history

Dig the past

/ Fran Haley / 20 Comments

Way back on Day 10 of this current Slice of Life Story Challenge, I had a lot of fun playing around with a prompt asking what the first line of my autobiography would be. I really prefer the idea of memoir…my definition: Mining one’s memories for the stories that matter most, digging in the storied strata of one’s past.

I came up with this “opening line” for it:

My father named me for his mother, and that was the beginning of everything.

Truth.

From the moment I entered this world, my grandmother and I were bound together by blood, love, and namesakery. Long after she’s left it, our bond remains unbreakable.

Were I ever to write an extended memoir, her stories would be layered throughout. I am part of them; they are part of me.

She would say, You were named for me like I was named for my Papa. I loved him so. He was very religious, sang in the choir every Sunday. He had a beautiful bass voice…he used to keep bees when I was young and I’d help him get the honey.

She was sixteen in March of 1932 when her Papa, Francis, died by suicide. On his sixtieth birthday. I don’t know the whole story but what little I do know, I shall keep for now. Grandma told me they brought him home in a wooden casket lined with black oilcloth and that she sat up with him all night before the burial.

The point is that my grandmother’s stories made me hungry to know as much as I could about her childhood, daily life long ago, how people endured such hard times. Many didn’t. The old cemeteries tell stories of their own.

I asked her about the 1919 influenza epidemic: I don’t remember it. I was little. I do remember people talking about “hemorrhagic fever” and Mama saying she made big pots of soup for the neighbors who were sick. Papa carried it to them and left it on their porches. He wouldn’t go in because he didn’t want to bring the sickness home.

I asked her about meeting my grandfather: Oh, we always knew each other. He’s nine years older than I am and he and Mama used to pick cotton together…

Granddaddy would say: We’d all see who could pick the most cotton and it was always Lula [Grandma’s mother] or me. That was before the boll weevil came along and people started planting tobacco.

Grandma said: When tobacco came along, I was a looper…you had to be careful. That juice was sticky and would stain your clothes; it was hard to get out…using a wringer washing machine or washboard, I might add.

The setting of all this is a tiny community called Campbell’s Creek, established around 1700, way down east in the far reaches of Beaufort County, North Carolina. It’s part of Aurora although the actual town is five miles away. Most of the town is now in serious disrepair and the place is so remote that when I happen to encounter people who’ve been there, they typically say something like “I thought I was going to the end of the world.”

It is one of the places I love best on this Earth. The beginning of everything…Aurora is Latin for “dawn,” you know.

My grandparents, Columbus St. Patrick and Ruby Frances, were born here in 1906 and 1915, respectively. They married during the Great Depression. Their first home was a tenant house; their first child, my father, was born there. Granddaddy was a sharecropper. He plowed fields with mules. He was skilled with farm tools that people seldom use now, like an adze. This would give him a unique advantage when he “couldn’t make a go” of farming and went to Virginia to find a job as a shipwright, just as war broke out and ship production went into overdrive. When the war was over, he tried his hand at a number of things, but he had two more children to provide for; he went back to the shipyard until he retired.

All of his life, Granddaddy was a farmer at heart: I can remember when we ordered chickens by mail and they’d be delivered in cages by horse and buggy. I was three or four when I saw my first automobile…

That would have been around 1910. A Model T.

Time was, he’d say, in his country dialect bearing faint traces of Elizabethan English, that the whole family could go off for a week to visit somebody and you didn’t have to lock your house or barns because nobody would bother them. People looked out for each other. There won’t no nursing homes. When somebody was sick we all took turns helping out.

Grandma said: I was sitting with a friend’s mother. She’d been sick awhile and we all knew her time was near. She hadn’t spoken a word in days, hadn’t moved or responded to anyone. She was just lying there in the bed when all of a sudden she sat up and opened her eyes. She started laughing: “Can you hear them? Can you hear them?” Her face just glowed...it had to be angels. A little while after, she was gone.

I grew up on these stories and so many more.

My summers were spent learning things that I wasn’t even aware I was learning, things that will drive my interests for the remainder of my days: story, history, culture, nature.

Faith.

And science.

I’ve written much about the little dirt road that ran past Granddaddy and Grandma’s house. It’s one of my life’s greatest metaphors. I can recall, in the 1970s, when it was covered with gravelly “rejects” from phosphate mining, Aurora’s biggest industry since 1964. Granddaddy and Grandma were so excited for their grandchildren to come digging in the road to find sharks’ teeth—some were quite large — coral skeleton, and various fossilized bones of sea creatures. Someone of official status must have soon realized the value of these rejects and they weren’t scattered on the old dirt road anymore. Instead, they were taken to a newly-created fossil museum in town. Today, children from all over come to dig for fossils they can keep, and they can learn about the history in the little museum. There’s even an annual fossil festival at the end of May; last year I went for the first time with my seven-year-old granddaughter.

This excerpt is from an article in the April 2023 edition of the magazine Our State: Celebrating North Carolina:

Beneath our state’s soil and waves is a lost world waiting to be discovered—a geologic trove we claim as our own…about 50 years ago, coral specimens were found in drilling samples near present-day Aurora. They were sent to the Smithsonian Institution, whose scientists soon visited—and identified the area as one that proclaims the most prolific fossil record of the Miocene (2.3 million to 5.3 million years ago) and Pliocene (5.3 to 2.6 million years ago) marine life on the Atlantic coast.

About fifty years ago… I’d have been a child playing in the gravel on the old dirt road, collecting shark’s teeth, unware of the true treasures of my life.

The Aurora Fossil Museum, writes the author, “continues to keep the past alive.”

It’s analogous to to me: Scientists finding bits of ancient creatures, trying to piece them together to understand stories of this “lost world,” and how I hold to bits of story from this same place, the lost world of my grandparents.

Generations rise and fall…layer upon layer of story strata settling in their wake.

I am a remnant of their world. From early childhood Grandma infused me with story, unknowingly turning me into amateur oral history exacavator, archivist, curator…the stories still live in me.

My father named me for his mother, and that was the beginning of everything.

Imagine my delight when I learned last year that the Aurora Fossil Museum had been approved for an official historical site license plate with the NCDMV. I applied for one right away….it finally came, a couple of months ago. I’m among the first to have it:

I imagine Granddaddy’s beaming face. I hear Grandma’s typical expression of surprise: My land!

Dig the Past! the license plate reads.

I do it every day that I live. I go on mining my memories for stories, working their meanings out bit by bit, trying to preserve them for the priceless treasures they are.

Keeping the past alive. For the future. For right now.

That’s what memoir is for.

*******

Composed for Day 30 of the Slice of Life Story Challenge with Two Writing Teachers

Sun-kissed summer: Spiritual Journey

/ Fran Haley / 8 Comments

And so it comes to pass, at long last, that I return to the site of my sun-kissed childhood summers.

My ancestral homeplace in eastern North Carolina. Literally the land of my fathers: My dad, my grandparents, my great-parents, my great-greats were all born within a small radius of a tiny town and crossroads that were old long before my appearance on this Earth.

Thus began my fascination with Time.

In the bend of a dirt road stood my grandparents’ home, where my father grew up. My youngest aunt was born here in the same room where her father, my Granddaddy, would die fifty-three years later at 92. He wanted to die at home. He did, peacefully and “full of days,” as the Scriptures say of Abraham, Isaac, and Job: After this lived Job an hundred and forty years, and saw his sons, and his sons’ sons, even four generations. So Job died, being old and full of days (Job 42:16-17).

Likewise, my grandparents saw four generations. They lived to see my children. Incidentally, Granddaddy had a brother named Job who died in the 1920s (he drowned, if I recall correctly; this is a coastal area).

So it was that I grew up on stories of the old days and ways, a little city girl mesmerized by my deep country roots. In my time the once-thriving community was already history; nature was reclaiming the unpainted houses, one by one. Some were still visible through the woods (an early memory: a cypress shingle roof in the treetops, if you looked just right) and others were in various stages of falling down with yards still mowed by descendants.

On this return journey a few weeks ago, I discovered that my grandmother’s homeplace from the early 1900s is being swallowed by the forest:

A terrible jolt, as I can remember it having a hedge, a lawn, a porch swing, a screen door. I remember the layout inside and my great-uncle living there, tending to a patch of sunflowers.

And I knew, prior to this journey, that my grandparents’ house, which stood on the corner a little farther on, is gone.

This story is a little different, however. Instead of the forest reaching its veiny green fingers to reclaim its own, a young couple has built a home right in the middle of what was once my grandfather’s garden. I can’t help thinking how Grandma would marvel at the beauty of this new house and its lovely landscaping.

All that remains here from the enchanted summers of my childhood half a century ago (and from time before me) is the pumphouse, one of Grandma’s crepe myrtles (now wistfully draped in Spanish moss, which never used to be in these parts), and the sidewalk that once led to the front porch of Granddaddy and Grandma’s home:

As a teenager I wrote a song about a sidewalk. Haven’t thought about it in ages:

Where does this lonely sidewalk lead?
You think by now I’d know
Footsteps into yesterday
That’s where I want to go…

I had no idea, then, that only the sidewalk would remain in this place I loved so well, where I used to play outside in the sweltering bug-infested heat, where Grandma would sit at her piano in the evenings to have me sing old hymns with her as Granddaddy listened from his recliner, where I felt loved and wanted and sheltered and that I belonged…

The old dirt road remains, too, of course.

There was another dirt road branching off of it here in the shadows to the left; it once led, Grandma said, to a two-story antebellum house with a double balcony. I could hear admiration for that house in her voice. In my childhood the road was just two tracks through grass and thickets. The path faded more and more with every passing summer. Now you would never know it had ever been anything but woods.

From this vantage point, my grandparents’ yard is on the right, and to the immediate left is an old family cemetery. Not my family’s, although I walked it often with Grandma over the years. When I was a child, I was afraid ghosts would come out here at night. Grandma assured me they would not. She offered this dubious comfort: No need to fear the dead. Fear the living.

When I wondered at the graves of so many babies, she said people just didn’t know what to do for them when they were sick.

It’s clear how much the children were loved and mourned. This tiny cemetery remains painstakingly tended and strangely outside of time:

Hello again, baby Leafy Jean and big brother Leon Russell.

These siblings died a month apart in 1917. Grandma was born three months after Leon, almost a year to the day before Leafy, in the soon-to-be obscured homeplace just around the bend of the road.

Four-month-old twins Audrie and Aubrie died a week apart during that same summer.

The greater wonder, in its way, are the children who survived disease and mothers who died giving birth to them, which almost happened to Grandma: her mother delivered a stillborn baby three months before she was born. My grandmother was a twin. Grandma journaled this because I asked her to; in her writings, she says several women in the community who recently had babies helped nurse her while my great-grandmother was so ill that she “almost didn’t make it.”

—Why am I just now realizing that Grandma’s lost twin would have come around the same time as Leon Russell? Could his mother have been one of the women who preserved my newborn grandmother’s hungry life? if so …imagine saving someone else’s child and losing your own…

So many mysteries in this place. I’ve always felt the pull.

Over fifty years after I first walked this cemetery with my grandmother, I’m awed by the good condition of the headstones. I halfway expected them to be eroding into illegibility — after all, these people’s earthly homes have long since crumbled. No greater mystery than Time…

I cannot linger here, ruminating, for there’s another place to visit. Really just a good walk “around the horn” to the church, a journey I’ve made many times.

This was once the heart of the bustling farm community. The church was built on land given by my grandmother’s predecessors. Her father, mother, brothers, and other family are buried to the right of this crossroads.

Granddaddy and Grandma are buried in the churchyard, to the left.

Such a beautiful little resting place, presently bordered by a lush cornfield. An old live oak felled by a hurricane in recent years has been replaced by a new one nearby.

Grandma would be so pleased to see how well-tended everything is.

There’s even a new footbridge over the ditch at the churchyard, for easy access to the little community center across the road. This building stands where Grandma’s three-room grade school used to, she said in her journal.

Here’s where old and new converge most for me, where Time is most relevant and paradoxically elusive. The spirit of this place is old; my own memories are growing old.

My father as a teenager, in the churchyard

I am the keeper of memories older than mine.

But I came for the new.

I brought my granddaughter, you see.

All along the journey, I told her stories. Of the old days, the old ways.

I brought her to dig for fossils at the Museum in town (which is where the phosphate mining company sends its rejects now, instead of scattering treasures on the old dirt roads).

We found a bit of coral skeleton, shark’s teeth, and some bony things I’ve yet to identify:

Making new memories from the old… even from the ancient, from time before recorded time.

As we were leaving, I discovered that the old library in this old, old town looks the same as it did five decades ago when Grandma drove me to pick out books to read at her house in the summer. I halfway expected to see her coming out with the armful she had to help me carry…

And I think this is used to be, or is at least near, the butcher shop where Daddy worked as a teenager.

There’s so much more to be said about memory, legacy, endurance, overcoming, and family… about the whole spiritual journey of life. The greatest gift my grandparents gave me, beyond their unconditional love and their stories, is that of faith lived out. I learned long ago that eventually there comes a homecoming so bright, so glorious, that all the former shadows are forgotten.

I expect I’ll recognize my little corner of Heaven, having had such a foretaste here.

Until that time, I carry on in the footsteps before me, praying I walk even half as well.

My now, my tomorrows ❤

From Everlasting to Everlasting: A Prayer of Moses

Lord, you have been our dwelling place
    in all generations.
Before the mountains were brought forth,
    or ever you had formed the earth and the world,
    from everlasting to everlasting you are God.

You return man to dust
    and say, “Return, O children of man!”
For a thousand years in your sight
    are but as yesterday when it is past,
    or as a watch in the night…

Let your work be shown to your servants,
    and your glorious power to their children.
Let the favor of the Lord our God be upon us,
    and establish the work of our hands upon us;
    yes, establish the work of our hands!
Psalm 90: 1-4;16-17

*******

with thanks to my Spiritual Journey friends who write on the first Thursday of each month
and to host Carol Varsalona who posted this reflection and question for July:

Pause and praise God for His wondrous gifts! 
What are you rejoicing over this summer?

/

Flightline

/ Fran Haley / 3 Comments

I was only halfway watching
when I heard the frenzied pitch
of announcers’ voices on TV

I looked, then, to see
the horse
that beautiful bay
breaking away from others
with unparalleled grace
with uncommon ease

—just like Secretariat!
cried the announcers

—oh, very much like him,
I thought, holding my breath
tears stinging my eyes
at a loss for any word
except glorious

crossing the finish line
the others far behind
undefeated Flightline
clearly is of
divine design

Flightline wins the Breeder’s Cup Classic by the largest margin in the history of the race

Dirt road

/ Fran Haley / 18 Comments

On Ethical ELA’s Open Write today, Kim Johnson invites teacher-poets to compose poetry from paint chip colors. She happened to have “Dirt Road” in her own list.

As soon as I saw that name, it was over. I would have to take Dirt Road. Its pull is too strong for me, calling me back to a place I write about often.

So today I write a memoir poem, although I did incorporate a few paint chip names along the dirt road: Oyster Shell, Turtle Green, Pink Blossoms, Dreamy Memory, Forever Fairytale, Summer Sunflower.

Maybe tomorrow I’ll try whole new paint chip poem away from Dirt Road.

This is where the name led me today.

Dirt Road

I watch the highway
and my heart beats fast
when I see it coming
just around the bend

old dirt road

off to the right
threading through the trees
past Miss Etta’s tiny turtle-green
screened-porch house
where she dips snuff

past the homeplace
standing like a dreamy memory
white paint faded to tired oyster shell
sunlight gleaming
on the tin roof

Grandma was born here

past the tangle of sunflowers
planted by her brother
who still lives here alone
something is different about him
I don’t know what
it’s in his long face
he never says much
but he did give me some quarters
once

just beyond the sunflowers
Granddaddy’s garden
looks like something
an artist painted
in watercolor greens
in perfect rows
he grows collards 
and little round peppers for his vinegar
squash, cantaloupe, snap beans, 
Silver Queen corn, crowder peas,
and butterbeans, 
speckled pink and white
when I help shell them
from their furry green pods

then the grape arbor he built
laden with scuppernong vines
big leaves waving Hey
big brown-gold grapes
won’t be ready yet
and they aren’t even pretty
but to me
they taste like Heaven itself

then the row of crape myrtles at the curve
bright pink blossoms nodding their heads
sometimes shedding, rolling on and on
smooth forked trunks
where I like to climb and sit
and make up songs
thinking in forever fairytale

the house
bright white
black shutters

and I can’t think now
about the tire swing 
hanging there in the pecan tree 
studded with woodpecker holes
or the tiny cemetery with its ghosts
across the old dirt road

because Grandaddy and Grandma
are coming across the yard
straw hats shielding faces
lit with smiles
bright as the summer sunflowers
ever turning toward the sun

Daddy pulls off 
the old dirt road
into the yard

we’re here
we’re here

I am out of the car 
before it stops
running toward
open arms

and I never
want to leave.

My grandparents and my oldest boy on the old dirt road, a long time ago

*******

with thanks to Kim Johnson, Ethical ELA, and Two Writing Teachers for the weekly Slice of Life Story Challenge. Writing is but half the magic. Sharing is the other half.

A walk back in time

/ Fran Haley / 16 Comments

After many years of mentioning it, my husband and I finally visited the Country Doctor Museum. Off the beaten path in a nearby town, the museum consists of three small buildings, one of which is a combination of two actual 19th century doctors’ offices. The museum began as a memorial to rural physicians, expanding over time to include the nursing profession, home remedies, and the apothecary. It now houses an impressive collection of artifacts from the 18th to early 20th centuries.

I expected to learn things. I didn’t know, for example, that this is the oldest museum in the United States dedicated to the history of rural healthcare, or that it’s been taken over by my alma mater, East Carolina University. The docent said: “That saved us during COVID. We had the funding to reopen. Many private-funded museums could not.”

I mourned the loss of museums that had to close for good as we crossed the threshold of the apothecary… where an otherworldly, unanticipated, delicious strangeness awaited on that side of the portal…

A mammoth cabinet of gleaming cherry wood with ornate scrollwork, sunbursts, and Victorian spindles runs the length of the left wall. On its shelves, behind glass doors, stand hundreds of large jars bearing white labels and names of their contents—assorted dried herbs, powders, and liquids—in large black script: Crocus, Cloves, Mace, Valeria, Aq. Rosa., Pond’s Ext., Sol. Benedict Quantitative, Lotio Pilocart Morrow, Pepsengia. Some labels look new; others appear to be timeworn, the lettering nearly illegible. The docent speaks in a low, unmodulated voice about paregoric, opium, mercury, and poisons that were often part of remedies mixed by the apothecary, dispensed to a largely illiterate population which couldn’t read labels. In order to prevent overdose, some of the pills were fashioned into tiny black coffins.

As I look at these coffin-pills, trying to imagine ingesting such a thing, the docent points to the show globes in the cabinet. Tall, decanter-like vessels of different-colored liquids—green, yellow, blue, red—stacked upon each other in rounded triple towers. They seem art deco or like something from the 1960s. “Show globes are an official symbol, like the striped pole is to the barber,” says the docent. “People entering a town would know this is where to find the apothecary. The show globes were displayed in the shop’s front window, and every color had a meaning. The apothecary kept a recipe for mixing dye in water and a guide for when to display certain colors. Red, for example, would warn travelers that there’s widespread sickness in this town, an epidemic…”

I turn to see a large, single-tier show globe with antique bronze trim sitting alone on a pedestal behind me. Full to the brim with bright red, transparent liquid.

Of course, I think. The docent is wearing a mask. I wonder if the all the museum guides came by cover of night in March of 2020 to mix this red solution. And if it will remain red until COVID-19 makes its full departure.

Hanging show globes were sometimes mounted in the apothecary’s shop window.

The docent is now speaking of bloodletting and leeches.

There are, in fact, live leeches on display. They’re floating contentedly in a clear glass bowl of water beside a large vase decorated with a delicate floral pattern…along with the word LEECHES in utterly incongruous, glorious gilt adorning a black banner.

The museum’s leech jar is very similar to this, only with a sweet pattern of tiny pink flowers and vines.

“The apothecary kept leeches in leech jars such as this…” the docent is saying. “It was advertising. The fancier the jar, the better the quality, people believed…”

I’m awed by the jar, that it was designed solely to hold worms. Albeit important ones… and I read once, somewhere, that leeches are amazing escape artists: A more recent druggist had a leech that chewed through a modest gauze lid covering; he found the escapee several days later, lounging on the turntable of his record player.

The docent continues: “Leeches are still in use today. We had a plastic surgeon visit once. He told us of reattaching someone’s ear and using a leech there to increase the blood flow for healing…leeches are often used when fingers are reattached…you don’t feel the leech, of course…”

We are about to move into the next room where there’s a real human skull and kits of amputation tools from the Civil War era, but I want to linger here, I have a thousand questions about the tinctures and remedies and practices…and I want to study the magnificent 1700s era painting on the right wall, above the counter where the apothecary would make pills by mixing powders and dough, rolling and cutting with a pill-roller. The artwork depicts Christ as an apothecary, with elaborate calligraphy in old German. It presides over the whole room.

But time does not wait; it moves on and so must I… prying myself away from the painting and jars and show globes, I content myself with the knowledge that a healing-herb garden waits at the end of the tour. I hurry into the next room just to make the intriguing discovery that I am now standing in the office of a Victorian doctor whose not-very-common surname is my own maiden name.

What a peculiar sense of belonging…and, I think, beginning, of something I’ve yet to name.

*******

I plan to write more about the painting on Thursday.

You can visit the Country Doctor Museum online to learn more and to view many fascinating artifacts.

Signs of the times

/ Fran Haley / 29 Comments

A friend wanted to know if my family would like some face masks.

She is making them.

She sent us pictures of the fabric—she has bolts of it—for us to choose the prints.

Yesterday she and her husband pulled up in our driveway to drop off the masks. My husband and I went out to meet our friends, offering our thanks only in words, no hand-grasps or hugs … a time to embrace, and a time to refrain from embracing … a few weeks back, we were all sitting around the dining room table here in the house, laughing and telling stories after a lasagna dinner. It seems long ago.

When will we be able to do so comfortably, again?

When I look at these masks, I see all that they represent. Shields in time of trouble. A friend channeling inertia into something productive, a practical means of battling an unseen enemy. Self-care spreading out like a blanket to cover others. Homemade love. Colorful patterns against the dark backdrop of our days.

These masks are artifacts of our times. Symbols of our story as we live it. And nothing connects humanity as much as story.

As I walked out to the driveway to receive these gifts, my grandmother’s voice echoed from across the years:

You won’t believe it, but where these woods are now used to be houses and farms, up and down this little road … when the Spanish flu came, it hit all but a couple of them … twelve people died in one week … Mama made pots of soup and Papa would carry it to their doors. He wouldn’t go in, of course …

Grandma wouldn’t have had living memory of this. When the influenza pandemic began in January 1918, she was only two. But she knew the stories. If my own memory serves me correctly, as I walked the tiny country cemeteries surrounding her homeplace, listening to her narratives of the people resting there—for she knew all their stories, and how they were connected— there was an unexpected commonality.

A death year. 1917.

That was before the Spanish flu.

Grandma nodded. There was a sickness before: They called it hemorrhagic fever. People would bruise and bleed from their noses and ears and eyes … a lot of people who tried to take care of the sick caught it and died, too …

She was hardly more than a baby then, a girl born and raised in a hard place in hard times, but here she stood, by the weather-worn stones under a cloudless blue sky, telling the stories seven decades later.

Because of story, these events are lodged in my memory a hundred years after they happened.

My father was Grandma’s first child, born during the Great Depression. Flour companies made their sacks with patterns and bright colors so people could make clothes out of them … look at my handmade face masks and tell me they aren’t reminiscent. A second child, my aunt, arrived with the war. Granddaddy moved the family from North Carolina to Virginia; he found work in the shipyard, where production increased to the point of cranking out ships in less than a third of the time it normally took. How can one not compare that to the scramble for mass production of ventilators today …

Grandma said: It was so hot that summer. I was miserable, being pregnant. I’d sit by the upstairs window and watch the iceman delivering blocks of ice to grocers … companies stopped making refrigerators … everything went into the war effort. I just cried. I’d have given anything for some of that ice … then we had ration cards and could only get certain things at certain times … once my sister Jack and her husband pooled their gas ration cards with ours and we all went on a trip to Massachusetts … it was so beautiful and so cool there …

I look at these masks and that is what I see.

The story of overcoming. Of determination. Of resourcefulness in time of scarcity. Of finding a means to be a good neighbor, a good friend, a real and present help in time of need, even if from a safe distance. Sharing so that everyone has enough. Acts of service, gifts of love. Sacrifice.

The story of surviving.

It’s a collective one.

Revolutionary fiction, revisited

/ Fran Haley / 10 Comments

Storming of Redoubt No.10

Yorktown, Virginia: Storming of Redoubt No. 10. Eugène Lami. 

I can taste the brine of the river, mingled with gunpowder and wood smoke from the Redcoat campfires . . . I know this shoreline, could walk it in my sleep, but it’s so changed, now, with the batteries, the cannons, the trenches. I can’t carry a lantern for fear of Redcoats seeing me. All I have in my hands is the sack for filling with potatoes. I slide along the ground in the dark, nearing the bank where the cave is set in the earth just below . . . 

The students are gathered on the carpet near my feet, looking at my writing on the screen of an interactive whiteboard, their own papers lying in front of them. They’re considering revisions to the opening scene I wrote while they watched.

To be honest, I am having to review a lot about the last days of the Revolutionary War in order to write this little bit of fiction. I’m tasked with helping the kids write their own story set during the Revolution, as a means of making the history “come alive” for them. As I re-read my writing aloud to the class, I’m already not happy with the reason my main character, Hannah, is going for the evacuated townspeople’s potatoes stored in the cave. Her family is in hiding during the British occupation of Yorktown, they’re nursing three wounded Patriot soldiers, they’re running out of food.

Maybe I should add that Hannah’s mother needs the potatoes to make a poultice for one of those wounded solders. Yeah, that would be even better . . . .

I explain that the next scene I want to write is Hannah getting in the cave, hearing someone come, hiding in the potatoes, overhearing Cornwallis telling his next-in-command that they will escape George Washington’s troops via the river. She will have to figure out how to get word to the Continental Army. Or to the French Army . . .

A boy raises his hand: “I have an idea for your story.”

“Great!” I say. “Let’s hear it!”

“You could have Hannah get back to her family and her friends in hiding and the older boys could disguise themselves as British soldiers to get through their lines.”

“That’s an awesome suggestion, ” I say. “I just might use it! Here’s the thing, everyone: for everything your characters decide to do, there must be a clear, believable reason. It has to make sense in context of the story.”

It is now time to hear their ideas, as they begin to write their own stories.

A few are willing to share with the whole group:

A girl’s brother is supposed to join the Continental Army but he’s afraid and runs away; she decides to dress as a boy and takes his place in battle.

As a Patriot family leaves town, outrunning the British Army, they find a British baby separated from its mother. The mother comes looking for it —”So,” I say, as yet a little unclear on how such a baby (maybe from a Loyalist family?) should be there, lost—”you know they’re on opposite sides, right? Would either take time to politely give a baby back to the enemy?”

—Emphatic nodding of heads; it’s the baby’s mother . . . .

I am picking up on a couple of developing patterns here. One: These fourth-graders are writing from the perspective of main characters who are children. Heroic, rather resourceful children. Well, that’s what I am modeling for them. And, perhaps more importantly: The adults in these stories seem to make remarkably empathetic, kind choices.

Despite a revolution, a war.

—Maybe those were more civilized times? When warfare was conducted with etiquette?

Then a girl says that her main characters are a brother and sister whose dad is off fighting under Washington and whose mom is thrown in prison on suspicion of witchcraft. Then the British Army burns their town; the children have to figure out how to stay on the run and survive . . . .

—Never mind about ‘more civilized times.’

As she speaks, I can’t help mulling the true atrocities of war. How Cornwallis’ desperate plan to escape with his troops by river included leaving their injured behind. How deserters told the allied French and American armies that, to preserve food, the British army slaughtered their horses and threw the bodies on the beach.

I shudder at the inhumanity of man, then my mind suddenly reels from the image of dead horses lying on that colonial shoreline to one of greater horror, schoolchildren in America today, lying slain . . . less than 250 years later, THIS is what we’ve become?

“Stop!” I say.

The class freezes. The little writers look at me, quizzically.

“Sorry.” I wonder if they notice the tremor in my voice. “We’re writing fiction, of course, but I just need to know one thing: Are the children are going to be all right?”

—Or what’s a country for?

Surrender of Lord Cornwallis

Surrender of Lord Cornwallis. John Trumbull.

 

The prelude to this post: Revolutionary fiction

Revolutionary fiction

/ Fran Haley / 22 Comments

Cornwallis' Cave

Cornwallis’ Cave, Yorktown, VA

The class had been studying the American Revolution.

Their teacher wanted them to have a sense of being there. What better way than writing historical fiction?

—Would I come model for them, help them get started?

—Are you KIDDING?

Let the revolutionary zeitgeist begin!

I set the fourth-graders to researching daily life, clothing, furniture, chores during colonial times. The story cannot come to life without some period details.

Then we worked on understanding that big ideas of the historical event don’t change, although we can make up some characters who live through it.

—A hand, waving in the air: “Like the Titanic sinking was a real historical event. The captain and crew were real people. Jack and Rose in the movie were not.”

—Other child, aghast: “They weren’t real? I thought they were!”

—Me: “Um, no, they’re fictional. Made-up characters.”

Ahem. 

Back to the Revolution.

We move on to plot . . . who’s this story about, what does this character want to accomplish, and what’s getting in the way or putting the character in danger?

Then setting . . .

I did my own background research and decided to let the class choose which of two stories for me to write as a model.

“Okay, I’ve given this some thought, ” I tell them as they gather on the carpet at my feet. “A town right here in North Carolina was one of the first in the colonies to oppose the Stamp Act.  The British burned the town and it was never rebuilt. What if my main character was a child who had to leave quickly with the family? What if they saw their home destroyed?”

“Ooooo,” murmur the children, wide-eyed. A couple of them nod their heads. “That’s a good story. It’s sad. It could have happened.”

“Yes, and as a writer that’s part of your job, to make the readers feel like they are there, experiencing everything the characters do. This story probably will be sad. And frightening. Or, here’s your other choice. I actually grew up near Yorktown, Virginia, where Lord Cornwallis surrendered to George Washington, ending the war. I visited Cornwallis’ cave countless times. Legend says Cornwallis hid from Washington’s troops in the cave but that’s not likely. What is true is that the cave was used to store potatoes! So, what if I have a character, a colonial child, who, for some reason, has to go into that cave for the potatoes when Lord Cornwallis comes to have a quick, private conversation with his next-in-command? What if the child hides, hears Cornwallis’ escape plan, waits until Cornwallis leaves, and somehow gets the message to General Washington—which is how the British get captured, and which forces the surrender?”

“Yes! Yes!” All the kids are nodding, bouncing on the floor. “The cave story! Write the cave story! The boy will be a the hero of the Revolution!”

—”Why can’t it be a girl?” asks a girl.

All faces turn her way.

In silence.

Well, women helped in the war effort . . . some were even spies . . . why CAN’T it be a girl?

“What if,” I say slowly, my gray matter spinning hard, “what if a boy was sent for those potatoes . . . by someone, we can figure that out later . . . and he just can’t do it, he’s too frightened? Or sick—or injured? What if he has a friend, a girl, who has to help him by doing it in his place, who hides in the cave, overhears Cornwallis’ secret escape plan, and she gets the message to George Washington?”

Heads are tilted, fingers cupping chins, eyes shining. They all look like future history professors.

Except for the girl who made the suggestion. She glows like Victory herself.

—Revolutionary, indeed.

*******

A couple of other scenarios the class discussed for their own writing:

What if colonists were hunting in the forest and found a wounded British soldier? What would they do?

What if British soldiers were marching through a field or by the shore when they find an colonial baby, all alone? What would they do?

—”Wait a second,” interrupts a boy. “How would they KNOW this is a colonist’s baby?”

“That is a great question,” I smile. “You are the writer. That is for you to figure out.”