WELL READ Magazine October 2022

AfterKilimanjaro by Gayle Woodson

Dr.SarahWhitakerhasalwaysbeen anobedientoverachiever,butsheis burnedout.Trainingtobea surgeonisstressful.Sowhenher fiancé,David,offersasolution-takeabreakyearatahospitalin AfricaandclimbMount Kilimanjarotogether--shejumpson board.Whenhebacksout,she embarksontheadventurealone.Sarahquicklyfallsin lovewithTanzania,alandofgentlepeople,exotic wildlife,andstunningnaturalbeauty,fromthesandsof ZanzibartothepeaksofKilimanjaro.Shealsodevelops greatrespectfornewTanzanianfriends:strongAfrican womenwhostrivetoserveanoverwhelmingneedfor healthcare.Shockedbythehighrateofmaternalmortality andthescourgeoffemalegenitalmutilationinthe country,SarahbeginstospeakoutagainstFGMand developsanexperimentalprogramtotraintribalbirth attendantsinaremotemountainvillage.Conditionsare primitivethere,andlifeisfragile.Theseparationtakesits tollonherrelationshipwithDavid,andshefightsagainst feelingsforanotherman.Asthemonthspass,onething becomesclear:ifSarahsurvivesthisyear,herlifewill neverbethesameagain.

TheMemoiroftheMinotaur by TomShachtman

AmericanFictionAwardsFinalist medalawardedby AmericanBookFest.com

TheMemoiroftheMinotauristhe posthumousconfessionsofthehalfman,half-bullofCrete,asoffered toanaudienceofrecentlydeceased,21stcenturyfellowsouls inHades’domain.Thisbookisa satireforreadersunafraidofa rollickinggoodtaleinvolvinganatomically-complex beings,unforgivablepuns,thechampionserialkillerofall time,scantily-cladGreekmaidensandyouths,articulate tyrants,andfeministproto-historyleavenedwith theologicalimpertinence.

TheMemoiroftheMinotaursharesitsformwithother popularretellingsofthemonsternarrativesuchasJohn Gardner’sGrendel,andthenarrativevoicehaslikenesses totheexuberance,bawdiness,andblasphemyofSalman RushdieandJohnBarth.Packedwithactionsbothbigand small,whilecontainingabreadthofcomplexityasitdeals withthemesofpower,violence,sexuality,andtheroleof storytelling,itsmostendearingqualityisthehilarityand absurdityofourclassicalvaluesinteractingwithour animalisticcores.Ultimately,thebookisriotous.

HowWeDisappear:Novella &Stories by TaraLynnMasih

InHowWeDisappear,awardwinningauthorTaraLynnMasih offersreaderstransportingand compellingstoriesofthosetaken, thosemissing,andthoseneitherhere norgone-runaways,exiles, wanderers,ghosts,eventheelusive DameAgathaChristie.Fromthe remoteSiberiantaigatotheharsh Americanfrontier,fromruralLongIslandtopostwar Belgium,Masih'scharactersarediverseinidentityand circumstance,defyingtheburdenoferasureby disappearingintooremergingfromphysicaland emotionallandscapes.Describedas"masterful"andas "strikingandresonant"(PublishersWeekly),Masih's fiction,crossingboundariesbetweenhistoricaland contemporary,sparkswithawarenessthatnothingandno oneisevergoneforgood-andthatthewildernessisnever quitebehindus. “Rareristhewriterwholeavesnotracesofherself, allowingthecharacterstowieldtheirownsingularvoices, yetMasihhasachieveditineachofherfar-rangingyet intimatestories.” —LitPub

BonesofHolly:ASarah BoothDelaneyMystery by CarolynHaines BonesofHollyisthenextnovelfrom CarolynHainesintheseriesthat KirkusReviewscharacterizesas "StephaniePlummeetstheYa-Ya Sisterhood"featuringsassySouthern privateinvestigatorSarahBooth Delaney.

SarahBoothandTinkie,alongwithbabyMaylin,areinBay St.Louis,MississippiforChristmasthisyear,asjudgesforthe annuallibrarytreedecoratingcontest.

TheothertwojudgesarewritersSandraO'DayandJanet Malone.They'rebestsellingMississippiauthors,butbitter competitors.Infact,thefeudbetweenthemisthestuffof legends.Foryears,they'vebrawled,theirsalesskyrocketing witheachcatfight.Sandra'smostrecenttruecrimebook documentsthe1920srum-runningeraofAlCapone,whobuilt amansioninBSLandadistributionnetworkforhisliquor. Janet'sbook,scheduledtobepublishedinJanuary,isa fictionalaccountofthesamematerial--whichonlyheightens theirbitterrivalry.

SarahBoothandTinkieareshoppingwithlittleMaylinwhen theyseeSandraandJanetoutsideabookstore,furflying,and whenSandravanishesfromherowngalalaterthatnight, suspicionturnstoJanet.JanetaccusesSandraofattemptingto manipulatethemediabyafakedisappearance,butisitastunt, orissomethingmoresinisteratplay?

Ninety-NineFireHoops:A Memoir byAllisonHong Merrill

“AllisonHongMerrill'smemoiris amovingstoryaboutherearlylife inTaiwan,itsharshness,andher desiretoovercomethatlife. Instead,shefindsherselfstranded inTexasafterashortmarriagetoa manwhowalksoutonherand leavesherwithbarelyanything. Facingmanyobstaclesshefinally findsthepersonofherdreamsand thelifeshewaslookingfor.Allisonhastheheartofatiger andtheresilienceofadragon.” FiveStarReaderReview “AllisonHongMerrillbeginshermemoirinthemiddle— onthedayherhusbandabandonedher—andthenshe weavestogetherastoryofhowshegrewupdestituteand foundhopeandjoywhenshelearnedaboutJesusChrist. Herstoryisarollercoasterofemotions,fromthe excitementofnewlovetotheacheofrejection.But throughallofit,Allisondrawsstrengthfromherfaithin Godandmanagestocontinuemovingforward.Herstory inspiresmetobekindertoeveryone—eventhosewhomay treatmeunkindly.” FiveStarReaderReview

LavenderFieldsof America,aNewCrop ofAmericanFarmers by RebeccaRosenberg; GaryRosenberg ANewCropofAmerican Farmer,isastunning pictorallookatthemodern, yetancient,phenomenonof lavender,andtheenterprisingAmericanfarmerswhohave takenupitscall.OnenolongerhastotraveltoProvenceto experiencethemajestyoflavenderfieldsinfullbloom.Three hundredAmericanfarmershaveplantedfieldsoflavender fromHawaiitotheEastCoast.Eachdistinctivelavenderfarm isinfluencedbythefarmerswhoplantthemandthelandin whichtheygrow.Onemightthinkthatlavenderfieldsare quitesimilar,butthesettings,typesofplants,and characteristicsofthefarmsvaryasmuchasAmericansdo. Eachfarmisathumbprint,germinatingfromeachfarmer's background,personalstyle,andpoint-ofview.Yet,the farmershaveallgravitatedtothebeneficiallavenderplant, dedicatingtheirlivestoitscultivation,andtotheproduction oflavenderproducts.Theirlavenderproductshavepractical uses:relaxation,painrelief,insectrepellant,airfreshener, antiseptic,andmore.Fromharshwinterstodraughttorocky soil,thesefarmersfacechallengeswiththeland.They struggle,sometimesfail,andthenpersevereinplantingthe rightlavendercultivarsandperfectingmethodsofplanting andmaintenance.HundredsofphotographsofAmerican lavenderfields.

helpedbringaboutjusticeandforwardracialequalityand civilrights.Woventhroughoutthebookarethefirsthand recollectionsofareporterwiththestate'smajornewspaper ofthetime.Embeddedwithlawenforcement,hereveals thefascinatingdetailsoftheirsecretwiretappingand intelligenceoperations.Withadefthand,Thorneoffersthe insightthatcanbegainedfromunderstandinglittle-known butimportantperspectives,paintingamultihuedportrait ofacitythathasfiguredsoprominentlyinhistory,but whichsofewreallyknow.

T.K.Thornehasbeenpassionateaboutstorytellingsince shewasayounggirl,andthatpassiononlydeepened whenshebecameapoliceofficer.Graduatingwitha master'sinsocialworkfromtheUniversityofAlabama, Thorneservedformorethantwodecadesinthe Birminghampoliceforce,retiringasaprecinctcaptain. ShethenbecametheexecutivedirectorofCityAction Partnership,adowntownbusinessimprovementdistrict focusedonsafety,andbegantowritefulltime.Herbooks andessaysincludetwoaward-winninghistoricalnovels (Noah'sWifeandAngelsattheGate);anonfictiontelling ofthe196316thStreetBirmingham churchbombinginvestigation(Last ChanceforJustice);andadally withmurder,mystery,andmagicin HouseofRose.Shewritesfromher mountaintophomenortheastof Birmingham,oftenwithadogand catvyingforherlap.

TheDeception by Kim TaylorBlakemore

“KimTaylorBlakemore’sThe Deceptioncapturesthe fascinatingworldofnineteenthcenturymediumsinthisstoryof intrigue,deceit,andthe otherworldly.Historicalfiction loverswilldelightinthe wonderfullycaptureddetailsand themysticalelementsatthe centerofthisnovel.Amustread!” —LydiaKang,authorof TheHalf-LifeofRubyFielding “Delightfullywryasitisunsettling,TheDeceptionhad meturningpagesatablisteringpace.Blakemore bewitcheswithhershrewd,incisivelookattheSpiritualist movementandtwodown-on-their-luckheroinesboundin anunlikelypartnership.Teemingwithintrigue,seething jealousies,andtheatricalatmosphere.Absolutely impossibletoputdown!”

—PauletteKennedy,authorof PartingtheVeil and TheWitchofTinMountain

“Asinuoustaleofdeceptionamidstthefascinating backdropofpost-CivilWarSpiritualism,TheDeception seethesfromtheveryfirstsentenceallthewaythroughto itsrivetingconclusion.Blakemore,amoderndayBrontë, gleamsindark,moldering,claustrophobicplaces.” RobertGwaltney,award-winningauthorof TheCicada Tree

ResilientRuin:Amemoirof hopesdashedandreclaimed by LauraMcHaleHolland Ateenagegirlbreakingfree.A cunningclassmateontheprowl. Cansherecoveraftertheycollide? Orphanedasachild,fourteen-yearoldLaurafinallyrebelsagainsther abusiveguardian.Nolongerwilling totoleratetheviolenttiradesand imprisoningrestrictionsathome, Lauralivesondreams,rock'n'roll, andkissesinmoonlight.Shebelieveswhatevercomes nextcan'tbeworsethanwhatshe'salreadyendured.

Herhopeforanormallifeisrippedawaywhenapredator reelsherin.Withherheartshatteredandherconfidence destroyed,Lauraplungesintoadownwardspiral. Substanceabuseandriskysexualbehaviorleadto depressionandyearsofheartbreakingconsequences. Laura'sdarkpathbeginstothreatenhersurvival.Yet surviveshedoes,withlittleofwhatshelongsfor,butall thatsheneedstostartbuildingabetterlife.

ResilientRuin:Amemoirofhopesdashedandreclaimed isadeeplymovingpersonalstory.Itpopswithdetailsof AmericanlifeintheSixtiesandSeventiesandtakes readersonarockybutultimatelyinspiringjourney.

Agoldmedalwinnerfornewadultnonfictioninthe IndieExcellenceawards.

TheAccidentalJuror by P.T. McBride

In1955,KellyEdwards,an attractive,intelligentyoung housewife,motheroftwo,anda churchorganist,receivesher postcardjurysummonsinthemail andthinksthepostcardisa mistake—anaccident.Aquick phonecalltothecountyclerk’s officeaffirmsthejurysummonsis forher.Kellywilljoinelevenmen inweighingtheguiltorinnocence ofamanaccusedofacrimeof violence,andshewillvoteonhisfate.

Inthe1950’s,televisionisyoung.Detroitischurningout hugefamilycarswithbigtailfins,highwaysharks.Most marriedwomenarehousewives.Awife’splaceisathome withthechildren.

ClaudiaLonghasamagicalrecipebox,giventoherby hermother-in-lawofblessedmemory. It’smagical,shesays,becauseshealwaysfindsexactly whatshit

SupernaturalismversusRealism

GayhasbeencastamongstthebestSouthernGothic writersofhistime,andrespectively,hisworksbelongon thesameshelfwithWilliamFaulkner,FlanneryO’Connor, CormacMcCarthy,andCarsonMcCullers,buthecould easilysharespacewithStephenKing,ShirleyJackson, AnneRice,andPeterStraub.Categorically, LittleSister Death,wasGay’sprimary,speculativefictionnovel.He setouttoauthorahorrorgenrenovelinspiredbyapopular southernhaunting—TheLegendoftheBellWitch.His interestintheparanormalisevidentbyhistwovisitsto Adams,TennesseetovisittheBellWitchHaunting,and hiswritingoftheshortmemoir,“TheQueenofthe HauntedDell—AnAuthenticatedHistoryoftheNightthe BellWitchFollowedUsHome.”InthememoirGay providespossibleexplanationsforthefamilycursefrom thelandbeing“locatedonanancientsourceofpower…” onceinhabitedbyNativeAmericans,to“Itwasblack magic…”tobeingacompletehoax,or“It’strueastold, andintheworldasweknowthereisnoexplanation” (144-145).IntheendGaydecidedthat“…theworldisa strangeandwondrousplace.Therearemysteriesonevery sideifyoucaretolook”(Gay155-156)andleftitatthat. ThememoirendswithacomicalstoryaboutGay’suncle whovisitedtheBellWitchHomesteadandCavealong withGay.Theuncleclaimedtheghostfollowedhimhome andwasnowhauntinghim.Gayagreedtospendthenight athisuncle’shome—moretosavefacethanto substantiatehisuncle’sfears—andGayclaimedtohave

thoughcertainlythoseliteraryelementsareaconstantin Gay’soeuvre.Thelatternovelsfallmoreinlinewith magicalrealisminthattheyarelargelyrealisticnarratives withtheoccasionalunexplainablemagicalevent,for example,ahexthatprovestrue.Magicalrealismdoesnot fitanexactmold,butsomeofthemostaccepted characteristicssuchastheweavingoflocallegend, folkloreandfablesintorealsettings,timedistortion,anda narrativevoicethatpresentstheunexplainableina nonchalantmannerarepresentinthesenovels.Oritis whatitisandaslongasthecharactersaccepttheirreality, whetherdistortedtothereaderornot,thentherealityis true.

TheprincipalreasonforreconsideringGay’srealismas speculativefictionstemmedfromtherepeatedallusionsto thesupernaturalandmatter-of-factbreaksfromrealism intothefantastic.WitharenewedvisionofGay’sworks thereadercanreadhistextfrommultipleperspectives. Gay’ssupernaturalismisnotasubversivefacetmeantto beexplainedawayordiscreditedbyelderly,delusional,or madcharacters,butoughttobecelebratedfortherichness itaddstoGay’sbodyofwork,theSouthernliterarycanon, aswellastomagicalrealism,horror,andfantasygenres.

Intheshortstory, ThePaperhanger,thepsychotic paperhangercharacterlivesintheHarrikin: Evenmoredubiousremindersofcivilizationasthesefell away.HedroveintotheHarrikin,wherehelived.Aworld sodarkandforlornlightitselfseemedatapremium. Whippoorwillssweptred-eyedupfromtheroadside.Old abandonedfoundriesandfurnacesrolledpast,grimand darkasforsakenprisons.Downaridgeherewasan abandonedgraveyard,ifyouknewwheretolook.The paperhangerdid.Hehaddugupafewgraves,examined withcuriositywhatremained,buttons,beltbuckles,a cameobrooch.Theboneshelaidoutlikeachildwitha Tinkertoy,arrangingthemthewaytheywentinjuryriggedresurrection.(Gay79)

TheHarrikin,Gay’sHauntedForest—AManmade Hell

TheHarrikinwasatonetimearealforestwithsmall communitieslivingwithinit.TheHarrikingotitsname fromtheword“hurricane,”spelledandpronouncedas “Harrikin”bylocalsasGayexplainsin Twilight:“Itwas calledtheHarrikinlongbeforethethirtieswhenthe tornadocutaswaththroughit.Folkscalledthetornadoa harrikin,ahurricane,onefiercestormthesametothemas another”(100).Theterritorywas“thecountyseatfor OvertonCounty(Gay98)”butextendedinto“two adjoiningcounties(Gay98)”inMiddleTennessee.Gay, bornandraisedinHohenwald,Tennessee,exploredthe forestandremainsoftheghosttownsthatmadeupthis landscape.TheHarrikin,alongwithGay’sfictionaltown ofAckerman’sFieldthatwaslargelybasedonhis hometown,isoneofGay’spredominantsettings,andhad aprofoundeffectonGay.Theeccentriccharacterswho hauntedtheseabandonedtownsandlostcommunities ofteninspiredhiswriting.Ultimately,thisforestwas destroyedforitsnaturalresourcesandnolongerexists, whichalsohadahugeimpactonGay.TheHarrikinwasa settingGaytravelledpersonallyandimaginativelywith hiswriting,butmoresoin Twilight,amodernfairytale aboutchaseforsurvivalbetweenayoungboy,Kenneth Tyler,andthetownpsychopath,GranvilleSutter.

TheHarrikinasdepictedbyGayispartmanmadehell, partfable,partApocalypticandeverybithauntedcomes fullytolifein Twilight.Whenthemodernworldarrivedin theformofminingcompaniesthelandwasmostlyan

unspoiled,virginforestwithsomelandcarvedoutfor farming.Miningcompaniesblasteddynamitecreating massivepitsthatGayoftencomparedtohell:“Theearth wassunkwithverticalshafts,withhorizontaltunnels. Greatpitswereeatentothesurfacewithpickandshovel andmachinery,andsomemachineryisthereyet,rusting backintotheearth”(99).Aftertheboomtimes,afterthe miningcompaniestookwhattheycouldfromtheHarrikin, leavingitaghosttown,theforestbegantoreclaimthe homesandthemachineryleftbehind.Fourpagesbefore BookTwo:“IntothePale,”orwherethechasebetween TylerandSutterbegins,Gayshiftsfromthirdperson point-of-viewtosecondpersonpoint-of-view.Gay,first, providesdetaileddirectionstohisapocalyptic,haunted, forestsetting,thisveryrealanddangerousenvironment, andthendescribesinavoicethatseemstobeGay speaking,ratherthanthenarratorofthenovel,what happenedtotheHarrikin: IfyoudroveouttheRiversideRoadthroughthe flatlandsandcrossedthehightrestlebridgeover LittleBuffalo[Note,asignificantamountofdetailed directionswereomittedheresotoaddressthestate oftheHarrikin]…Theroadwouldfadetoa ghostroad,thetimberwouldthicken,theearthbegin toclimbinascendinghills.Youwouldbeginto comeuponabandonedfarmswhoseacreagebore onlythefaintspectraltracesoftillage.Fallenhouses withtheirbrokenridgepolesandblindwindowsand windscatteredshakesthatarehomenowonlytothe

Alltherewaswastheslickblackobsidianhestood onandtherockbehindhim.Thereseemednothing abovehimsaveadarkanti-sky,profoundlystarless. Nothingbeforehimsaveblacknessthatseemed absolutelyunreckonable,alimitlessenormityorthe smallestthingthereeverwas.He’dtakenone misstepandfoundhimselfonbarrenrocksinthe starlessdepthsofinterstellarspace.(155-156)

Thecaveisaplaceofnothingness,ofnowhere.Yates initiallythoughtthecavewasan“exploratoryoreshaft (Gay149),”butlaterrealizesitwasformedbyanature. Homeless,Yatesbecomesacavedwellerforatime. Thoughitoffershimshelter,thesheerdarknessterrifies him.Plus,itistheplacewhereCrowe,hisonlyfriendand someoneheviewsasafatherfigure,betrayshim. Symbolically,thebetrayalbyCroweafterYatesisalready anorphanrepresentsYates’slowestpointorhishell.Itis significantthatittookplaceinthecave.Itishardtoaccept CrowewouldbetrayYates,aboywholooksuptohimand saveshislife.Perhapsresidingtoolongindarkness affectedhisjudgment.Certainly,hisparanoiacausedhim totryandknifeYates.Regardless,thecavebecomes Crowe’shell,histomb,andpunishmentforbetraying Yates.

TheHarrikin,cursedfromthesinsofoldviolence committedtowardsandontheland,ororiginalsin,birthed evilandevilcharacters.Gay’scontemptforthosewho ruinedtheHarrikinisblatantin Twilight:“Oncethisland wasprivatelyowned.Nowitisownedbycompaniesor

conglomeratesofcompaniesinAtlanta,Chicago,New York.Bypeoplewhohaveneverseenit,areperhaps unawareevenofitsexistence…Itwasboughtupinblocks byothercompaniesinthefirstdaysoftheprevious centuryfornexttonothing.Itwasrichinphosphate,in ironore”(99).Thepeoplewholivedinthisareaof TennesseewhereGayandhisancestorsharken experiencedreversecolonization,withtheNative Americanswhoinhabitedthelandscapehavingtheirland stolenfromthemfirst.WhentheNewDealprograms cametothisareaofTennesseeandbodiesofthedeadwere disinterredandwholecemeteriesmovedtomakewayfor lakesanddams,moresinpiledupandGayplaysinto thesehistoricalevents.Forthoseoriginalsettlers,largely isolatedfromtherestofthecountry,witnessingtheir ancestorsbeingdugupfromtheirgravesandthe environmentaldestructionofthelandsurelyhada profoundpsychologicaleffectonthem.Gay’splotsand charactersdrawheavilyfromtheseevents,butparticularly theHarrikin,whichissymbolicallyafoilofcivilization— onceuntouchedandnaturallyresplendent—nowthrough theactsofhumanity,nonexistent.

Evenwhentheminingcompaniesleft,theHarrikinwas notdevoidofhumanity;thereweresomewhoremained livingintheHarrikin,thosewhorejectedsocietyorwere rejectedfromsocietywholivedtheirownrawboned, lawlesswayoflife.Gaydescribesthesepeopleas “…itinerantsquattersstakingclaimtowhatnooneelse wantedandmisanthropicmisfitswhofeltsomeperverse

effectofthenarratorintroducingtheHarrikinseparately andsettingthetimeinthepast—chronologicallyunique fromtherestofthenarrative—createsaspaceto experimentwithfantasticalcharactersandevents.The real-timenarrationissuspendedmomentarily,andGay setsthetone,changingthenarrativevoicedrasticallyfrom adifferentspeakertellingastoryoflostlandsandpeople whonolongerexistandoftimeslonggone.Gaybreaks thefourthwallinfiction,addressinghisreadersdirectly. WelearnbeforeenteringtheHarrikinthatthisisaspace thatdoesnotadheretothelawsofhumanityoranysense oftime,sowhenTylerandSuttertravelbackintimethey existintwoplanesofreality,andthereaderacceptsthis forfacevaluebecausehe/shewasinitiallyinformedto expecttheunusual.ThisintroductionworksasGay’s versionof“OnceUponaTimetherewasafabledforest,” consistentwiththefairytalestructure:

Atimewouldcomewithintwenty-fiveyearswhen allthiswouldbechanged.Whentimberbeganto thinthecompanieswhoownedthesehalfforgotten propertiesrealizedtheirpotential,andpaper companiesboughtthetimberandravagedtheland againandplantedpineseedlings,andtheHarrikin didnotexistanymore…

Butallthiswasnotyet.WhenTylerfledandSutter pursuedhim,thiswastheclosestthingtoa wildernesstherewas,andtherewasreallyno thoughtofgoinganywhereelse,asthesefugitives, mentorandprotégé,fledfromaworldthatstill

adheredtoformandordertheywerefleeingnotonly geographicallybutchronologically,fortheywere fleeingintothepast.(101)

ThisdistinctionallowsGaytogobackandforthbetween arealisttextanddarkfantasy.Itsetsthetonebyopening thedoortothefantasticalworldoftheHarrikinsoTyler andSuttermayenter.

OnemannerinwhichGayestablishestheHarrikinashell isbyusingChristiansymbolism.Gaycharacterizesthe HarrikinasthelandofNod—thelandthatCainwasexiled toafterkillingAbel.Tylerthinks“…hemusthavecrossed someunmarkedborderthatputhimintoterritoriesinthe landofNodbeyondthepalewherefolkswouldshunhim forthemarklaidonhimtoshowhe’dbreechedthe boundariesofconduct…”(173).WhenTylerissaidtobe “beyondthepale(Gay173),itmeansishebeyond judgment,alandwhereanythinggoesandnowherenear theChristianheavenwhereallsoulswillbejudged.Tyler ismarkedaswell.PeoplemaybemarkedbyGodorthe devil,forgoodorevil.Tylerclimbsupoutthedarkness, butevilfollowshim:“Hewentoneastwardlookingfor somehighpointhemightclimbandsearchforalight. Whenhefoundoneheclimbeditandturned,unwillingto believeallthisblacknesstothefourpointsofthecompass, butalllaysheeplockedanddark…”(173).Gayrefersto theHarrikinasalandthatis“sheeplocked.”Sheepare symbolicofthelambofGodorofinnocence,soifsheep cannottravelhere,thereisnoGod,nothinggood.Tyleris notonlylostphysically,geographically,and

meaningthelamentforthedead,thereaderhearsthe mournfulsoundoftheHarrikin:“Hewasfollowingan eeriekeeninghe’dfirstheardmilesback,andheseemed tobenearingitssource.Atfirsthe’dthoughtitwasthe windbutitwasnotthewind.Itseemedthehighpitched cryofachildorwomanbutitwentonblowingthesame mournfulnotewithoutceasingoraltering,andwhenhe climbedupthemouthofthehollowtohighergroundhe foundit”(127).Tylerdiscoversthatthesourceofthe cryingiscomingfromapitanddecides,“…thehillsmust directthewindsandthehollowfunnelthemacrossthepit andplaylikesomemournfulharpoftheearth”(127). WhenTylerlooksdownintothepititisasifheisgazing intotheabyss;heseesnothing.Thekeeningcontinuesand Gayusesdeathimageryaswellasanotherreferenceto hell: …itseemedtobeissuingoutoftheearthitself,sad andmurmurousvoiceofthedamnedpleabargaining fortheirsouls.Acoldupdraftoffsubterranean waterscamelikebreathfromanancienttomb,and hedreamedinkblackriverscoursinginthestone veinsoftheearthwherechunksofblackiceas obsidianclockedthroughthedarkandwhere whateverarcanecreatureslivedtherewere unsightedandatthemercyofthecurrent.He droppedastone,anditrolledoffthesidesasitwent, fainterandfainter,thennothing,anditwent unremarkedbythevoicesthatwentonandonin theirhauntingonenotetimber.(127-128)

In LittleSisterDeath,theghostofOwenSwawappearsto Binderandoffershimadrink:

Thetoolshedwasburnishedsilverinthemoonlight,the rustedroofdrainingoffwhatlighttherewas,thecanted doorshowingawedge-shapedsectionofdarkness,Itwas likenodarknessthateverwas,atonceforbiddingand achinglyevocativeandutterlyforeign…

Hewentinthedoor,therustedhingeprotesting,a darknessheremoonlightwouldnotdefray.Atfirsthe couldseenothing,stoodswayinginthehotstilldarklikea manunbalancedbywindorcoalescedoutofthedarkness asifhewereconsciouslycreatingthem,andcoincident withhisdimvisionfelttheheatjustleave,suddenlyjust notthereanymore,tricklesofperspirationdownhis ribcagegoneicecold,thestillfetidair,thecoldcharnel smellofthegrave,andthehairprickedonhisforearms andatthebackofhisneck.

Therewasamanlikebulkcrouchedinthecornerofthe toolshed…

Thenthedarkbulkstirredandaslurredvoicesaidoutof thedarkness:Getyoualittledrinkgoodbuddy.(Gay 143-144)

AWizard

Afabledforestwouldbeamisswithoutawizardandwith thecharacterofHollisBookbinder,Gayprovidesa pseudo-wizardin Twilight.ManyofGay’soldermale charactershavesage-likequalitiesandofferadvicetothe youngmaleprotagonists.WilliamTellOliverfrom The LongHome watchesoverandcounselsNathanWiner,and evenE.F.Bloodworthof ProvincesofNight,withallhis faults,triestohelpFleming,buttheyarenotinfusedwith thesamequalitiesofawizard.Bookbinderisahermitby hisownaccord,castoutfromthemodernworld,content tolivealone,toherdhisgoats,smokehispipe,andsiton hisporchoverlookingtheHarrikin.EvenBookbinder’s namesuggeststhewizenedscholarlyarchetypewith characteristicsreminiscentofJ.R.R.Tolkien’sbenevolent wizard,Gandalf.

InadditiontoBookbinder’swizardlyappearance,hedoes somethingconsistentwiththearchetype;hecounselsTyler offeringhimthequickestroutetogettoAckerman’sField. Hecouldstopthereandgoonhisway,buthealsowarns Tylernottopayattentiontotheoldmanmaderoads becausethey“…windandtwistandsometimestheyjust peterout(Gay134),”andhetellsTyler,ifyou“stayonthe roadsyou’lljustcirclearoundandrunoveryourself” (134).Inasimilarfashion,GandalfgivesBilboandthe dwarvesstrictinstructionsregardingthepathtotakein MirkwoodForest.WhenBookbinderlaterlearnsthatTyler isrunningfromSutter,hechangeshisadvice,suggesting thatTyler“…beanywhereelsebesidestheHarrikin(Gay

136),”andsays,“Youneedtobeoutwherethere’smore folks.Witnesses”(136).HetellsTylerto“…stayonthe edgeoftheHarrikin,closetotheroadsandtotrytocatch aride”(136).ButSutterisonTyler’scoattails,narrowing inonhim,andheerroneouslybelieveshecanloseSutter intheHarrikin.Obviously,thecharacterofBookbinder andGandalfarefromtwodifferentworlds;Gay’sisa realisticworldthattetterstowardtheotherworldlyand Tolkien’sisacompletefantasy.Nonetheless,herearetwo, classic,wiseoldmendoingwhatwizardsdo,impart wisdom.Inanycase,enteringanenchantedforest,one wouldexpecttomeetawizard(orawitch)aswellasdark magic.Gayprovidesbothin Twilight.

TheHarrikinWitch

ThedeeperTylergetsintotheHarrikin,thedarkerand strangertheworldbecomes,andhecomesacrosswitch’s talismansandcharmshangingfromtrees.Hedoesnot balkfromtheseoddities,butisintrigued: …Tylerbegantocomeuponcuriousarrangements ofsticksstrungfromtrees,lengthsofwildcane wiredtogetherindesignsstrangeandoblique,some simpleandcomposedofonlyafewsections,others intricatethree-dimensionalcompositions,andall alikesuspendedbytiewireandturningslowlyinthe airlikealienwindchimesorhieroglyphsfromsome priorlanguagenooneknewanymore.Like messagesleftbysomeotherworldlytravelerwho’d

gonebeforehimandleftthesesignsininvitationor warning.(140)

Thesestickfiguresortotemswerecreatedbythe Harrikinwitchtoprotectherfromoutsiders.Granny witcheswerealternativestodoctors.Theyweremidwives andofferedpotionsandcureswhenpeopledidnothave accesstodoctorsandmedicines.ForGaywhogrewupin poverty,atraditionaldoctormaynothavebeenanoption andhewouldhavebeenatleastfamiliarwithgranny witchespracticingAmericanfolkmagicbroughtoverby ancestorsfromtheoldworld.Theseearth-basedreligious practitionersuserootwork,ormaterialderivedfromthe earthformagicalpurposes.WhatTylerstumblesupon hereisthecraftoftheHarrikinwitchandisnotan invitationand definitely awarning.

Thewitchandherhomearevividlyportrayedasthe traditionalideaofafairytalewitch.Herhomeisdescribed as“…atinywoodenshantylikeawitch’shouseinafable (Gay143)”witha“…blackenedwashpotsittingonits threelegsoverasmolderingfire”(143).Naturally,awitch needshercauldron.Astothewitch’sappearance,sheis depictedas“atinygnomishwomanwho’dcomenohigher thanhischest,adriedandfragileelfofindeterminatebut advancedage…Dressedallinhomedyedblacklikethe solesurvivorofsomeobscuresectsheoutlivedhereinthis lostwood”(143).Thewitchisfriendlyenoughandgreets Tyler,buthemanagedtogetpasthertalismans,sohemust notmeanherharm.Itisalmostasifshewasexpecting Tylerandshedoesnotaskbutstates,“Iguessyoucame

forbootleggersandpsychopaths,aplacewhereonecan existbutnotbeknown,andalsoaplacewhereonemight encounterawitchorawizard,andifnotcareful,stepoff intoapittohell.

FortuneTellers,Cauls,Catspaws,andHexes

Whiletherearemultiplementionsoffortunetellers throughoutGay’sworks—AuntMattiein Stoneburner and theHarrikinwitchin Twilight—probablythebestexample ofafortunetellercharacterisBradyBloodworth, antagonistin ProvincesofNight anduncletoFleming Bloodworth. ProvincesofNight rendersavastlydifferent interpretationoncharacterifonebelievesBrady’spowers tohexarelegitimate.Bradybecomesapowerfuland terrifyingrival,someoneabletokillwithoutpickingupa weapon.Byusingpersonalitemsofhisvictimsand castinghexes,hecanmanipulatethemtohiswill.Buta readerconvincedGaywaswritingrealismmaydismiss UncleBradyasmad.However,thehexbecomes meaningfulattheendingwhenitmayotherwiseseem vaguetoarealistreader.

BradywasinspiredbyGay’srealUncleScottwhoalso claimedtopossessthegiftofsecondsight.Accordingto J.M.White,“ScottwasquitealegendinLewisCounty andfamousinhisownrightforbeingknownasa clairvoyant.PeoplewouldtravelasfarasTexasand Arizonatovisithimforhisreadings.”Bradyalleges:“I alwayshadthesecondsight.Iwasbornwithacaul,I

alwaysknowedthings”(100).Babiesbornwithacaul—a membranecoveringthefaceandhead—areuncommon. Caulsinsuperstitiouscirclesareknownbebringgood fortuneorluck.Caulswerefavoredbysailorswho believedtheyprotectedthemfromdrowninganddeath. Certainly,Gaywouldhavebeenfamiliarwiththisifnot fromhisownvastreading,thenfromthetimespentasa sailorintheU.S.Navy.Therearemanyexamplesof famouscauls,fromCharlesDickens’ DavidCopperfield to DannyTorrancefrom TheShining,andnowBrady Bloodworth.

Brady’sworldviewisoneway—hiswayorgood—or evil,withhismotherrepresentingeverythinggoodandhis fatherservingastheepitomeofevil.Heusesdarkmagic tocontrolhisfateandthefateofothers.While abandonmentisacentralthemein ProvincesofNight and Gay’sworks,itiskeytounderstandingthedynamicsof theBloodworthclan.E.F.settheprecedentbyleavinghis wifewiththreeyoungboys,andeverygenerationof BloodworthsinceE.F.islostintheirownway,almost cursed.OfthebrothersonlyBradyremainswithhis motherandlivesandcaresforherinheroldage.Bradyis enragedbyE.F.’sreturn,fearfulnotonlythathewillharm hismother,butthathewilltakeherawayfromhimandhe willonceagainbeorphaned.Hewantshisfatherdead,but hecannotdoithimself,soheemploysthecatspaw,or Fleming,todothedeed.ThoughFlemingdoesnotshoot E.F.,himself,hedoesassistinhissuicidebypositioning theguninE.F.’shandsandaimingitathistemple.Later,

BradyasksFleming:“Howdoesitfeeltobeacat’s paw…Howdoesitfeeltobeatoolthatdoesmy bidding…ThatIcanpickupandusetodosomethingI wantdonebutdon’twanttodirtymyhandswith” (279-280).GayincorporatestheJeandeLaFontainefable, “TheMonkeyandtheCat”here.Amonkeynamed Betrandconvinceshishousemateand“friend”acatnamed Rattotostealroastingchestnutsfromthefirefor“both”of themtoenjoy.Ofcourse,Rattodoesalltheworkand Betrandeatsallthechestnuts,hence,thecatspaw.Butifit istruethatBradypossessespowerstocastspellsanduse FlemingashiscatspawthenBradyistheworstofall villains,making ProvincesofNight isamodern-day OedipusRexstorywithBrady“killing”hisfathertobe withhismother. TheentireBloodworthclanseemstoliveunderacurse, fatedtofollowthesamepathoftheirforebears.Fleming offerstomarryRavenLee,pregnantwithanotherman’s babyandraisethebabyashisown.Flemingbuysaticket onaGreyhoundbuswiththeintentionofenlistinginthe militaryandwhenhepossessessomeskillset,returnhome. Butbeforeheleavestown,Bradycurseshim: Don’tthinkthisistheendofthis,hesaid.Heraised ahandandpointedaquiveringforefingerat Fleming.I’vegototherpossessionofyours,hesaid. Don’tthinkyoucanabusemeandtalktomelikea dogandgetawaywithit.Iowntherestofyourlife. I’llcastspellsdayandnightsothatnothinggoes rightforyou,therestofwhatlittletime

builttoaplacethatonlongerexisted.(292)

ThisscenedescribesthefloodingaftertheTVAbuilta damanddestroyedwhatwasleftoftheBloodworth’s homes.Butmetaphorically,itdescribestheendofthe Bloodworthline. ProvincesofNight endswiththe drowningofeverythingrelatedtotheBloodworthsandin thatsenseBrady’scursethatFlemingwoulddrowncomes true.Flemingmaynothaveliterallydrowned,but certainlythereisnothingleftforhimtoreturnhomefor;it isactualdrownedhomeortown.

AnotherexampleofawitchlikecharacterisAuntMattie, foundinGay’shardboileddetectivestory, Stoneburner. ForasoftenasSandyThibodauxfrom Stoneburner consultsthelocalfortuneteller,AuntMattie,andher cards,heneverlistens.Hewantstomakehisownfortune. Lateatnight,hestakesoutasecretedairstripandwhenhe firstseesthetrucklightsandthenaplane’slights,he thinksofAuntMattie’spredictionforhim,that“Iam touchedwiththefire(Gay19),”equatingthelightsfrom bothtorepresenthisfire,orgoodluck.InhismindAunt Mattie’swordsvalidatestealingdrugmoneyandthegirl, however,aswecometolearnhemisunderstandshis fortune.

AuntMattieplaysamuchsmallerroleonthesurfacein thisnarrative.ItisnotuntilthereaderreflectsuponAunt Mattie’spredictionforThibodeauxanditcomestotheend ofthebookthatonerealizesAuntMattieforetoldhis death.NomatterhowmanytimesThibodeauxtellsAunt

Mattietoreshufflethecards,hisfateissealed,hisfuture predestined.EvenThibodeauxknowsthat“hisfuture [was]controlledbysoinsignificantathingasthewayhe cuthiscards”(24).YethecontinuestoseekAuntMattie’s fortunes:“HeconsultedMattietogethisfortunetold. Whenhedidn’tlikewhatshehadtosayhetoldher, Shufflethemagain.Youdoneitwrongsomehow”(24). AndAuntMattiehumorshim:“Theoldblackwomanjust lookedathimandshrugged.Shetookupthedeckofcards andbegantoshufflethem,laidthembeforehim…Hecut themagainandsheranthemoutbutneitherhiscutnorher reshufflingwouldalterthecurioussymmetricalprecision ofhisfate”(24)AtthetimeAuntMattietellsThibodeaux heistouchedbyfire;thesewordscouldmeanjustabout anythingconsideringThibodeaux’sgo-to-hell temperament.Towardstheendof Stoneburner,thereader understandsAuntMattie’spredictioncametrue:“A Tennesseemanwaskilledtodayinaone-caraccidentin AlmedaCounty.Themanwasburnedandtentatively identifiedasSandyThibodeaux,28,ofAckerman’sField, Tennessee”(204).Gaydoesnotsimplythrowinafortune tellercharacterintothisnoveltoaddflavor.Brady BloodworthhexesandAuntMattie’spredictionscome true.SupernaturalisminGay’swiringisnotjusta suggestion,butactuallyaffectshischaracters,plots,and storyendings.

Ghosts

ThemannerinwhichGaypresentsghostsisvery natural.Therulesofrealityarenotbeingbroken. Supernaturaleventsoccurwithoutthesuspensionof disbeliefthatonenormallyapplieswhenreading speculativefiction.Whenghostspresentthemselvesin Gay’snovels,thetendencyistoofferalogicalexplanation fortheirappearance.Asmentionedpreviously,the character’ssanityisquestioned,orghostsarediscredited andinterpretedasmemoriesordreams,andattimes,they aresimplymemoriesordreams.

Partoftheconfusioniswhenaghostappearstoa characterwhoisnotmad,dreaming,orrecollecting.Winer of TheLongHome isbyhimselfdrinkingstrawberrywine onWeiss’scouch.Thehouseisdarkandempty.FirstGay describesthehouseasbeingutterlysilent:“Hesatinthe silencewiththethincrystalgobletbalancedonhis knee…Thesilenceseemdistilled,pure,silence augmentingitself.Thewallswerelistening,theroom hushedandwaiting”(205).GaypersonifiesWeiss’shouse asahousethatcanlistenandwait.Still,thereader wondersifTylerisseeingaghostbecauseheissodrunk hebeginstohaveauditoryandolfactoryhallucinations. Henotonlyhearslaughterandconversationofthevoices ofpeoplenotpresent,buthealsosmells“thecleansoap smell(Gay260)”ofAmberRose.ThiscouldbeGay’s methodofcreatingavividthoughtforhischaracter,but thetoneismoreominous:

Thisdarkhouseofstoppedclocksandforfeitlives andseizedmachinery.Hereisthewearytelluric darkpastandpresentintersectedseamlesslyandhe sawhowtherewasnotruebeginningorendandall thingsoncedoneweredoneforeverandwent spreadingoutwardfaintandfainterandthefaceofa younggirlcarriedatoncewithinitabitterworn harridanandpastthatthesatinpilloweddeath’shead ofthegrave.Herestedhisheadonthecoucharm andhecouldhearWeissandhiswifetalking,hear alltheirlivesflowpasthimlikeahighwayandhe couldenteranddepartatwill.Heheardher asthmaticwheezeandherbedroomslippers…(206) Weiss’swife,Alma,diedmanypagespriortoWiner gettingdrunkinWeiss’shauntedhouseandunlessthereis somethingelseinWeiss’sstrawberrywinerecipe,Wineris seeingandhearingghosts.

ItshouldnotsurprisethereaderthatWinerseesghosts, becausehedoesbelieveinthem.

WhenWinerstartssecretlymeetingAmberRoseatthe MormonSprings,aplacehebelievestobehaunted,heis primedtoseeghostsandhereflects,“Wheredweltthe ghostsofmurderedMormonsandtheirconvertwivesand someofthemenwhohadcomedownthishillsidesolong ago,theslayersslain”(163).Winerisreferringtothe MormonMassacreofLewisCounty,Tennesseewhich occurredin1884whenamobofmaskedvigilantes murderedfourmembersoftheChurchofJesusChristof

Latter-daySaints.ThisisyetanotherexampleofGay drawingfromlocalhistory,andanothercursedland.The conceptthatlandinheritsoldviolencefromits predecessorsiscommoninSouthernGothicliterature. WhatisrelevanthereisthatWinerbelievesinthem,so theyareabletomanifestinhisrealitywhichishowghosts aregenerallytreatedinmagicalrealism.

TimeplaysanimportantfactorinGay’sworks;he constantlyreferstoimagesofclocks,calendars, crossroadsbetweenreality,andghostsofthepastand present—someofGay’sfavoriteworkingsymbols.

Oliver’sdeadwifeappearstohiminadream,warninghim thatHardin,WinerandOliver’srivalin TheLongHome, isoutsidehisdoor.Itisavividdream,butevenso,heis awarethathewastransportedintothefuture:“Hedidnot knowthehourbutinadetachedpartofhismindheknew hewasinastrange,clocklessworldsetapartfromtime” (67).Hisdeadwifewarnshimofwhatistocome.Oliver ispreparedattheendofthenovelforHardinwaiting outsidehisdoor,becauseofthedreamofthefutureand ghostofhiswife.

Sometimes,ghostsappearasasimplereminderthattime isrunningout.WhenWinerfrom TheLongHome looks uponhisagingmother,healreadyseeshersoulorher ghost:“Coronaedbytheyellowhalooflightshelooked unreal,aghostatsomevigil,fadedsepiaimageona funeral-homecalendar”(18).Inthelaterpassage,Winer decidesthatthetimedoesnotexist,andthatthe“darkpast andpresentintersectedseamlessly”with“notrue

beginningorend”(206).Itisnottheintentiontodisprove ghostsinGay’swriting,buttofullyunderstandtheir presence.Perhaps,thesespiritsarenotghosts,butplaces wherethepastandpresentintersected.

RatherthantryingtoexplainthroughGay’scharacters whathebelievedabouttime,Gayexplainshimselfinhis shortmemoir,“CalvesHowlingAtTheMoon.”On writingandpaintingtheSouth,healludestotime: Itisagoodplacetofindsubjectstopaintortowrite aboutbecauseitisaplaceobsessedwithtime,by thelivesoncelivedhere,theveryatmosphere scoredbyhardtimesandroughways.Listenclosely andyoucanhearthetimbre(butnotthewords)of long-goneconversations.Alltheselostlivesseemto existandtogoonuninterruptedaroundyouand everylifeexistssimultaneously,everyonelayered likestacksofimagedglassthat,heldtothelight, showallthesepastliveswithoutprecedenceor priority,timeitselfbecomingpliableandofno moment.Ifyoutrytopaintthislandscape,aforce thatisinvisibleandjustoutsidetheframe(butthere allthesame)seemstoaffectwhateveryou arelayingonthecanvas.(123-124)

WhatGayarticulatedinhismemoirissimilartowhat WinerexperiencesinWeiss’shauntedhouse—“everylife existssimultaneously,”and“lostlivesseemtoexistandto goonuninterruptedaroundyou”(206).Itispossiblethat Gay’scharactersarenotseeingghostsbutaredriftingin betweenthepast,present,andfuture.

In FugitivesoftheHeart,Yatesthinksheseestheghostof hismotherinthewindowofhisoldhome: Hecamedownthehollowpasthischildhoodplayhouseand pasthisabandonedfishboxwhereperhapsevennowghosts ofpalesleekshapesmovedinitsmossycoveredbottom. Fromtheridgethere’dbeenamomentwhenhe’dthought her[Yates’smother]lampalightbuthesawnowithadbeen atrickofthestarlightforthehousewasstillasaforgotten grave.Thewindowsseemedpanedwithsmoothsquare marvelouslycraftedfromthedarkitself.(Gay164-165)

ANecromanceroraNecrophiliacandHisGaudy House

WhileFentonBreece,thetownundertakerin Twilight,is arguablyaninsanenecrophiliac,Breeceseeshimselfvery differently,likeninghimselftoanecromancerpracticing thedarkartsandlivingasapharaohinhispalaceand temple.Inatownlargelyconstructedwithshotgunhouses andshanties,Breece’smansionstandsoutnotjustasa gaudystatementofhisextremewealth,butforits overbuiltandoverdonefeaturesthatresemblesthehouse inNathanialHawthorne’s TheHouseoftheSevenGables. Neitherfittheirsurroundings,aremutuallyeccentric,and carryasenseofgloomaboutthem.WhereastheHouseof theSevenGablesiscursed,Breece’smansionwasbuilt fromtheprofitsofdeathwhichrendersacertainmenacing atmosphere.GaydescribesBreece’shouseasbeing“part ofthefolkloreoftheregion(Gay26),”oras“thecounting houseofsomewickedrulerlivinginexile(Gay26)”with Breeceas“…anevilmagicianwithspellscastonthe rightfulheirs,legionsoffamiliarstodohisbidding”(26). Hishouseisarepresentationofhispsychosis:

ThehousehadstartedoutvaguelyGeorgianbut endedupwithadecidedbentforthegrotesquely opulent.Gablesandpeakedroofsandturretshad beenaddedseeminglybyBreece’swhimoracoin tosssothatthehousecametoresemblethetemple ofsomeoldkingoverthrownsolelybecauseofhis sorrytaste.(27)

ThoughBreece’shouseisnothaunted,wickedactsare beingcommittedwithinitswalls.

BreeceisthequintessentialSouthernGothiccharacter— freakish,mentallyunstable,totallytransgressive,violating everysocialnormwithhisthoughtsandhisactions.He wasraisedamongstthedead,inheritsthefamilybusiness, andasanadult,livesinaself-prescribedisolationmore comfortablewithcorpsesthanwiththeliving.Whilealive, CorrieTylerdidnotgiveBreecethetimeofday,butnow dead,shebecomeshisgirlfriend,andhefreelychatswith hercorpseastheywatchsoapoperastogether.Rejected withnofamilyorfriends,heusesthetown’sdeadrelatives tocarveoutafamilyforhimself,evengoingasfarasto takepicturesofthemtocreateafamilyalbum.Breeceis everybitthegrotesquefigureandGaypaintsadarkly comedicscenewhenthetownspeoplestormhishouse afterdiscoveringhehasbeendesecratingthebodiesof theirdeceasedrelatives.Breecepeeksoutsidethechained doorwhilewearing“…aburgundysilkloungingrobeand matchinghouseshoes(Gay228)…”andinformsthemhe isnotpreparedforvisitors.Heissoutterlydisconnected fromsociety;allhewantstodoistosit“beforethefire withtheTylergirlagainsthisshoulderandademitasseof Cognacinhishandandsoftmusicaddingambiencetothe room”(229).Buthisworldiscrumblingaroundhim,and hemakesarunforit.Inanabsolutelytragic,yetequally amusingscene,BreeceargueswithCorriebecauseshewill notmovefastenough.Withthetownspeoplechasinghim, hefleesinhisCadillachearsewithhisdeadgirlfriendby

hisside.Breeceisdeeplyflawedandthesceneabsurd,to thepointofhilarity.

Yet,itisimportanttorememberthatthisisnotfunnyto Breece.Whatonewouldviewasperversionandmental illness,Breeceviewsashisreligionornecromancy.For BreecehisembalmingtableisasanaltarandCorrieisan offeringtothegods: Shelayonthetable,herarmsalongsidehertorso, handsopenandpalmsup.Recliningsoinher enforcedandoutragedplacidityshelookedlike somethingyou’dofferupfromanaltarforadark god’sconsideration… He’dreadbooksonancientEgyptianembalmers andnecromancersheconsideredpartofhisancestry andalreadysomeofhermoreperishableorgans residedincambricjarsawaitingresurrectionand withhermoredelicatefemaleorganshewas experimentingwithamorepliableandpermanent contrivanceofplasticandrubber.(122) NoonebelievesBreeceisanecromancer,butwhat mattersiswhatBreecebelieves.Ifthereadergoesintothe mindsetofhisperversionandacceptsBreeceforwhohe thinkshimselftobe,thentheactofembalmingbecomesa sacredriteandBreece,anecromancer,practicingan ancientformofblackmagicusedtoresurrectthedead.

Country.Edgewater’spregnantwife,Sudy,believesthe housetheyarerentingishauntedandshetellshim:“I wanttomove,shetoldhim.Wehavetofindanother house,”butEdgewaterisresistanttomovingandaskswhy (285).Sudysays,“I’mscaredhere…Thisplaceis haunted…Iheardababycryininthatshutoff bedroom…Thisevening.Itkeptcryinandcryin.I unboardedthedoorandwentinanditquit…Therewasn’t ababyinthere”(285).EdgewaterlaughsoffSudy’sfears butthecryingbabyintheirhauntedhouseisnottheonly warningshereceived:“Andthat’snotall…Iseena warnin…Iseenlikeashadowontheground...likea greatbigbird,comeoverandjustswoopeddownandflew alongtheground.Notabird,justtheshadowofone.I lookedupandtherewasn’tanythingthereandlookedback anditwasstillthere”(285).Ravens,crows,andblackbirds symbolizeharbingersofdeath.Thereisaclearcausal relationshipbetweenthesupernaturalandnaturalworldat playhere.Whetherthewarningisthecryingbabyghostor theshadowof“greatbigbird(Gay285),”Sudyseesisit asapremonition,orasherbodytellinghersomethingis wrongwithherownbaby.Whenshedeliversastillbirth babythepremonitionEdgewaterdiscountedprovedtobe real.

In ProvincesofNight,JuliaBloodworth,Fleming’s grandmother,tellshimofthetimeshewitnessedahaint. HaintsisatermusedbyGeecheeorGullahpeopleinthe lowcountryofSouthandNorthCarolina,aswellasin Appalachia.Ahaintissimilartoaghostandsomebelieve

shewasstudyingherreflectionwithalookofspeculation onherface,asiftryingtodecidedidthedressfither anymore”(269).ThisisthesamefuneraldressJuliawore atElbert’sfuneralandtheimplicationisthatsheis planningtowearitatE.F.’sfuneralaswelleventhough thereisnowayshecouldknowE.F.isdead.Shehadthe samepremonitionasthetimeshesawthehaint.She acceptsitasisandGaydoesnottrytoexplicatethisfor hisreaders.Allonecanreallysayiswhenawarningor portentappearsinwhateverform—agiantblackbirdora shadowofagreatbird,acryingbaby,orahaint,usually deathisfollowingshortlybehind.

TheDevilisDallasHardin

Gay’svillainspossessalmostsupernaturalpowersand inhumanstrength.Theyarenearlyimpossibletokilland invokethefearofGodinthetownspeople.Noonewants togetontheirbadside.Theyareruthless,malicious, vindictive,andcruel.Theythieveandmurder.Butwhatis thesourceoftheirpowers?ItispossiblethatDallas Hardinof TheLongHome iscolludingwiththedevil,but itisevenmoreprobablebasedonhowGaydescribes Hardinthatheistheactualdevil.

Gayalwaysincludesanolder,wisetotheworld,male characterwhohastheabilitytoseewhatothersmiss.In TheLongHome,Oliveristhewisemalefigure.IfGay’s youngprotagonistwouldonlylistentotheadvicea characterlikeOliveroffers,orreallyhearwhathesays

abouttheantagonists,theywouldsavethemselvesalotof painandsuffering.WhenHardinwalkspastOliverand NathanWiner,OlivercommentstoWiner:

“There’sOldNickintheflesh.” “Hardin?” “Whateverhe’sgoinbynow.”

WinerturnedasiftoshareinOliver’sjestbutthe leatheryfaceshowednosignthattheoldmanhad notbeenserious”.(81)

OldNickisanothernameforthedevilandHardinlives uptohisnamesake.OlivershootsHardinfourtimes beforediesandhe“…gotupevenwithadarkhole charredinhisface”(247).Hardinistoomeantodie, somethingelse,ortoowicked,andthatinhumanpartof himkeepshimgoinglongafterhedies.

GaydescribesHardinashavingtheappearanceofthe devil:“OvertheyearsHardinhadtakenonthelineaments ofevil”(45).Histrueidentityorhisauthenticselfis startingtoshow.Hardin’sfeaturesaremorebeastlythan human;hehasyelloweyes,reptilian,orsharklike: “Hardin’svulpinefacewasleanerandmorecunningthan ever,thecoldyelloweyesmorereptilian.Orsharklike, perhaps,lifelessandblacksaveaperpetuallookof avarice”(45-46).Hardinfeedslikeapredator,feedingoff evil,andgettingstrongerfromit:“Andhewentthrough lifethewayasharkfeeds,takingintoitsbellyanything thatattractsitsattention,suckinginintothehotmawof darknessanddrawingnourishmentfromthatwhichis

containedit,expellingwhatitdidnot”(46).Rightbefore OliverkillsHardinhelooksintohiseyes:“Theyellow goat’seyeswerenotblank,theoldmansaw,stillholding thelampglobe,butworsethanblank,likenothing,like holespokedintoamockupfacethroughwhichyoucould catchglimpsesofasereandlifelessyellowlandscape” (244).Oncemore,Hardinischaracterizedasthedevil witha“mockupface”(46).Behindhismaskofhumanity thegreatestevilresides.

Hardinisthestuffoflegends,someoneorsomethingso frighteningparentsusehimtoscaretheirchildreninto behaving.Motherstelltheirchildren,“Youbetterbehave yourselforI’llgiveyoutotheoldHardin…”(46)Orthey threatenthemwhentheydonotmindthatHardinwould carrythemoffatnight:“…he’llslipinthatwinderand carryyouoffsoquietwewon’tevenhearhim”(46).With Hardin,Gaycreatesamythicfigure,ademongodakinto KrampusfromAlpinefolklore:“Hisspiritmovedinthe night,rustledthebranchesoutsidetheirwindows;his familiarscrouchedinthebrushwheretheporchlightfaded away”(46).KrampusappearsonSaintNicholasDayand punishesbadchildrenbywhippingthemwithbirchsticks, buthehasalsobeenknowntocarrythemoffinhislarge sack.Here,GaybuildsupthemythofHardinwithwellknownlore,againportrayedasanevildemon.

Hardinhasfollowers,worshippersoftheChurchof HardinwhoGaycoinsas“demifamiliars”(47).Theyare thecursed,damaged,theunwanted,allworshippingathis honky-tonkinMormonSprings.Hetakesinwhatnoone

elsewants:“overalledfarmerssidebysidewith furloughedshellshockedsoldiers,momentaryvirginsfrom godforsakenhollows…oldpaintedwomenwashedlike refugeesfromthepoolhalls,theall-nightcabstands,the shotguncoaloilshacks.Oldstringywomenwithribald mouthsandfurious,outragedeyesasiflifehaddonethem somegrievouswrong”(47).Thereissomethingabout Hardinthatattractsthereader,heembodiesthesideof humankindthatwantswhattheywantand unapologeticallytakesit.Hehasnoshamebecausehehas noconscience.PeoplearetemptedbyHardin,astheyare temptedbythedevil,andtheyfollowhopingalittleofhis meannesswillprotectorawardthemforservicesthey providehim. Hardinandthedevilsharethesameelement,fire.Geton hiswrongsideandHardinwillburnyourbarn,your house,yourpasture,yourwholelifetoashesandtake greatdelightinit.Sellyoursoultothedevilanditwill burnforeternityinhell.HardinleavesanoteinBledsoe’s mailbox—“Woodwillburn”(48).Bledsoepresentsthe notetoSheriffBellwether,demandingthathearrest Hardin.Ofcourse,Hardindidnotsignthenote,butithas hismarkalloverit.ThereasonHardinisthreatening Bledsoeisbecausehisdaughter“…tooktohanginaround downthereatMormonSprings.Runninwild,layindrunk downthere(Gay49),”andafteracoupleoftimesoftrying togetherbackhomeandgettingcussedatandrunoffby Hardin,hegaveuponher.SheriffBellwetheraskswhat happenedtohisdaughter,butBledsoehasa“thedeviltake

her”attitudeandonlycaresabouthishouseburningdown. Hetellsthesheriff,“LastIheardshewasstilldownthere livinwithHardin…Godknowswhatkindofdevil’snest ofmeannessthey’vegotdownthere.ButIgiveuponher. AllIwantisnottobeburnedout”(49).A“devil’snest (Gay49)”isanaccuratedescriptionforthetypesthathang aroundHardin’sestablishmentandasthedevilincarnate, heluresthem,temptingthemwithwhores,booze,anda jukebox.Andforthosewhodonotfollowcourseor challengeHardin’sauthority,hehasamatchstickwith theirnameonit.

Hardinhasnofearofpunishment,becausewheneverhe getsarrestedandsitsbeforethecourt,thejury,terrifiedto losetheirhomes,alwaysacquitshim.Gaywritesof Hardin,“…ithadcometoseemthatbeinginhisdisfavor wastantamounttobeinghomeless”(45).Notonlywill Hardinburnyourhousedown,buthewillalsotakeyour livelihood:“Therewerefolksinthebootleggingtradewho haddecidedtheymightbeinthewronglineofwork”(45). Ifthesebootleggersdidnotrelentandshutupshop,he blewuptheirstills.Generationsofbootleggers,fiercein theirownright,shutdowntheirbusinessratherthanmeet Hardin’swraith.ThoughGayuseshyperboletofashion Hardin’scharacter,acommontropeforSouthernwriters, itisnotsimplyatalltale,becauseHardinlivesuptothe worstexpectations.

PerhapsthesourceofGay’svillains’formidablestrength andpuremeannessbeginsatbirth.Theywerebornbad.If Hardinistobebelievedofwhathesaysofhisownbirth,

ridingthenightroad.Hehearshorse’shooves,andpanics: Sometimeinthenighthemetahorseman…there wasabendintheroadaheadandtheriderjust beyondandwithouteventhinkingheveeredoff downanembankmentandcrouchedinthethicketof winterhuckleberrybushestilltheridershould pass…Tylercouldseethesmokingbreathofthe blackhorseandtheriderpaleandindistinct.(201)

TylerseeswhatisrecognizedasaDullahanfromIrish folklore.ADullahanisknowntorideonablackhorseand likeagrimreaper,collectsouls.Oneofthemostfamous andpopularDullahanisWashingtonIrving’sheadless horsemanfrom“TheLegendofSleepyHollow.”Tyler’s horsemanisnotheadless,butthehorsemandoespersonify death.Andofcourse,deathdoesappearintheformof Sutter,whofollowsTylertotheCalverthome,and murderstheentirefamily.

Therearenumerousversionsofthegrimreaperacross culturesandreligionswithcomparablephysicalattributes toGay’sreapers.Somereapersridehorses,othersdrive wagonstocarrytheirdeadtotheafterlife,andsomeare black-cloakedskeletons.Theyallseverthetiesbetween lifeanddeathandaredeathpersonified.Consistentwith Gay’sdeathimageryandreinterpretationsofhell,before TylerkillsSutterin Twilight,Sutterhasadreamofthe grimreaper.Sutter’sreaperisthinandcoveredinablack shroudsotherecouldbeaskeletonunderhiscloak.Inthe dream,Sutteriswalkingdownaroadandencountersthe

grimreaper: Afterawhilehecouldhearamanwhistlingandthen themanhimselfappearedaroundaturnintheroad, athinganglingmanallgarbedinblackwithascythe yokedacrosshisshoulders.Hisfacewasshadowed bytheshroudheaffectedbuttherewasadread familiarityaboutthewayhewalkedSuttercouldn’t putafingeron,andhedidnotknowwhetherthe figurewasghostorantecedentorreflectionof himselforharbingerofadoomyettobe.(238)

Thegrimreaper’sgaitseemsfamiliartoSutter,perhaps, becauseSutterhimselfhasservedinthesamerole,dealing outdeathwithnoregard,ajobtobedone.Hedoesponder ifthereaperisa“reflectionofhimself”(238).Ofcourse, thescythewillbeusedtoreapSutter’ssoul. InCelticfolklore,reapersdrivewagons,butthereare multipleversionsofreapersthatmayhaveinspiredGay. InBookOne,“IntoTheTerritories,”of Twilight Gay beginswiththeending.Inthefirstscene,amannamed Sandydrivesawagonfullofthecorpses.ThoughSandyis notmeanttobeinterpretedasthegrimreaper,certainlyhis cargoalludestothisbleakfigurewhoiscarryingSutter’s handiworkintotown. Anotherharbingerofdeath,awraith,appearstoMarion Yatesin FugitivesoftheHeart.Wraithsoriginatedfrom Scottishfolkloreandareghostsorspiritsoftherecently deceasedmeanttosignifysomeone’sdeath.Butunlike Tyler’shorsemanorSutter’sgrimreaper,Yates’swraithis

coloredserpentswrithinginthedarknesswithgold andsilvercascadingdownwardasapyramidoffire coveredthehorizon.(96)

Gay’sstunningrenderingofthefireworkdisplaywiththe allusiontoaGreekmonster,themostfamousgorgon, Medusa,isbrilliantlycrafted.Yates,similartoGay,sees muchoftheworldwithanimaginativeeye.Helaterthinks oftheFerriswheelas“awheeloflightspillinggreat shardsoflaughterthatfellallabout(Gay107)”him. Everythingisshiny,new,andexcitingforYates. HypnotizedbytheFerriswheelcarryinggigglinggirlsin seatscoveredwithmulticolored,brightlights,itmusthave feltlikelaughterwasfallingalloverhim.Heischild,and becausethisnovelwasatributetoMarkTwain’sHuck Finncharacter,GaycapitalizedonYates’schildlike wonder.EventhoughYatesislargelysurvivingonhisown andcancomeoffasrough—hecusses,andsteals,andcan beanastylittleboy—itisimportanttorememberheis just aboy.Allofthesegrandexperiences,bothlightanddark, arebiggerthanlifetohim.Asmentionedearlier, Fugitives oftheHeart isoneofGay’sdarkestnovels.Thisisnotto saytheplot,orthecharactersaremeanerinthisnovelthan anyofGay’sothernovelsbutisintendedtomeanthatthe imageryisthedarkestofhisbooks.Darkimageryis heavilylayeredalongsidelightimagery.AndwhileGay wasanepisodicwriter, FugitivesoftheHeart isthemost episodiccomparedtohisothernovels.Areasonable explanationforbothofthesequalitiesisthatGaywas writinginthemindsetofanextremelyyoungcharacter

withYates.Lifeissimpleforhim.Itisaseriesofevents thatareeithergoodorbad,darkorlight.

Yate’smoodaffectshisinterpretationofevents.Hehasa wonderfultimeatthecircusandexploringAckerman’s FieldandontheFerriswheelwithagirlbyhissidethe worldopensuptohim:“thewideningworldwaslostina phantasmagoriaoflight”(108).However,giveGayafew pagesandhewilltunYates’sworldviewupsidedown. Afterahippourinatesonhimandcrowdlaughs,heis rightfullyenraged.Hisembarrassmentpersistsintothe nextmorning,partlybecausehestillreeksofurine,but alsobecauseheisinadarkmoodandseesableaker world:“Heawokeinasourmiasmaofdreadwiththe weightofthemidmorningsunonhiseyelids”(113).A sunnydaywouldnormallycheerYatesbecauseheneeds itsliteralwarmthtosurvive.Hesoonfindsahoseandasks fordrinkofwater,butthenattemptstobathhimself,and ownerofthehoselooksatYatesasa“foulsmelling apparition”(115).HeheadstotheTennesseeRiverto washoffandwhilescrubbinghisclothesandhimself,he spotsatugboatgobyandheobservesitas“afuneraltrain freightingitscargoofdeadtoashorelostinmist”(117). Gay’simagerydarkensasYates’smooddarkens.The tugboatdoesnotcarrythedead;it’ssimplyaboyinabad temper.Soonenough,heisbacktobeingYates’sand bragstosomeboyswhoarefishingthatifhehadaboat, hewould,“catchsixfootcatfishandsellitoffbythe pound.Thatwouldputmeoneasystreet”(118).Gay’s darkimageryin FugitivesoftheHeart shouldnotbe

construedasaspeculativefiction;itmerelyreflectstheups anddownsofapubescentboy.

CreaturesofMythandStrangeSexActs

ThemannerinwhichGaydepictshischaractershaving sexisoftencloudedwithimagesofforestgodsandsea monsters.Onequestionsiftheactisaritecommittedbyor foradarkgodorevenanactbetweentwohumanbeings. Breecefrom Twilight,withhisendlesssupplyoffresh corpsesperformsperverseactsandhassordidsexual relationswiththedead.Hebelievesheispracticing necromancy.In TheLostCountry,whenEdgewaterand Sudyfinallyhavesex,Gayweavesinmonstrousimages alongwitharitualisticvirginsacrifice: Shelaytotallysubmissivewhilehelaboredabove her,herlegsoutflunglikesomebeachedlifefrom theoceandepths,somegrotesquebeastdividing, joinedonlyatthecrotch,strugglingforlifeinthis otherworldlymedium.Oryetsomewantonsacrifice inapaganriteyieldingtowhateverdarkritualthe godsinflicteduponher.(212)

ToavoidbeingcaughtbySudy’smother,theymustsneak outtothewoodstohavesex.Thefearofgettingcaught, theexcitementofthemoment,plusthesoundsand atmosphereofthewoodscouldheightentheexperience, butnottotheleveldepictedhere—seamonstersandvirgin sacrifice.Morelikelyitistheeffectofhavingsexinan

ensorcelledwoodatplayhere.

ThewidowPaitonof FugitivesoftheHeart begins havingexplicitdreams,butneverofherdeadhusband. Sheisabsolutelyplaguedbyareoccurringandveryvivid dreamoflustingafterherhusband’sbull.Thedream evolvesandthebullturnsintoafacelessblackmanand eventuallyshiftsintoaforestgodfromGreek mythology—thesatyr:

ShedreamedoftheblackangusbullPaitonhad brought,arrogantandenormouslymasculine, stalkingthehallofthebarnlikeapredator.She dreamedofthesunlightonhisripplingebony hide…

Graduallyinaseriesoftangleddreamsthebull becameaman.Themanhadnofacebuthehada colorandthatcolorwasblack.Adarksatyrthat tauntedherstrokedherbreastswithhandsthecolor ofoldwalnut.Shedreamedofphallicthrustthat werehardasblowsstruckinangerandawokeinhot breathlessdarkwithherloinsfreshenedandnipples taut.(194)

Theevolutionfrombull,toman,toasemi-minotaur,and finallytoasatyr,couldexpressthewidow’sdesiretobed BlackCrowe.ShewouldhavebeenfamiliarwithCrowe becauseheworkedforherhusbandbeforeherhusband died.Whitewomenhavingsexwithblackmeninthe Southduringthenovel’stimeperiodwasforbidden,as wasbestiality.ThewidowPaiton’sfantasysuggests

suppresseddesire,manifesting,andremanifesting, attemptingtofindthecorrectdesire.Butsheisplagued becauseagoodChristianwomanlikeherselfshouldnot desireatall.Satyrs,partmanandpartbeast,areforest godsfromGreekmythology.Theyareknownforbeing well-endowed,likePaiton’sbull.Asstatedearlier,while Gaydotted FugitivesoftheHeart withmythicimagery, addingtotheconstructionofhisSouthernlegendarium,he usedtheseimagesfortheeffect.ThewidowPaitonwas notengaginginsexualrelationswithaGreekgod.Gayis merelyintensifyingtheeffectofherdream.

In Stoneburner,afterThibodeauxstealsthedrugmoney, heviewsCathyinanewlightasifsheisboughtandpaid fornow;heownsher: Heleantandpulledthesheetfromhergently, studiedhernakedbodyathisleisure.Shewasall lightandshadows,thecoolmoundedfleshofher breastsandbelly,theoffwhiteofoldivory,thedark thatchofhairunderherbellyhidingthejunctureof herlegs.Hesmiledwrylytohimself,purveyorofa commoditythatwasinexhaustible,thateven reneweditself.Lyingtheresostillsheseemed pristine,unused,asacrificeleftbyathe superstitiousforthegods.Mortalswhotouchedher castoutandstonedandcondemnedtothewhimsof thefates.(49)

Thibodeauxbelieveshehasobtainedtheultimateprize, thatheinfactisgodlike,butmostgodsdonotlikemortals

Later,TylergiftstheamulettoClaudelleCalvertto rememberhimby.Tyler“…untiedthethongfromthe arrowheadamuletandhandedittoher”(200).Claudelle sealsherdeathbyacceptingthecursedamulet:“Shetiedit aboutherthroatandtuckedthearrowheadintothetopof herdress”(200).Itdoesnotsaveherfromevil,orSutter, whointrackingTylerdownentersClaudelle’shomeand murdersherandherfamily.WhenthecorpseofClaudelle andherfamilymembersarerevealed,sheiswearingthe cursedamulet:“Aboutherthroatanarrowheadtiedtoa leatherthong,andthethongwoundtightlyintothebluelookingflesh”(12).TheoncepinkfleshofClaudelle’s neckmirrorsthepinkarrowhead.Inaddition,Tyler observesthestoneashaving“…adelicatetraceryofpale bluelikebloodveinsrunningbeneathitssurface”(159). GaycleverlyforeshadowsClaudelle’sstrangulationand deathbyillustratingthepinkstonethearrowheadwas craftedfromwithablueveinrunningthroughit.Though SutterstranglesClaudelle,itistheamuletthatactually killsher.Tylerhadmusedwhenhefoundthearrowhead: “Whathadtranspiredduringtheclockingoftheseasons sincethedarkhandhadlaiditontheledgetillhispaler handhadretrievedit?”(160).Heknowsexactlywhat happened,andchoosestoignoreit,whichmaybeGay commentinginasmallpartabouttheremovalof indigenouspeoples.TheNativeAmericanswereremoved

andmakesitbeautifulasifthereisamongstallthe debaucheryandthedarknessofthehumanheart, somethingofthesupernaturalandindoingsocreatedhis ownstyleofSouthernfolklore.

Gay,William FugitivesoftheHeart.LivingstonPress, 2020. ---. IHatetoSeeThatEveningSunGoDown:Collected Stories. FreePress,2002. ---. LittleSisterDeath.DzancBooks,2015. ---. ProvincesofNight.Doubleday,2000. ---. Stoneburner. AnomalicPress,2018. ---. TheLongHome. DzancBooks,2015. ---. TheLostCountry. DzancBooks,2018. ---. TimeDoneBeenWon’tBeMore—CollectedProse. WildDogPress,2010. ---. Twilight:ANovel.DzancBooks,2016. White,Michael.TelephoneInterview.31July2018.

APandemicGift

Lockdown.Yourememberthoseearlydays,don’tyou? Howutterlystrangetheywere,withtheworldaround suddenlyemptyoftraffic,honkinghorns,airplanes,car alarms,kidscallingoneanotherastheywhizzedbyon theirbikes.Westockpiledtoiletpaperandfood.Weall haveastoryaboutthatfirstweek.Ihadrecentlylaunched abook,TheCompanion,andwaslookingforwardto travelingtowritingconferencesandbookfests.Byday threeofthelockdown,IcanceledthesixconferencesIhad beenscheduledtoattend.Somestatedthey’dfigureaway tomoveonline;someweresuspendedtoalaterdate.The inpersonwritingworkshopIhadscheduledbecame… suspended.(Rememberwhenwedidn’thavetosay“in person”).

Ikeptmyspiritsup.Afterall,Iworkedathome.Being alonewasn’taworry;Iwasusedtothesolitude.Mywife, aveterinarian,hadanessentialjobandwenttoworkas usual,whichkeptpartofthedailyroutineintact.Istill walkedthedogstwodaysaweekandtriedtomeetmy wordcountinbetween.Noworries,Ithought.Igotthis.I won’tmisstheweekendworkshopsandmeetingmy friendsforcoffeeandwriting.

ExceptImissedthem.ItwasasifIhadbecome unmooredfromtheworld,fromthewritersIhadworked withformonthsandyears,fromfriendsIcouldn’thopin thecartosee.Iwaslonely.Andwanderingthehousekind oflikeazombie.

Ilookedfromonedogtotheother.Wehadalreadygone onthreewalks.IhadjustfiguredoutI’dbeenwearingmy

maskupsidedownandthatmyglasseswouldn’tfogifI turnedthedamnthingaround.“Thiswillnotdo,dogs,”I said,andeachgavemealookofagreement.

Ineededtoknowhoweveryoneelsewasfairinginthis oddtwilight.SoIsentanemail.ThatIwishIkept,but here’sthegist:

Thisisweird.Anyoneelsewanttocheckin?Meetmeon ZoomWednesdayat4:30.Yeah,Idon’tknowhowtouse it,either,butwe’lltry.

Thesecondweekoflockdownrolledaround.Ifigured outZoomandonWednesdaywaitedtoseeifanyone wouldcome.

Theydid.Ibreathedasigh–people.Mypeople!Here,

Rule-Breakers,Risk-Takers,andRomantics AnInterviewwithLuanneSmith,editoroftheanthology Taboos&Transgressions—StoriesofWrongdoing,which wasinspiredbyamasterclassbyJoyceCarolOatesthat encouragedpeopletotalkabouttaboos.

byKateGale

KG: Whenmostofthinkoftaboos,wethinkofallthose taboothingswewerenotallowedtodoasteenagers,but didanyway,sex,drugs,cigarettes,oldermen,older women,cars,bars,andthisbookhassomeofthat,butthe taboosgomuchdeeper.

Wereyoulookingforspecifictaboosortakingexcellent storiesonthesubject?

LS: Weadvertisedfortaboosfromlegalandmoralto familial,societal,andculturaltotheexpectationsofpeers, friends,andtheself.Wewantedtocastawidenetandsee whatothersdefinedas“taboo.”Wehadover200stories submittedinouropencall,andwewerelookingfor varietyalongwithexcellentwritinginourchoices.

KG: ThestoryaboutNoahseemsparticularlywell written.Canyoutalkaboutthat?

LS: Thatstoryblewallofusaway.Myco-editorKerry Nevillereaditfirstandimmediatelydrewmyattentionto it.Itissooriginalandpowerful,anditwasoneofour earlyselections.Webuilttheanthologyaroundthatstory andacoupleofothers.Talkingaboutit,itsoundsso improbable.AstoryinthevoiceofagoatontheArk, crowdedconditions,stowaways,themodernelementwith dyingcellphones,butultimately,itworkssowell.The voiceisparticularlystrong,anditismatter-of-factabout theimprobableelements,makingthemseemordinaryand real.It’salayeredandemotionalstorywithoutbeing sentimentalorpreachy.Ifeelit’soneofthebeststories I’vereadinalongtime.

KG: TellusaboutworkingwithJoyceCaroleOatesand howthatstorycamein.

LS: Iworkedwithheragentandpublisher,sotherewas norealcontactwithJoyceCarolOates.Shedidinspirethe themeoftheanthology,though,asIsayinthe introduction,throughhermasterclassandhertalkabout writingabouttaboos.Becauseofthat,Ifeltwehadtohave oneofherstories.Wereadseveraltofindonewewanted. Iwantedastoryofhersthatwasnotanthologizedover andover.Ihadread“Gargoyle”inNarrativeMagazine yearsback,andbecausewealsohave“transgressions”in ourtitle,wedecidedthatstoryfitboththetransgression andthetaboo.Ilikethatyoufeelforthecharacterasyou readthestory,especiallyattheend.Sheistheone breakingtherules,butthereissuchlonelinessinher voice,adesperationtoheractions,thatyoureadalong thinkingsheisheadedfordisaster.Ithinktheendingisthe bestpartofthestorybecauseitisunexpected.Her

emotionsattheend,theimageweareleftwith,theyare notwhatweexpecttofindattheendofthestory,butthey ringtrue.IthinkOatesisoneofthebestwhenitcomesto storyendingsanddoingjustthis—takingustoan unexpectedplace.Thestoryrepresentedherworkwell, then,andfitwithourtheme.AndIcouldaffordtheuseof itintheanthology,whichisafactofpublishing.

KG: Thestoryaboutthemanwhokillspeopleby drowningthemintheCharlesRiverseemstogobeyond meretaboo.Howdoyouseethat?

LS:AsIsaid,wewantedawidevarietyofbrokentaboos, andbreakingthelawwaspartofthat.It’smorethan breakingalaw;itiscommittingasinwithinmost religions,breakingexpectationsofcivilization,etc.Iwent intoourreadinglookingforone“murderstory,”and PamelaPainter’s“Stroller”fitthebillwell.There’sno remorse,whichmaybetheultimatetaboo.Therearetwo storieswhereyouseelittletonoremorseonthepartofthe character.Thisoneand“NotaCupid”aredisturbing storiesforthisreason.Ifelt,ifwearegoingtoputtogether ananthologyonbreakingtaboos,wehadtogoasfaras possiblewiththeactionsofthecharactersinthestorieswe selected.

KG: TheSalemwitchtrialstoryfeltsoaptitwasthoughI waswaitingforit,canyoutalkaboutthatstory?

LS: IloveLeeZacharias’story.First,forus,itwas somethingentirelydifferentfromanythingelsewehad selected.Secondly,itshowedtabooshavebeenwithus

throughouthistory.Thereisalsoawonderfulreader connectionwithinthestorythroughtheactionsofthegirl towardstheend.Aswereadandplaceourselvesbackin thattimeframe,manyofuswouldwanttodowhatthe character,HannahKing,does.Wewanttobreaktherules ofthattimeframeandthatscenario.WewantHannahtodo asshedoes.

This,tome,isoneoftheinterestingaspectsofthisbook. Insomeofthestories,wewantthecharactertogoagainst family,society,laws,sins,etc.Thebreakingofthetaboois empowering.Iwantedtotouchonthatphenomenon surroundingtaboos—thedesiretobreaktherules.In selectingstories,Ilookedforafewstorieswherethis happenedaswell.

KG: WhydoBiblicallybasedstoriesworksowellfora bookabouttaboos?

LS:IthinkthatformostofusgrowingupinAmerica,the Bibleisever-present,whetheroneisChristianornot,a believerornot,sowhenyoustartlookingatwhatistaboo, alotofwhatisgoingtopresentitselfisBiblicallybased. JustasSoniahKamal’spiecesetinPakistanshowsus culturaltaboothere,manyofthestoriesshowusmorally questionablebehaviorsinAmericanculture.Also,when wethink“taboo,”wethinkmoraldigressionsfirstand foremost.Whilewewantedstoriesthatexaminebreaking laws,storiesthatshowempowermentthroughtheactions andstoriesthatexploreverypersonaltaboos,themoral choiceistheoneIthinkweconsiderfirstwiththeconcept ofthetaboo.Asaresult,theBiblicallybasedstoryisthe moralstory,theoneweexpect.That’swhythelackof

remorseincertaincharactersinthebookissoaffecting. That’sthecompletelackofanymoralcenter.

KG: Youtouchonsomeofthebigtaboosincluding moneyandpoverty.Whyismoneysodifficult?

LS: Wearen’tsupposedtotalkaboutmoneyinour culture.Wearen’tsupposedtohavepovertyintheideal America.But,ofcourse,wedo.Igrewupbluecollarin Kentucky,andIhavehockedpossessionstohaveenough moneyforgastogettowork.Iwantclassrepresentedin mostanyworkIputmynameon,andIgravitatedtothe storiesthathadsomethingtosayaboutthis.Aboveall,we wantedexcellentwriting.Next,wewantedvariety.Then wegotintomakingsurecertaintaboosubjectswere represented.Weworkedveryhardatputtingtogethera bookthatcoveredalotofground.

Intermsofmoney,Ithinkclassisoftenahiddenor forgottenissue,possiblybecausewewantsomuchto believeintheAmericandream.Inacademia,Ioftenfound myselfdefending,say,studentswhocametousfrom communitycolleges.Itisn’talwaysbecauseofgrades.It oftenhastodowithwhatstudentscanafford.I’ma productoftwoyearsatacommunitycollegebeforegoing toafour-yearschool.IwasamazedhowoftenIhadto defendstudentsinthispositionwithcolleagues.Tome, thisisindicativeofsocietyatlarge.Thepooreither haven’tworkedhardenoughto“pullthemselvesupby theirbootstraps”ortheyarelazyorsomeotherderogatory notion.Whenyouarepoor,though,itisalmostimpossible topullyourselfoutofit.Buttalkingaboutthatisataboo inandofitself.

acrossasverymuchincontrolofherchoicesandactions. Shelosessomethingimportanttoherintheend,butstill makesherowndecisions.Wedon’tthinkawoman choosesprostitution.Butthischaracterdoes.

KG:Weretheretaboosyouwouldhavelikedtoexplore butdidnothavetheroom?

LS: Idon’tknowthatwereallygetintoallofthose teenagetaboosyoumentioned.Wecertainlyaddressed someofthem—drugs,sex,etc.Ialsowouldhavelikedat leastonestorythatdealtwithdomesticabuse.Andre DubusdidthissowellinsomeofhisstoriesthatIwishwe hadseensomethinglikethatinthesubmissions. Also,thereweresomeexcellentstorieswechosenotto usebecausetheyweretoosimilartosomethingelsewe hadselected.Wehadenoughworkfortwoanthologies easily,butnotthebudget.Imadeapointofcastingthat widenet,asIsaid,andIletthewriterssubmitting determinethetaboosweaddressed.Whiletherewere sometaboosIspecificallylookedforinoursubmissions, forthemostpart,Iwasassurprisedasanyonebythe varietyoftaboosaddressed.Iwaspleasedwiththerange ofstorieswereceived.Thereweresomewesawsomany storiesaboutthatIbackedoffusinganythingtypicalwith them.Thedrugstory,forinstance,orthepedophilestory.I thinkthestorieswechosethatdoaddressthesesubjects arewell-writtenanduniqueintheirtakeonthesubjects. Overall,theanthologycoversmoregroundthanIexpected ittowhenwefirststarted.Ittouchesonsomanytaboos andonbothourneedforrulesandourneedtobreakthe rulessometimes.I’mexcitedbywhatwemanagedtoput

togetherandwhatwemanagedtosaywiththisselection ofstories. KateGaleisco-founderandmanagingeditorof RedHen Press,editorofthe LosAngelesReview andteachesinthe LowResidencyMFAprogramattheUniversityof NebraskainPoetry,FictionandCreativeNon-Fictionand intheAshland,OhioMFAProgram.

LuanneSmith isanativeKentuckianwhonowlives betweenNewJerseyandFlorida.Sheisrecentlyretired after30yearsofteachingcreativewritingandfilmatWest ChesterUniversitynearPhiladelphia.Herfictionhas appearedin PuertodelSol,TheTexasReview,Oxford Magazine andotherliteraryjournalsandanthologies.She haspublishedpoetryandnonfictionaswell.Luannehas hostedwell-receivedAWPConferencepanelsfocusedon womenwritersandthechallengeswomenfacewriting grittymaterialandbad-assfemalecharacters.Shelast presentedapanelonthedouble-standardwomenwriters encountercomparedtomenwhenwritingsexualcontent.

Sue’sReadingNeighborhoodstartedinJanuaryof2018 andhadbuiltupafollowingofalmost3K.Whatmade Susan’sgroupspecial,isthatitreallydidfeellikea neighborhood insteadofasocialmediasite.Lastmonth Susandecidedtoclosethegroup…butdon’tworrySusanPetersonwillstillbearound!Suejoinedtheteamat BookishRoadTrip asa"conductor"andwillbebringing thembookreviewseverySaturday!

WhydidyoustartSue'sReadingNeighborhood?

AfterIretiredin2014,Istartedtolearnhowimportantit hadbecomeforauthorstogettheirbooksreviewed,and thatsocialmediahadbecomeawaytopublicizebooks.I joinedacoupleofgroups,andwonafewbooks—that’s whenIstartedwritingreviewsandalsostartedposting aboutthemonmypersonalFacebookpage.In2018,I thoughtI’dseeofIcouldstartalittlegroup,aplaceto sharemyreviewsandtopromoteauthors.Istartedvery small,andwassurprisedhowquicklyitgrew!

Whatwasthemostfunabouthavingthegroup?

IlovedtheconnectionsthatImadebysharingmyloveof books.Ibecamefriendswithbothreadersandauthors,and thebonuswasbeingabletomeetsomeoftheminreal life!IalsofeltI’dfoundanicheinsupportingdebut authors,beginningwithauthorslikeDonnaEverhartwho isnowtheauthoroffivebooks;it’sbeensomuchfunto watchauthorslikeDonnagrowintheirstorytellingability andtheirpopularity.

ROOTS

Dearreaders,

Amancanmakearoutineoutofanything,evenchange. Soit’sgoneformeandmywifeoverthepasttwoyears. We’velivedinour144-squarefoottraveltrailer(Betty) sinceSeptemberof2017,whenwebeganletting HurricaneHarveyrefugeesliveinourcondoforfree (thankstoAirBnBforallowingusthatopportunity).In Octoberofthatyear,wesetsailinBettyonaroadtrip, travelingfromcoasttocoastandbordertoborder(we spentsometimeinMexico,butnotCanada.Nexttime, ay?).

Webecamesoaccustomedtochange,tothefreedomof theroad,thelackofresponsibility,thatthethoughtof movingbackintoahousehasusfreakingout.But,ready ornot,onSept.1weareofficiallyretiringfromRVlife andsettingupshopatourhouseinSouthAustin(Club 1804).

Weweresoscaredtostartouradventure,andnowwe’re evenmoreafraidofseeingitend.Wediscoveredsomuch aboutourselvesontheroad.Wegotintosomegreathabits ofmeditating,stayingmindful,movingslow,andjust beingcontent.I’mterrifiedwe’realreadymovingaway fromthosethingsnowthatwe’rebackinAustin.Traffic, socialobligations,cellservice,thenews--there’salotof bullshittowadethroughinordertofindthatinner-peace thatwassoaccessiblewhilecampingoff-gridinthedesert, orhikingupamountain,orexploringanationalforest. We’regoingfromreadingbycandlelight,toreadinga

didn’thavetobecalledSheilaanymoreandmynamewas nowHazel.Iwasalreadyquestioningherjudgmentafter shebroughtmehome,butnowtinyhumansinscary costumeskeepringingthedoorbellbecausethey’reclearly comingtokillusboth.Itkeepsscaringthecrapoutof me…literally. February5,2008

We’removing.Idon’twanttomove.Ijustgotusedto peeingintheyardinsteadofthehouse,andnowwe’re goingsomewherethatdoesn’tevenhaveapeecorner. Whatifthesadskinnygirldoesn’ttakemewithher?I knowIwasn’tsupposedtobitehersisteronthebutt,but howwasIsupposedtoknowshewasfriendly?She wrappedthesadskinnygirlinhermassivefrontlegs beforeintroducingherself.

May28,2008

Anothermove?Isthiswhatpeopledointheirtwenties? I’mpracticallythesameageindogyears,butfeellikeI havemycraptogetherwaymorethanthesadskinnygirl. Seriously,allmycrapisinaneatpileinthepoocorner.At leastthislandladylikedme,whichisweird,becauseI didn’tevensmileather.

October6,2008

Thesadskinnygirlbroughtamanhome.Howdareshe. Sheknowsthishouseisbitchesonly.Ibaredmyteeth–I mean,smiled–attheguy,butinawaythatsaid:“youhurt

toseesnowhere.

December31,2015

Thesadskinnygirlisn’tsoskinnyanymore,andIcan’tfit onherlapanymore.Itriedtheotherday,butsomething insideherbellysoundedlikeitwasstraightoutofahorror movie,andthenIsawtheoutlineofafootinthereright beforeitkickedme.Don’tworry–Igaveitmyscariest barksoitknowstherearenopoltergeistsallowedhere.I guessIcan’tcallherthesadskinnygirlanymore.I’lljust callhermyhuman.

skinnyagain,exceptnowthey’vebroughthomethesetwo tinypotatoeswhoscreamallthetime.Ihopetheydon’t expecttostaylong;they’recrampingmystyleofsleeping every3hoursbywakingupscreamingevery3hours.

July16,2017

Thetinypotatoeshavemorphedintotinyzombies,and they’vestartedzombiewalkinginadditiontothehowling. Theyliketozombiewalkinoppositedirections,but somehowbothofthemcomestraightforme.Nope,nope, nope.I’veseenthismovie.Myhumanwilljusthaveto spendthewholedaylettingmeoutside,wherethetiny zombiesaren’tallowed…suckers.

February14,2021

Itsnowedhere,alot.It’slikethesnowbackinourKansas dayswhenIwouldtakemyhumanforlongwalksinthe snowwithmanypoo-fakeouts.Thetinyzombiesmadea snowzombieandthenkickeditover.Iknewthisday wouldcome,knewitsincethedayIsawthatfootinside myhuman’stummy.Ican’tfeelmybackpawsanymore, andIknowit’snotjustthesnowtalking.IwishIcould frolicinthesnowlikeIusedto,andlikethetinyzombies are,butfeelinginthebackpawsisrequiredforthat.

KellyI.Hitchcock isaliteraryfictionauthor,humorist, andpoetinAustin,Texas.Shehaspublishedseveral poems,shortstories,andcreativenon-fictionworksin literaryjournals,andistheauthorofthecoming-of-age novel TheRedheadedStepchild,asemi-finalistinthe literarycategoryforTheKindleBookReview’s“Best IndieBooksof2011”,and PortraitofWomaninInk:A TattooStorybook. Hernewestnovel, CommunityKlepto, releasedJune2022,courtesyofSheWritesPress.Sheis world-renownedamongagrowingreadershipofseveral folks.Sheisaneditorialcontributorto AustinMoms and MomsDon’tHaveTimeTo.

RaisedbyasinglefatherinthesmalltownofBuffalo, Missouri,Kellyhasfondmemoriesoflifebeingbrokeas shitintheOzarksthatstronglyinfluenceherwritingand wayoflife.She’sagraduateofMissouriStateUniversity, wheresheearnedaBachelor ofArtsinCreativeWriting. Shehassix-year-oldidentical twinsandafull-timejob,so writingandpickingup LEGOaretheonly otherthingsshe candevoteherself to.

journaling,andmemoirledbyauthorsJudyGoldman, ValerieSayers,BrenMcClain,MindyFriddle,and AngeliqueMedow.

HONORTEACHERSwitha50thAnniversarycelebration ofTheWaterIsWide,PatConroy’s1972teaching memoir,withafilmscreeningofConrack,followedbya retrospectivepaneldiscussion.

Thefestival'sfullscheduleofeventswillbepostedlater thissummer.Registrationforallfestivalworkshopsisnow openathttps://patconroyliterarycenter.eventbrite.com.

ThePatConroyLiteraryFestivalismadepossiblebythe generoussupportoftheRobertS.HandlerTrust,theReba andDaveWilliamsFoundationforLiteratureandtheArts, theWillieMorrisAwardsattheUniversityofMississippi, theRhettHouseInn,theAnchorage1770Inn,andothers.

TofindoutmoreabouttheSeventhAnnualPatConroy LiteraryFestival clickhere.

Thefestival'sfullscheduleofeventswillbepostedlater thissummer.Registrationforallfestivalworkshopsisnow openathttps://patconroyliterarycenter.eventbrite.com.

Igrewuponthebeachwhichhadmusicblaringfrom clubsupanddownthebeachandwhenwewerenear ‘boutofage(backinthedaywheneighteenwasthelegal age)wewereoutonthefloordancing,onthebeach dancing,onthestripdancing.Lyingonthebeachlistening tothetop-40,watchingBandstandandSoulTrain.

Thelovelythingabouthavingparentsplaymusicisthe generationalcrossoverofmusicfindingitswayintoyour lifeearlyon.ThoseElvisalbumsprovidedplentyof inspirationfordancingfeverforathreeyearold.Butlet’s notforget-ridinginMama’sconvertiblewithacarfullof unbuckledcousinssingingalongtoJohnnyCashonthe radiosinging,RingofFire.RoyOrbisonbeltingoutPretty Woman,RogerMiller’s,KingoftheRoad.(Thismaybe whereIwasfirstinspiredbythesementowearblackon blackwithasideofblack.)AndIgottoridethatwave straightintothemusicthatspokedirectlytomylifeduring everydifferentchapter.

IwasstillalittlegirlinGermanywhenalittleband called,TheBeatleshittheairwaveswith,IWanttoHold YourHand.FlashforwardyearsuponyearsandI’m hangingoutwithmycousinslisteningtoSgt.Pepper’s LonelyHeartsClubBand.Andthoughtmylifemusichas groundedmeandnothingbringsbacktheabsolutefeeling ofrepossessingthoseyearslikemusic..

I’veoftentoldpeoplethatIwouldhavebeenabushpilot ifIweren’tawriter,butrarelydoIconfess-oraSolid Goldbackupdancer.Andit’sthisstrangemagicthatis music.Somepeoplehearmusicandtheydon’thaveto

move,don’thavetodance.I’mnotoneofthem.It’swhyI don’tunderstandwhypeopledon’tjustbustoutin spontaneousdancepartiesingrocerystores,orbanklines oranywhereelsewehavefreemusicstreamingallaround usonloudspeakersthatwepretendtoignore.

IwasonceeatinglunchwithmysisterataWaffleHouse whensomeoneputafewquartersinthejukebox(thanks youWHforkeepingthejukeboxalive)anddroppedsome soultunesthathadeveryoneintheWaffleHousehumming orsingingalong,unabletoexactlysitstill.Wewerejusta fewsecondsawayfrombustinglooseintoanall-outscene fromaBroadwayMusical.Unfortunately,thesong stoppedjustshortofthishappening,butIswearwewere almostthere.Allweneededwasforsomeonetotake chargeandsayokay-onemoretime-fromthetop,one, two,three-everybody!Anditwouldhavehappened. ThesedaysithappenstomemostlywhenI’malone. BecauseIamconstantlymovingwithearplugsinandone playlistoranotherblaring(Riverturndownyour earphonesAppletellsme)Nah.LifeisahighwayandI wanttorideitallnightlong.Causehey,StevieWonderis stillrockingoutforevertoSuperstitionandPrinceisstill partyingto1999justknow,somepartofyourbodyshould bemoving.

AndwhileIamnotonTik-toc-Lordhavemercyhow muchIloveallthepeopledancingtherelittleheartsoutto CrytoMebySolomonBurke.Getit,people.Justgetit. CauseI’mlovingthislittlepartofoursocietywhere peoplearedancingintheirkitchensfornooneand

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everyone.

OncewhenIwaspushingMominawheelchairtothe gateofaplanetocarryheronehourawaytoPanamaCity BeachandwhereCousinDebwaswaitingonher-she lookedupatmeandsaid-“Well,Ihopeyoudance.”

Offeringtheseasherlastwordsjustincasetheplane didn’tmakeit.Becausewehavethisonewindowof opportunitytodancelikewemeanit.Likenooneis watching.Wecouldallusealittlemoresoundtrack,alittle moremovement,andalittlemorepassioninourlives.

Manywritersareinspiredbymusicthatleadsthemtoa certainstory.I’velovedinterviewingauthorsfor20years andtalkingtothemabouttheirmusicalhabits.Whatare theirtastes?Dotheylistenwhiletheywrite?Dothey listenbeforetheywrite?Whentheyreachaplaceinthe storywheretheyarestuck?Theanswershavebeen various.Somewriterswriteandplaymusic.AuthorSilas Housecomestomind.Musicisverymuchapartofhis lifeandnodoubtitbleedsintothelivesofhischaracters.

Ihavedifferentplaylistsordifferentsingers/musicthat seemslikeitwouldbetheperfectmatchforthesettingor thetimeorreflectsthegeneralattitudeofthatcharacter. Thisisafunpartofthewritingprocesstobeabletoplay matchmakerforworkandsong.Andnocharacterisstuck inacertaingenreorplace.

centerofthisnovel.Amustread!” LYDIAKANGBestselling authorof TheHalf-LifeofRubyFielding “Delightfullywryasitisunsettling,TheDeceptionhadme turningpagesatablisteringpace.Blakemorebewitcheswithher shrewd,incisivelookattheSpiritualistmovementandtwodownon-their-luckheroinesboundinanunlikelypartnership.Teeming withintrigue,seethingjealousies,andtheatricalatmosphere. Absolutelyimpossibletoputdown!”—PauletteKennedy,author of PartingtheVeil and TheWitchofTinMountain Bewareofdangerouswomen. Kimwriteshistoricalnovelsthatfeaturefierce,audacious,and oftendangerouswomen.Shewritesaboutthethievesand servants,murderessesandmediums,griftersandfrauds-the womenwithdarkerstories,tangledliesandhiddenmotives. SheistheauthorofthehistoricalthrillersTHEDECEPTION, SilverFalchionAwardwinnerAFTERALICEFELL,THE COMPANION,andthehistoricalnovelsBOWERYGIRL,and CISSYFUNK,aWILLALiteraryAward winnerforBestYoungAdultnovel. Inadditiontowriting,sheisa developmentaleditor,andfounderof Novelitics,whichprovidesworkshopsand communitytowritersintheUnitedStates andCanada. Sheliveswithherfamilyandpasselof rescuecatsanddogsinthePacific Northwest.Shelovestherain,isafraidof scarymovies,andthinksthebestmeal consistsofagrilledcheesesandwichand tomatosoup.