpics.Ididn’tnecessarilywanttolook beautifulinanartificialway,butreal.Authentic.Iwasfirst drawntomyphotographerwhenIlookedatherportfolio andsawthepersonalitiesofthepeoplecomingthroughso clearlyandbeautifully.IwassoldwhenIsawanoteabout howshewouldn'tdocosmeticedits(slimming,etc.).She wasn’tinterestedinsurfaceperfectionbutinthepeople themselves.

Whenitcametimetohavemyphotostaken,Imadesure towearthingsthatgroundedmeandremindedmetobe— well,me:earringsandaringfrommyparents,anecklace fromadearfriendinscribedwithalinebyGertrudeStein inhonorofmybelovedcatwiththesamename.Whenever Igottoonervous,Ilookedatoneofthosethingsandtook deepbreaths.BecauseItrustedmyphotographer,Ialso trustedherenoughtotellherwhenthingsfeltphysically uncomfortableorimpossible,andshereactedwith completeunderstanding.Havingthestrengthand

JenKnox

Despitemypast(whichgoesfardeepertrauma-wisethan mymemoirdid),Ilovephotoshoots.Idon'tlooklikethe cartoonwomenweseeonline,butIenjoyhavingthe cameraonmebecauseit'sbeenoffofmemostofmylife. Idreamofadaywhenwomencanallstepinfrontofany cameraasrawandself-satisfiedasthemenIseebehind thelens.Ialwaysthinkofnewsreportersinthisway—the manwithwrinklesandweatheredskinhappyasaclam nexttothewomanBotoxedandmadeuptothepointshe barelylookshuman.

Mytips:Wearsomethingcomfortable.Choosea photographeryoufeelcomfortablewithandwhosework depictsmorethanamyopicstandardofbeauty(the portfoliodoesn'tlie).Acceptthatyou'llneverlooklikethe cartoonimagesyou'resold,butthat'sexactlywhatmakes youbeautiful.Thenagain,ifyouwanttobeacartoonin yourphotos,there'safilterforthat.Nojudgment.Have fun.Takethelimelight.Demandit.Makeityourown.

M.J.Rose

Forme,gettingphotographedusedtobesohardbecauseI usedmywriter'smindthewrongway—I'dimagineallthe whatif's.WhatifIlookedtoosternandreaderstook offense?WhatifIcameacrossastooaloofandreaders couldn'tconnect?FinallyduringonesessionIturnedmy imaginingstomyadvantageandeverythingchanged.I cameupwithascenariotokeepinmyhead.Idressedlike myself,butpretendedtobemy1890'scharacterinher Parisiansalonentertainingagentlemancaller.Sandrine (fromTheWitchofPaintedSorrows)wouldbealittle flirtyandself-assured.She'denjoypreeningabit.It worked—Iwassomuchmorerelaxed.I'vedoneitwith eachsessionsince,bringingmymostrecentheroinewith metobemyballast.It'snotthatweshouldn'tbe ourselves—it'sthatwedon'thavetobeourmostcritical selves.Wecancallonourtalentstomaketheshootmore enjoyableandsuccessful.

Additionaltip:Neverwearsomethingnewyouareputting onforthefirsttime.Alwayswearsomethingyou're alreadycomfortablein.

MaryMcLaughlinSlechta

Ittookmetwotriestofindtherightphotographerandto takemyself(assubject)seriously.Iknewaphotographer whosnappedfantasticpicturesofwaterbirds.Ifiguredhe wasanenormousstep-upfromaselfieoraskingmy spouse.Becausehe'dalreadytakenadecentphotoofme,I figuredanhour,includingmakeupandachangeof clothes,wouldprovideenoughchoices.Atleastonewould beokay,right?Andunlikewaterbirds,Iwouldbesitting inoneplace.Hesent7shots,inmostofwhichIlooklike I'msittingonsharprocks.Hisfavorite,andsadlythebest, showedmyboneycollarboneatitsboniest.WhenIasked himtosoftenthearea,hewrote,“Icantry...but[as]forthe clavicle...Ithinkitisoneoftheprettiestpartsofthe femalebod.”

Needlesstosay,Ilookedforanotherphotographer.This timeIaskedforhelp.Firstwasanauthorfriendwho advisedmetofindafemalephotographer,someoneless likelytohaveacollarbonefetishandmorelikelyto mentionifIhadflyawayhairoraprominentthinspot. Next,afamilymemberputmeintouchwithawoman whodidreallyfineheadshotsoutofheractualbusiness andwasmorebusinesslike.Thedifferencewas transformational.Beforewebegan,Iginnedupsome courageandaskedhertotellmeifanythingaboutmyhair orclotheswasoutofplace.ShesmiledandIsmiledback andwewereofftoasuccessfulsession.Ihadafewdozen

KarenDionne

StepOne:Bookaprofessionalphotographer.Your offspring/significantothercansnapadecentpicturewitha cellphone.Myearlyauthorphotosweretakenthisway. ButIrealizedlaterthattheseamateurishphotosnevergo away.Becausethey’reonline,occasionallysomeonewill usetheseearlyshots.Socontrolwhichauthorphotosare available.

StepTwo:Skipoutdoorshots.Mynovelsarewilderness thrillers,soitseemedlogicaltoshootheadshotsoutside. Butovertheyears,I’velearnedthataphotowithan undistractingbackgroundismuchmoreusefulthanonein whichthebackgroundsetsamood.

StepThree:Keepyourclothingsimple.Understated clothingandminimaljewelrygoalongwaytoward producinganauthorphotothat’sclassy,clean,and undistracting.

StepFour:Scheduleyourphotoshoottofollow immediatelyafteryou’vehadyourhairdone.Enoughsaid.

StepFive:Enjoyyourself.I’vesavedthistipforlast,but it’sthemostimportant.Ifyou’rethekindofpersonwho hatesgettingyourpicturetaken,Isympathize.Iusedto feelthesame.ButafterIbecameapublishedauthor, readersandfanswantedtohavetheirpicturetakenwith me.Alot.Tomysurprise,thesecandidshotsturnedout great.IlookedhappyandrelaxedbecauseIwas.

ConsideringYourOwnPodcast?

byJuliaBrewerDaily

Iwasinspiredtobeginapodcastwhilelisteningtoauthors talkaboutexpandingourbrandsandoutreach.Then,I heardapodcastcoach,HollyShannon,toutthebenefitsof authors’podcasts,andIwashooked.

Theadvantagesarenumerous.Podcastsdrivetraffictoour websites,whichisoftendifficulttoaccomplishwith giveawaysorblogs.Podcastspresenttheirhostsas authorities.Remembertheadagethatyoucannotbean expertinyourhometown?Well,podcastssendyour messageallovertheworld.Podcastsarepersonalchats, likehavingguestsinyourownhome,andtheycreate community.Youcanevenrepurposeyourpodcast transcriptstobeyourdreadedblogposts.Thecostis relativelylowtoenter,andlaterwhenyoubuildabroad audience,podcastadsandbooksalescanincentivizeyour work.

It'sessentialtofindanichemarketandresearchwhether anotherpodcastormanypodcastsexistwiththesame theme.Asforme,Iknowthereareawardsandlistsfor

fellintomycriteria,over50whentheirfirstbook launched.But,Iwasnotpreparedfortheoverwhelming responsefrompublicistswantingtosecureinterviewsfor theirclientsandmanybaby-boomerauthorswhooften finditchallengingtoreceivepublicityfortheirbooks. Itcanbealittlenerve-wrackingwhenyouareinaremote locationrecordinganinterview,andtheinternetbeginsto buffer,soyouhavetoswitchfromcomputertophone.Or, whenanairplanezoomsoverheadoradogbarks,you havetoedittherecording.But,theenjoyablepartofbeing apodcasterislisteningtoinspiringstoriesfromauthors abouttheirpublishingjourneys.Chattingwiththesame peoplewhosebooksIhavereadorwanttoreadis inspiring.Ifeelasthougheachonehasbeenaguestinmy home.AndI’mbuildingalibraryoftheirworksbecauseI buyacopyofeverybookwediscuss.

Ofcourse,podcastingisnotallrainbowsandunicorns. I’mawareofthe“podfade”element,whichstatesthatless than20%ofpodcastslaunchedthisyearwillmakeituntil nextyear.It’sestimatedthatalittleoverhalfofthealmost onemillionpodcastsarestillactive.Someburnout.

Podcastingiswork.Youhavetofindguestsortopicsto speakabout,writecopyandmakeads,uploadbiosand photosandcreateannouncementsforsocialmedia.The expenseofhiringasoundengineerisdauntingeachmonth unlessyouwanttolearnspecialsoftwareandcomplete yourediting.

Althoughrelativelynewtotheconcept,mypodcasthas

JuliaBrewerDaily isaTexanwithasouthernaccent.She hasaB.S.inEnglishandaM.S.degreeinEducationfrom theUniversityofSouthernMississippi.

Shehasbeenaneducator,CommunicationsAdjunct ProfessoratBelhavenCollege,administrator,andPublic RelationsDirectoroftheMississippiDepartmentof EducationandMillsapsCollege,aliberalartscollegein Jackson,MS.Shewasthefoundingdirectorofthe GreaterBelhavenMarket,aproducers’onlymarketina historicneighborhoodinJackson,andevenshadowed MarthaStewart.

AstheExecutiveDirectoroftheCraftsmen’sGuildof Mississippi(300artisansfrom19states)whichoperates theMississippiCraftCenter,shewrotetheirstoriesto introducethemtothe public.Sheisanadopted childfromamaternity homehospitalinNew Orleans.

Shesearchedandfoundher birthmotherandthrougha DNAtest,herbirthfather’s family,aswell.Shelives onaranchinTexaswith herhusbandEmmersonand twoLabradorRetrievers, MemphisBelleandTexas Star.

It’sAllSaintsDayandalsotheDayoftheDead.Onthis day,thosewhowentbeforeusarerememberedinoneway oranother.Withdrinkingandpartiesandprayers.With flowersandquietreflection.

I’vebeenreadingShortTriptotheEdge,byScottCairns. It’sthefirsttimeIunderstoodtwitaboutallthatsaint kissingiconstuff.

IusedtobelongtoaGreekfamily(never-mindhow)and attendedtheGreekOrthodoxChurch.Therewouldbe muchkissingandcrossingatthepaintingsthathunginthe frontofthechurch.Iwasn’tintothat.NotthatIwasn’ta believerintheHolybecauseIwas,andIam.Ijustdidn’t thinkingkissingstufflikethatwasinorder.Matteroffact, itwasmaybeidolworship.Yes,definitely,likesomesort ofsuperstitiousidleworship.

So,itwasScottCairns,themostGreeklookingborna BaptistmanI’veeverknown,andoneofourgreatest livingpoets,whounlockedthatdoorforme.Howthose actionsofkissingandreverencingacknowledgethosewho havecomebefore,andtoremindusnotonlytoremember thembuttorecognizetheirgoodnessofheartandtheir actions.Withahopethatindoingsowewillattemptto emulatetheirlives.

AfewyearsagoIwasattendinganartistsretreatona coldday,snowydayinthehighcountryofWashington. Oneoftheretreatleaders,NigelGodwinaskedusduringa

gatheredsession,“Whoareyourcloudofwitnesses?”The questionwasposedasathoughtfulwaytogetintouch withthosepeopleofhistory(longagoorrecently)who wereakintousinspirit,andinpurpose.Ithadme thinkingaboutthatfordays.

Iftherewasthatgreatportalwindowinthesky,Ihad alwaysassumeditwouldbemyfather,mygrandmother, ormygoodfriendnowgonewhowouldbelookingdown keepingtabsonme.Whichmakesmethinkmy Grandmotherisuptherewringingherhandsandlooking atJesussaying,“Can’tyoudosomethingforher?!”She hadthatkindofworrythatcouldcarrytotheotherside. I’dweighinthatmaybeFlanneryO’Connorwouldhang outaroundmydimensionalwellbecauseshejustcouldn’t helpbutbedrawntosomeofthenuancesofmylife,or JoanofArcbecausesheheardvoicesandwhatsouthern writerdoesn’thearvoices?Or,whenImanagetohavea heartfullofloveforaperfectstrangerI’dcatchaglance fromMotherTeresa.

AllSaintsDayisNovember1eachyearandAll Hollow’sEveisOctober31.Thedaybeforethehigh,holy Halloweddaytocome.Historysayspeoplebelievedthere wereunseengoodandunseenevilandthatthoseforces foughteachother.Theyhadeventsatnight-thinkChurch CommunitySupperwithabonfireandcostumes-andthey dressedupasgoodpeopleandevilcreatures,andacted

outthesestrugglesinskits.I’massumingthatgoodalways won.Intheend.Inthebig,final,all-conclusive,end.And, sinceI’mtheonewritingthis,that’sthewayit’sgoingto endhere.

Whetherwebelieveinacloudofwitnessesornot, sometimesit’sjustacomforttothinkafewsaintsand friendsandfamilymembersmightbekeepingtabsonour lives.Icanlivewiththat.Afterall,I’dliketothinkthat whenmytimecomesalongthatIwillbeabletodothe same.Whichisreallywhatthedayrepresentsforme.

Inrememberingthedeadwerealizeweareindeedgoing tojointhem.Thatsomedayunknowntouswewilljoin thatcloudofwitnessesbeforeus.Itissurelygoingto happen.And,asweembracethattruthmorefully,aswe turnourfullattentiontothefactthatnotbeingdeadyet meanswearestillhereinthisliferightnow.And,thatwe mightbecompletely,incredibly,joyfullyalive.

RiverJordan isanauthor,speaker,teacherandradiohost.Asa southernerwithaglobalperspectivesheisapassionate advocateforthepowerofstory.River'swritingcareerbegan asaplaywrightandshespentovertenyearswritingand directing.Sheisthebest-sellingauthoroffournovelsanda threespiritualmemoirs.Asacritically-acclaimedauthorher workhasbeenmostfrequentlycastinthecompanyofsuch writersasFlanneryO'Conner,WilliamFaulkner,andHarper Lee.