In a St. Louis tavern on Christmas night in 1895 Lee Shelton (a pimp also known as Stack Lee) killed William Lyons in a fight over a hat. There were other murders that night, but this one became the stuff of legend. Songs based on the event soon spread out of whorehouses and ragtime dives across the country. Within 40 years, Stagolee had evolved into a folk hero, a symbol of rebellion for black American males. With commendable scholarship and thoroughness, Brown shows how we got from the murder to the myth.
so says Leopold Froehlich in Playboy, quoted on the book’s back cover. I’ve been curious about this book since I first heard about it, finally pulled the trigger. Just that a book like this exists brings joy.
The murder was around 11th and Morgan in St. Louis, which today looks like this:
Should it be a UNESCO site? Paired perhaps with another St. Louis place of myth and violence, Cahokia?
Alcohol was his salve against a modern world he saw as a conspiracy of mediocrity on its ruling levels. Life was most bearable, he repeated, at its simplest: fishing, hunting, talking biggity in a cane chair on a board sidewalk, or horse-trading, gossiping.
Bill spoke rarely about writing, but when he did he said he had no method, no formula. He started with some local event, a well-known face, a sudden reaction to a joke or an incident. “And just let the story carry itself. I walk along behind and write down what happens.”
Q: Sir, I would like to know exactly what it was that inspired you to become a writer.
A: Well, I probably was born with the liking for inventing stories. I took it up in 1920. I lived in New Orleans, I was working for a bootlegger. He had a launch that I would take down the Pontchartrain into the gulf to an island where the run, the green rum, would be brought up from Cuba and buried, and we would dig it up and bring it back to New Orleans, and he would make scotch or gin or whatever he wanted. He had the bottles labeled and everything. And I would get a hundred dollars a trip for that, and I didn’t need much money, so I would get along until I ran out of money again. And I met Sherwood Anderson by chance, and we took to each other from the first. I’d meet him in the afternoon, we would walk and he would talk and I would listen. In the evening we would go somewhere to a speakeasy and rink, and he would talk and I would listen. The next morning he would say, “Well I have to work in the morning,” so I wouldn’t see him until the next afternoon. And I thought if that’s the sort of life writers lead, that’s the life for me. So I wrote a book and, as soon as I started, I found out it was fun. And I hand’t seen him and Mrs. Anderson for some time until I met her on the street, and she said, “Are you mad at us?” and I said, “No, ma’am, I’m writing a book,” and she said, “Good Lord!” I saw her again, still having fun writing the book, and she said, “Do you want Sherwood to see your book when you finish it?” and I said, “Well, I hadn’t thought about it.” She said, “Well, he will make a trade with you; if he don’t have to read that book, he will tell his publisher to take it.” I said, “Done!” So I finished the book and he told Liveright to take it and Liveright took it. And that was how I became a writer – that was the mechanics of it.
Stephen Longstreet reports on Faulkner in Hollywood, specifically To Have and Have Not:
Several other writers contributed, but Bill turned out the most pages, even if they were not all used. This made Bill a problem child.
The unofficial Writers’ Guild strawboss on the lot came to me.
“Faulkner is turning out too many pages. He sits up all night sometimes writing and turns in fifty to sixty pages in the morning. Try and speak to him.”
This is one my favorite books, I’m serious. Shelby Foote is a great interview, obviously, just watch his interviews with Ken Burns. (“Ken, you made me a millionaire,” Shelby reports telling Burns after the series aired.) You may not want to read the whole of Shelby’s three volume Civil War, it can get carried away with the lyrical, and following the geography can be a challenge. But the flavor of it, some of the most vivid moments, and anecdotes, come through in these collected conversations with inquirers over the years.
“You’ve got to remember that the Civil War was as big as life,” he explains. “That’s why no historian has ever done it justice, or ever will. But that’s the glory of it. Take me: I was raised up believing Yankees were a bunch of thieves. But it’s absolutely incredible that a people could fight a Civil War and have so few atrocities.
“Sherman marched with 60,000 men slap across Georgia, then straight up though the Carolinas, burning, looting, doing everything in the world – but I don’t know of a single case of rape. That’s amazing because hatreds run high in civil wars…
There were still a lot of antique virtues around them. Jackson once told a colonel to advance his regiment across a field being riddled by bullets. When the officer protested that nobody could survive out there, Jackson told him he always took care of his wounded and buried his dead. The colonel led his troops into the field.”
Finally treated myself to a few more of these editions. These books are casual and comfortable. They’re collections of interviews from panels, newspapers, magazines, literary journals, conference discussions. Physically they’re just the right size, the printing is quality and the typeface is appealing.
Why not start with another Mississippian, someone Foote had quite a few conversations with himself?
Wow, Walker Percy could converse.
Later, different interview:
Do we dare attempt conversation with the father of them all?
I’ve long found interviews with Faulkner, even stray details from the life of Faulkner, to be more compelling than his fiction. Maybe it’s the appealing lifestyle: courtly freedom, hunting, fishing, and all the whiskey you can handle. The life of an unbothered country squire, preserving a great tradition, going to Hollywood from time to time, turning the places of your boyhood into a world mythology.
We’ll have more to say about the Conversations with Faulkner, deserves its own post! Maybe Percy gets to the heart of it in one of his interviews:
Q: Did you serve a long apprenticeship in becoming a writer?
Percy: Well, I wrote a couple of bad novels which no one wanted to buy. And I can’t imagine anydboy doing anything else. Yes it was a long apprenticeship with some frustration. But I was lucky with the third one, The Moviegoer; so, it wasn’t so bad, I guess.
Q: Had you rather be a writer than a doctor?
Percy: Let’s just say I was the happiest doctor who ever got tuberculosis and was able to quit it. It gave me an excuse to do what I wanted to do. I guess I’m like Faulkner in that respect. You know Faulkner lived for awhile in the French Quarter of New Orleans where he met Sherwood Anderson, and Faulkner used to say if anybody could live like that and get away with it he wanted to live the same way.
For the advanced student:
Found myself, for the second time in two years, driving Highway 61 through the Mississippi Delta. I don’t feel like I intended this, exactly. Once was good. But there I was again.
This map by Raven Maps was a breakthrough in understanding the Delta, what makes this region freakish and weird and unique. The Delta is low-lying bottomland. Thinking of the Mississippi in this area as a line on a map is inaccurate, it’s more like a periodically swelling and retreating wetland, like the Amazon or the Nile. Floods are frequent, vegetation grows thick, the soil is rich and good for growing cotton. That is the curse, blessing and history of the Delta. This year Highway 61 was almost flooded below Vicksburg.
The Mississippi Delta begins in the lobby of the Peabody Hotel in Memphis and ends on Catfish Row in Vicksburg. The Peabody is the Paris Ritz, the Cairo Shepheard’s, the London Savoy of this section. If you stand near its fountain in the middle of the lobby, where ducks waddle and turtles drowse, ultimately you will see everybody who is anybody in the Delta and many who are on the make.
So said David Cohn in his famous essay of 1935.
It’s been awhile since I was at The Peabody.
Dave Cohn was Jewish. Shelby Foote had a Jewish grandfather. The Delta was diverse.
So says Shelby. On the Delta fondness for canned beans:
Here’s something North Mississippi Hill Country man Faulkner had to say about people in this region:
Q: Well, in the swamp, three of the men that lived in the swamp did have names – Tine and Toto and Theule, and I wonder if those names had any type of significance or were supposed to be any type of literary allusion. They’re rather colorful names, I think.
A: No, I don’t think so. They were names, you might say, indigenous to that almost unhuman class of people which live between the Mississippi River and the levee. They belong to no state, they belong to no nation. They – they’re not citizens of anything, and sometimes they behave like they don’t even belong to the human race.
Q: You have had experience with these people?
A: Yes. Yes, I remember once one of them was going to take me hunting. He invited me to come and stay with his kinfolks – whatever kin they were I never did know – a shanty boat in the river, and I remember the next morning for breakfast we had a bought chocolate cake and a cold possum and corn whiskey. They had given me the best they had. I was company. They had given me the best food they had.
The Delta is a ghost town. In 2013 The Economist reported
Between 2000 and 2010 16 Delta counties lost between 10% and 38% of their population. Since 1940, 12 of those counties have lost between 50% of 75% of their people.
Another Economist piece from the same era has a great graphic of this:
“You can’t out-poor the Delta,” says Christopher Masingill, joint head of the Delta Regional Authority, a development agency. In parts of it, he says, people have a lower life expectancy than in Tanzania; other areas do not yet have proper sanitation.
Everywhere you see abandoned buildings, rotting shacks, collapsing farmhouses. This gives the place a spooky quality. It’s like coming across the shedding shell of a cicada. There are signs of a once-rich life that is gone.
Every town that still exists along the river of the Delta is on high ground or a bluff. Natchez, Port Gibson, Vicksburg. Once beneath these towns there were great temporary floating communities of keelboats, canoes. But the river has flooded and receded and changed its course many times. Charting the historical geography of these towns is confusing. Whole towns have disappeared, or been swallowed.
Brunswick Landing, of which nothing remains.
The first time I ever thought about the Mississippi Delta was when I came across this R. Crumb cartoon about Charley Patton, who was from Sunflower County.
Something like 2,000 people lived and worked at Dockery Plantation. It’s worth noting that this plantation was started after slavery, it was begun in 1895.
At the time, much of the Delta area was still a wilderness of cypress and gum trees, roamed by panthers and wolves and plagued with mosquitoes. The land was gradually cleared and drained for cotton cultivation, which encouraged an influx of black labourers.
In a way, the blues era, say 1900-1940 or so, was a kind of boomtime in the Delta. The blues can be presented as a music of misery and pain but what if it was also a music of prosperity? Music for Saturday night on payday, music for when recording first reached communities exploding with energy? Music from the last period of big employment before mechanization took the labor out of cotton? How much did the Sears mail order catalog help create the Delta blues?
We stopped at Hopson Commissary in Clarksdale, once the commissary of the Hopson plantation. (Once did someone run to get cigarettes from there?) Here was the first fully mechanized cotton harvest – where the boomtime peaked, and ended. If you left Mississippi around this time, you probably left on the train from Clarksdale.
If in Clarksdale I can also recommend staying at The Delta Bohemian guest house. We were company and they gave us their best.
Here’s something weird we saw, near Natchez:
We listened to multiple podcasts about Robert Johnson selling his soul at the crossroads, that whole bit. The interesting part of the story (to me) is that, according to the memories of those who knew him, Robert Johnson did somehow, suddenly, get way better at the guitar. I like this take the best:
Some scholars have argued that the devil in these songs may refer not only to the Christian figure of Satan but also to the African trickster god Legba, himself associated with crossroads. Folklorist Harry M. Hyatt wrote that, during his research in the South from 1935 to 1939, when African-Americans born in the 19th or early 20th century said they or anyone else had “sold their soul to the devil at the crossroads,” they had a different meaning in mind. Hyatt claimed there was evidence indicating African religious retentions surrounding Legba and the making of a “deal” (not selling the soul in the same sense as in the Faustian tradition cited by Graves) with the so-called devil at the crossroads.
Does everybody in the music business sell their soul to the Devil, one way or another?
Is there something vaguely embarrassing about white obsession with old blues? I get the yearning to connect to a past that sounds like it’s almost disappeared, where just the barest, rawest trace echoes through time. But doesn’t all this come a little too close to taking a twisted pleasure in misery? And is there something a little gloves-on, safe remove about focusing on music from eighty years ago, when presumably somewhere out there real life people are creating vital music, right now?
I dunno, maybe there’s something cool and powerful about how lonely nerds and collectors somewhere and like tourists from Belgium connecting to the sounds of desperate emotion from long dead agricultural workers.
My favorite of the old blues songs is Dark Was The Night, Cold Was The Ground. Blind Willie Johnson wasn’t even from the Delta though, he was from Pendleton, Texas.