Tag Archives: southern gothic

William Gay: Southern craftsman produced powerful, poetic voice

Southern craftsman produced powerful, poetic voice

Credit, Greg Hobson

Hey folks, sorry about not posting, for like, a week! I know it’s the mortal sin of the blogging world. What can I say? I’ve been busy.

Anyway, I loved Jon Sealy’s commentary in the Richmond Times-Dispatch about novelist William Gay.

I have to admit I’ve yet to read William Gay, who is often compared with Cormac McCarthy. What I loved about the commentary was the hope and possibility Gay’s life gives to writers of all stripes, really, but especially those of us who’ve lived huge parts of our lives already and came to serious writing later on:

“Part of the mystique around his life is that, in an era where most fiction writers get a master of fine arts and either teach in the academy or freelance copy-edit in New York City until they break through, Gay spent several decades living his life, hanging drywall and honing his craft, before exploding out of nowhere on the literary scene in his mid-50s.”

The part about the MFA and the freelance copyediting made my spit up my milk, as I’ve asked around about those MFA programs in the past half-year and just recently completed editing someone else’s novel – yes, on a freelance basis!

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How good to know that the cliche way forward is not the only way forward. The truth, I think, is that those MFAs credential one to teach writing at the college level – but this is for writers who need a day job, not for people with a teaching vocation. I’ve also been assured by veteran and (sometimes) bitter educators that those positions are increasingly rare and when they do exist, most do not pay well or have any kind of hoped-for longevity.

On the other hand, there’s always something that needs copyediting.

Back to William Gay:

Sealy says that for him, the dominant emotion Gay’s stories call forth is sympathy – for characters caught in bad situations.

“Sympathy, at times, feels like an anachronism in our modern, me-first world, and the same could be said of Gay himself — that he is a relic from a bygone era. Maybe it was the wisdom that comes from age and lessons hard-learned, or maybe it was that he lived and wrote in rural Tennessee, where the pace perhaps is slower and cellular signals are scarce, but Gay was cut from a different mold.”

I do wonder about that sympathy emotion – are we so insanely driven in our wired and 24/7 connected world to see those threads that should exist among people, even among strangers?

A character in the novel I’m currently writing is a contemporary twentysomething, and he tweets. In the novel. Of course, I’d like to think this form of social media will last, so the book won’t appear dated for at least a little while. But I do like to read things that have a much different pace – and look forward to picking up a book by William Gay.

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Another film from the P.S. Intl Film Festival: Little Murder

Little Murder

Dreamy Josh Lucas

I mean, another film I saw while working for the festival. BTW, this list of films – Double Hour, Little Murder and Bibliotheque Pascal – are being featured here because they were the only movies I saw. Of the three, I’d say that Little Murder was probably the most popular, totally based on my unscientific survey and my memory of what was and what was not on rush sale tickets.

Little Murder, which stars studly actors Josh Lucas and Terrence Howard, and is directed by Predrag Antonijevic (say that fast 3x before your morning bowl of Wheaties), is a post-Katrina NOLA film/thriller-something.

I’m not sure how The Storm really figures into the plot except for things like having flood-damaged furniture sitting out by the sidewalks as set dressing. Anyway. Josh plays a sweaty cop who shoots an innocent kid by mistake and gets put on leave. He starts drinking. Heavily. It’s southern drinking – or rather, the southern version of drinking as portrayed in the movies – whiskey, no glass, no shaving, dirty wifebeater, more sweat, lace curtains and a veil of self-pity only partially palatable due to the handsomeness of the star.

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Dreamy Terrence Howard

One day Josh gets a call from the boss who wants him back on a case to find a serial killer – is it just me, or have serial killers really overstayed  their welcome? – and sets him up in a house to watch eccentric smartypants neighbor-suspect Terrence Howard.

Josh isn’t very good at spying on his neighbors, especially since he’s still drinking. For the discerning viewer, however, he lies on the bed a lot, shirtless  in his stupor, which isn’t such a bad thing after all. So, he sort of becomes buddies with Terrence, and by now we’re convinced that the police must have their sights on the wrong man.

Meanwhile, the house Josh was set up in is haunted and he sees the ghost of a girl (Lake Bell) who was murdered – who wants his help in finding her “real” killer. So Josh just suddenly gives up drinking, starts jogging, and by the end of the movie solves both the serial murder case and the murder of the ghost girl. Quite redemptive, indeed.

As a genre film, it’s not bad, though pretty much anybody who’s seen a few movies will see the denouement coming like a looming paddleboat on the Mississippi. Still, it’s got those fun touches we demand in our fiction of the south: murder, good old boys and girls, paranormal activity, interracial lust, class warfare, decay – of both morals and the physical world, police corruption, and lots of water everywhere.  My sense is that this film got an outsize reception at a film festival, but will have a much harder time finding an audience in general release.

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