Running Over the Goat

 Is it my turn again? Time certainly flies, especially when you have a jillion things on your mind and you barely know what day it is. I live in fear that some day I'm going to turn up at some bookstore to speak when I should be at the library giving a workshop. I often have dreams that I suddenly realize I'm supposed to be at some event in Texas, or Colorado, or I forgot that I'm supposed to be at a conference in fifteen minutes. Not that I'm in such demand, God knows. It's just that I'm not always aware of the passage of time like I ought to be, since I spend so much of it in my own head rather than in the world .

Which reminds me of a story, like most things do. I've always been interested in the writings of J. Krishnamurti for their absolutely no nonsense to-the-pointness. For those of you who don't know, in the late 1910s, when he was just a small child, Krishnamurti was declared by the Theosophical Society to be the final reincarnation of the Buddha, who when he grew up was supposed to take over the Society (and the world, presumably) and usher in a new age of enlightenment. So, in 1927, after being raised and educated in England by this group, the young man Krishnamurti called the devotees to a gigantic gathering, promising to finally impart to them the great wisdom and enlightment they had been waiting for. And it was this:

"You've said for years that I was born to tell you the truth and you would do what I say, so here it is. Why are you people looking to me to enlighten you? You have to do it yourself. I can't save you, and neither can this group. Therefore, this group is dissolved. Everybody go home."

And all the thousands of people looked at each other and said, "Well, this guy can't be the Buddha." The Theosophical Society continues on to this day, and Krishnamurti went on his merry way.

The gist of his teaching was that you have to pay attention. You can't figure things out with your brain, you have to be conscious. Many years after the above event, he told a tale of being picked up at the airport in India by two young men who were supposed to take him to a friend's house in the country. As they were driving along with Krishnamurti in the back seat, the two young men were so absorbed in a discussion about consciousness that they ran over a goat and never even knew it. 

So, whenever I do some idiot thing because I wasn't paying attention, I say I "ran over the goat."

And speaking of storytelling, in one of my early books, Hornswoggled, I told the story of my husband and his brother throwing eggs at a post. Don (husband) read it and said, "well, it's a good story, but it's totally wrong." Seems it wasn't raw eggs they threw, it was boiled eggs, and it wasn't a fence post, it was a telephone pole, and it wasn't several times they did it, it was only once. Which leads me to make this disclaimer: When I write historical novels, I do all kinds of historical research to make sure my facts are straight. When I include family lore - not so much.But if it's a good story, I don't care.

An Idea Worth Pursuing

I have a good idea for a story. One of the cliche questions authors are often asked is where the story ideas come from. After Bob Dylan received his Nobel Prize last week, 60 Minutes (click on to see the interview) showed a brief clip from an earlier interview with Dylan in which Ed Bradley asked him that very question. The answer is: who knows? Dylan said it was rather like magic, and I can’t argue with that. I think sometimes you just achieve the right state of consciousness, and the ideas are bestowed upon you out of the aether. In my series, I’ve used ideas that have come to me in every conceivable fashion.

A recurring character in the series came to me in all his fully realized glory several years ago when I was at a concert of the Black Watch and Cameron Highlanders Massed Bagpipe Bands and watching a very young, very serious, athletic, rose-lipped, red-cheeked Scottish sword dancer with dewy black eyes and a shag of black hair.

The murder in The Drop Edge of Yonder is based on an actual incident that happened to one of my great-great-grandfathers on my mother’s side during the Civil War. (A lot of the incidents in my books are inspired by my own and my husband’s wild and wooly family backgrounds.)

The Sky Took Him began with an idea that came to me while I was on the Oklahoma leg of a book tour for Hornswoggled in 2006. I had set up an event in Enid, OK, which is my husband’s home town. I was sitting with my husband and his sister in a restaurant called Pasttimes, the walls of which are covered with historic pictures of Enid. I was facing a 1915 print of a street scene showing two women going into Klein’s Department Store on the town square. You know how they sometimes do the opening of a movie by starting with a still photograph that dissolves into a moving scene? As I sat there and looked at that picture, those two women became Alafair and her daughter Martha on a shopping spree. What, I asked myself, are Alafair and Martha doing in Enid, of all places?

One great thing about writing historical fiction is that when you do your research, you discover that what really happened is often better than anything you could make up. I decided to set the sixth Alafair Tucker mystery, The Wrong Hill to Die On, here in Arizona, where I live, rather than in Oklahoma, where Alafair lives. I figured this would be a nice little diversion for Alafair, and for me as well. But Alafair has ten kids and a large farm, so there are a couple of problems I had to solve before I even begin: 1. Why on earth would Alafair go to Arizona in the first place? 2. Once she gets there, what is going on that she could get herself involved in, how, and why?

So I hied myself off to the Arizona State University library here in Tempe and begin perusing the files of the Arizona Republican newspaper for March of 1916, the date I intended to set the novel. I knew I’d find something really good, for after five previous novels set in the 1910’s I’ve learned that life in the early Twentieth Century Southwest was nothing if not action-packed. Was I ever right. Plot points and atmosphere galore, and all I had to do was spend an afternoon unspooling microfilm.

Hell With the Lid Blown Off  is about a tornado. Because, I thought, I can’t write a series set in Oklahoma and not write about what life is like in tornado alley. I didn’t need to make anything up. I used some incidents from my sister’s experience in the Joplin tornado and some very strange tornado experiences from other relatives and even some pretty odd ones of my own. But it’s impossible to exaggerate reality when it comes to what a big tornado can do.

My upcoming book, The Return of the Raven Mocker (January 2017), revolves around the flu epidemic of 1918. No one knows for sure how many died in the flu pandemic, but modern estimates put the number at somewhere between thirty and fifty million people worldwide. More than six hundred thousand of those were Americans. Twelve times as many Americans died from flu in 1918 than died in battle during World War I. In early 20th Century America, every housewife had her arsenal of remedies for common ailments, and many of were quite effective. Even so, it is likely that more than a few people died from unfortunate home remedies such as turpentine, coal oil, and mercury. Some scientists think that many who died during the epidemic were killed by aspirin poisoning rather than the disease. In the book, I used a story about the curative power of onion, told to me many years ago by the person to whom it happened. My friend was a young boy, he developed such a severe case of pneumonia that the doctor told his mother to prepare herself for his imminent demise. In an act of desperation, his mother sliced up a raw onion and bound it to the bottoms of his feet with strips of sheet, then put cotton socks on him. In the morning, his fever had broken, his lungs had cleared, and the onion poultice had turned black. Is that what saved him? I don’t know. But that didn’t keep me from using the idea.

Happy Easter, or No Event in Your Life is Wasted When You're a Writer

Eggs dyed with onion skin and pansies

Happy Easter, for all those who celebrate it. I've been thinking lately about how much of my own life, both incidents and feelings past and present, I use in one form or another when I write. For most of my growing-up life, my family traveled to Boynton, OK, and had Easter dinner with my grandmother.  When she decided it was too much trouble, my mother began hosting the family gathering, which became the new tradition throughout my young womanhood. The old folks are gone, now, and my immediate family is scattered across the country and the world. But even though my Easters are much smaller these days, members of my family still adhere to the old Easter dinner menu we knew as kid.

We always had a ham. When I was small, in Days of Yore, the ham wasn’t vacuum packed and spiral cut, it was a big old bone-in hunk of meat, marbled with fat.  It wasn’t bought at the store, either.  It was raised from a piglet, butchered and smoked by one of the family members still on the farm.  By the time we were going to Mama’s, the sty-to-table ham was no more, but she made up for it by tenting and slow cooking the thing with brown sugar and mustard glaze, and clove buds stuck all over the top.

My parents never bought chocolate bunnies and eggs and colored jelly beans for us, but we did have to have our Easter eggs. My sisters and I pestered our mother to let us dye the eggs for weeks before the day, and finally she couldn’t stand it any more and let us make a mess of the kitchen several days ahead of time. We used those commercial dyes that come in little pills, but recently, largely because of my old-time housewife research, I've been dying eggs with onion skins and flowers. Which is kind of a mess, but beautiful and certainly cheap.

My husband’s very large family had their Easter egg traditions, as well. Don is the seventh of seven children, only two of whom were boys. His only brother, whom I will call “Mac”, was nine years older than Don, so Don remembers their relationship as being one of his tagging along behind Mac and allowing himself to be talked into whatever mischief the elder came up with. One year, Mac and Don loaded up several hard-boiled eggs, snuck out to a nearby field, and spent a happy half hour throwing the eggs at a telephone pole. I loved the image so much that I used it as the inspiration for an incident in my second novel, Hornswoggled.

In fact, one entire chapter in Hornswoggled is about a giant family Easter dinner like the ones I remember from my girlhood, with all the mamas, aunts, sisters and cousins bustling around grandma’s kitchen, readying a massive dinner for sixty-five.

The kitchen was literally a hotbed of action. The spring day was cool, but the heat of the wood-fired, cast iron stove, combined with the harried activity of nearly a score of women, served the make Grandma’s big kitchen uncomfortably hot.  Grandma Sally herself stood in the center of the floor at the hear of the kitchen table, directing the action like a trail boss.

So, happy Easter, all.  Now, go forth and make some memories that the kids will think of fifty years from now with such fondness that one of them may write about them in a novel.
_________
p.s. I loved Rick's entry on titles, below. Titles are a constant source of bother and worry for me. Perhaps I shall muse upon the problem when next I blog.

Make Your Own

Grandma's homemade dress, 1911

I have been called penurious in my time. Yet, in comparison to my mother, or her parents, who had to support themselves and their families during the worst downturn in U.S. history, I am downright profligate.

Nobody knows from frugal any more.

I recently saw a woman on television say that there is a trend among fashionable young people to buy cheap, hip clothing that may fall apart the first time it's washed. But they don't care. The only spend $30 or so for something they throw away when it's ruined and then they can buy something even more stylish and up to date.

I make no judgment. I'd rather be in a position to do that than to have to wear clothes I made myself out of a flour sack. For much of American history, few farm families had the money to buy ready-made clothing from a store. Clothes were homemade and worn until they were so patched and stained that they were unwearable. After which the mother would use what was left the make a quilt, or a rag rug, or a mop. Then she'd use the scraps to make a patch for a shirt or trousers, or a button cover, until the material disintegrated into molecules and floated away on the breeze.

In the mid-1800s, companies that sold sugar, flour, and animal feed began packing their goods into heavy cotton sacks instead of boxes and barrels. It didn't take long for women to realize that once the bag was empty, they were in possession of a piece of fabric that made durable work shirts, or aprons, or really nice, cheap clothes for the kids. Once the flour and chicken feed companies found out what was going on, they started printing pretty designs on the bags, and suddenly every rural child in America was wearing a dress or shirt with little pink flowers on it, or underwear with "Pillsbury" printed across the seat.

A while back I received a note from a cousin of mine who wrote, "Aunt Thelma [our mutual great-aunt] always bragged about how Grandma Bourland [our mutual great-grandmother] only had to look at a photo of a dress to be able to copy it." That comment made me smile, because my grandmother on the other side of the family had said exactly the same thing about her mother [whose name was Alafair].

"Ma didn't even need a pattern," Grandma Casey told me. "You'd just tell her, 'I want pleats here and this kind of sleeve,' and she'd whip it up."

She did, too. Above is a photo of my grandmother Casey standing in front of her parents' house in Kentucky in 1911, clad in a dress that her mother made for her. For a fictional wedding in my second book, Hornswoggled, I dressed the bride in this very outfit.

I suppose if you had seven daughters and you made every stitch of clothing they wore from birth until they left home, not to mention clothing for your sons and your husband and yourself, you'd become an expert seamstress in short order. Even if you had to sew it all on a treadle machine. Years ago I tried to make something on my grandmother's treadle sewing machine. You really have to get the knack of pumping the treadle with your foot. It's like rubbing your head and patting your tummy at the same time.

Me in Italy, 1969. My mother made my outfit.

My own mother made a lot of clothing for her three daughters. We did not live on a farm and could afford store-bought clothes, but Mama grew up in the country during the Depression, and she was the living embodiment of frugality. If she could make do, she did. I never felt put-upon by wearing homemade clothes, because what my mother made was excellent. She had a great eye for material and color and we girls always looked chic. I so loved some of the dresses she made for me in the '70s that I still have them to this day. I think they are museum quality. I'd model some for you, Dear Reader, but these days I could get into them with a shoehorn.