Tag Archives: historic fiction

Writing about writing

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This post is a prompt response from yesterday. Of five provided images, the one I responded to was of a piebald horse (not unlike the one above). I quote two poets: Gerard Manley Hopkins and Joyce Kilmer and for your enjoyment include the entirety of the Gerard Manley Hopkins poem, Pied Beauty, at the end.

It helps to know that I am ten years plus into writing a novel in which one of the central characters is Eliza Lucas Pinckney (b. 1722) and that the other three main characters are enslaved Black women.

 

Rhombuses of Light

The morning light is sectioned
mintons and mullions
through the glass, hitting floor and
wall, bending at baseboard.
She often referred to light
as “lozenges.”

It’s the glow we like
especially when April
breezes seep past sills
and chill. But what about the
bend at the baseboard?
An easy compliance.

“Glory be to God for dappled
things,” said the poet.
Rhombuses of light
are not pied or
dappled, but when created
by a window speak
to the relationship between
solidity and light.

She repeats herself. All
those references to clouds!
It’s time to find and replace.
Thunderclouds with slate
grey bottoms, slants of
rain like an etching against
the horizon. Again, Eliza,
really?

Her friend rode a dappled
grey sixteen hands high. How I had
to look all that up, authority running
to cats and dogs and at a stretch to
the way the interior of a barn
smells and how light catches
dust and particles of hay
drifting below the rafters.
How light and gravity inform
a moment.

Imagination as authority,
not a popular position
these days.

Ripples of clouds above
the marsh, liked ruched
silk. Sunlight on creek
shining like pewter. God
in nature. We get it! Eliza
got it.

Gerard Manley Hopkins
got it.

Light will slide up the
wall as day goes on.
Sometimes the miraculous has
a predictable element to it.

All those author interviews
and how they make her
shrink. What’s on HER
bedside table? Did she
even read as a child?

The Case of the Hidden
Staircase.

But it occurs to her now,
more memory than thought,
that reading Gerard Manley
Hopkins as a teenager
opened a previously
undisclosed chamber in
her heart.

You can do that with
language? Light can
bend at baseboard
and be celebrated and in
strange syncopations?
Why does one element
mimicking another thrill
the senses? Light like
water. Sedimentary rock
like ripples of corduroy.
Memory like glass.

As a priest, he told
himself to shut up.
Figures an early hero of
mine would go to such extremes
and for all the wrong
reasons. Virginia Woolf with
rocks in her pockets.

Heroes, heroines, perhaps
best not to have them —
but how else learn how
to write, how not to panic,
how to pick at a scab and
move on?

Just once, she’d like the column
to soberly reveal an author
that didn’t read until she
was seventeen or so. Too busy
mucking about in creeks and
negotiating with terror. Why
sit still?

Music floods the chest.
A good reason for silence,
she thinks, a single window
at a time being enough,
the light passing through
glass from the east,
inching toward the center of the hall.

You mean to tell me
the rhombuses of light float down the wall
and not up as morning progresses?
The unreliability
of observation. What motes?
What barn? Memory like glass.

Eliza’s daughter was about to
turn eleven when he died. Eliza’s
husband. Harriett’s father.
The dates are there for the finding.
July 12, 1758 and August 7, 1758.

What I make of turning
eleven just after the death of
a parent is not what you will
make of the same.

Even Harriett, poor dear,
would have made several
things of a singular devastation.

She had wanted to read
“Pied Beauty” at her father’s
funeral. The altar boy
turned atheist would have
appreciated its point, even
if Longfellow and Poe were
his favored fare.

Her sister overruled the selection.
Longstanding habits
of bullying that can’t even
be attributed to grief.

“I think that I shall
never see a poem as
lovely as a tree,” he
wrote in my autograph
book — remember those? —
“But with his help, I’ve
made a Dee.”

“He fathers-forth whose
beauty is past change.”

Swapping out an altar
in the Catholic Church for the
Kinderhook Creek doesn’t mean
one has no god.
Trout fishing as sacrament.

Harriett was ten about to turn
eleven. I was 24 or 26 and the fact that I can
never remember without adding age-at-death to
one birth year and then subtracting another
birth year speaks to loss.

 

*     *     *

Poetry Fdtn link here.

Adding light, revising novel

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I’m adding light and shadow to appliqued hawk. Made her head lighter and used white poly for beak to make it pop. A scrap of fabric practically fell out of the basket and felt like a minor show of Providence.

Jude had the idea over on Instagram to darken some of the ripples around the hawk’s head. Since I like the way it adds a sense of motion, I may continue around the body as long as I have that color thread. It’ll look good flowing off the wings.

Had some gross polyester swirled with black in that basket, too. Added to tail and wings for more contrast. Light. Maybe you can see a difference with earlier incarnation, maybe not (below).

It’s nice to have company.

In the meantime, I finally talked to my paid manuscript consultant yesterday. Round three coming up. I know I’ve said this before but it bears repeating, perhaps even shouting off the rooftops: SHE LOVES MY BOOK.

I think people forget how solitary a process writing is.

House names should not be italicized. If I’m gonna talk about the elder Middletons toward the end, they need to be introduced earlier. Still sags here and there — needs tightening. Not so many descriptions of clouds, perhaps. Maybe not so much about Melody’s first owner. Explain what head rights are and how to memorialize land in Author’s Note, which starts like this:

When I began this novel, Trayvon Martin was alive and as I finished the second edit, George Floyd was dead.

The suggestion that I add an epilogue (say in 1758 after Eliza and Charles Pinckney return from a five year stay in England), will take a little more thought. That’s fourteen years after my original end. Lots of years I haven’t thought about all that much.

A six year time frame (1738 to 1744) allowed a laser-like focus. Etiquette in 1720? I don’t care! Rice markets in 1750? Also don’t care. Now I need to care. I’ll start with Eliza’s letters.

A walk with temps in the 40’s was cause for celebration this week. Daffodils shoving aside leaf debris. Snow shrugging off the curbs. It won’t be long now ’til the miracle of hyacinths.

In the meantime I am trying to answer the question (Acey’s): how do you hold your heart? Or maybe just asking it. Softly.

The collage challenge with Paris Collage Collective continues. This week: Shirley Chisholm.

More to come. I want to cut up seed catalogues and wreathe her head with flowers. In the collage above, the headstone of Harriett Jacobs served as reference to the long history of oppression, Jacobs being another Black woman who overcame so much.

Names of the enslaved in Eliza Lucas Pinckney’s will

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In the spirit of ‘saying their names,’ the names of the enslaved “property” in Eliza Lucas Pinckney’s estate are listed below. Black people were enumerated in testamentary documents along with furniture, horses and mules, jewelry and land, making clear their status as chattel.

[The names listed in bold on the list are names I’ve used in my novel (in its second edit now)].

It’s also worth noting that at the time of her marriage to Charles Pinckney (May 27, 1744), Eliza’s father included about two dozen enslaved people as part of her dowry. The record tells us that Quashee (aka John Williams) was a matter of dispute between Eliza’s father and her fiance. Both men wanted him and for good reason — he was literate and an extraordinarily skilled carpenter. Eliza’s husband-to-be won out and Quashee went on to oversee and help build the newlywed couple’s new home on East Bay.

To read more about the fascinating life of Quashee, who eventually became a free man and amassed a fair amount of property, including slaves and then vanished from the record (my theory being he became too successful for whites to tolerate), please see Andrea Feeser’s book, Red, White, and Black Makes Blue / Indigo in the Fabric of Colonial South Carolina Life.

Also note: it’s a mistake to think that slaves named after days of the week were so-named out of a heartless, objectifying inattention on the part of auctioneers and owners, much like some names were based on slave trading ships (see recent post about Phillis Wheatley). In some African cultures it was common. For instance, Cudjoe (variants: Cuffy, Joe) means Monday; Quashee, Sunday.

– Hercules – slave

· Abraham – slave

· Monday – slave

· Barack – slave

· Juno – slave

· Betty – slave

· Jim – slave

· Frank – slave

· Mary – slave

· Tyrah – slave

· Smart – slave

· Elsey – slave

· Serah – slave

· Solomon – slave

· Prince – slave

· Hanay – slave

· Rachel – slave

· Mary – slave

· Jacob – slave

· York – slave

· Fortune – slave

· Doll – slave

· Joe – slave

· York – slave

· Celia – slave

· Daphne – slave

· Joe – slave

· Cuffy – slave

· Susan – slave

· Lucy – slave

· Elsey – slave

· Milly – slave

· Peggy – slave

· Ned – slave

· Binah – slave

· Peggy – slave

· Rose – slave

· Juno – slave

· Joe – slave

· Henry – slave

· Jenny – slave

· Thomas – slave

· Jacob – slave

· Bella – slave

· Betty – slave

· Hercules – slave

· Nelly – slave

· Betsy – slave

· Pindar – slave

· Caty – slave

· Pendar – slave

· Juno Henry – slave

· Harry – slave

· Ann – slave

· Pendar – slave

· Grace – slave

· Johnny – slave

· Joshua – slave

· Tenah – slave

· Nathan – slave

· Jack – slave

· Stephen – slave

· Bess – slave

· Ceasar – slave

· Robin – slave

· Adam – slave

· Binah – slave

· Caty – slave

· Sue – slave

· Cudjoe – slave

· Doll – slave

· Hannah – slave

· Dublin – slave

· Charity – slave

· Lucy – slave

· Grace – slave

· Prince – slave

· Sarah – slave

· Frank – slave

· Harriett – slave

· Abraham – slave

· Raleigh – slave

· Celia – slave

· Coleman – slave

· Ishremael – slave

· Polly – slave

· Ishramel – slave

· Henry – slave

· Gibbe – slave

· Meene – slave

· Ellen – slave

· Bella – slave

· Maria – slave

· Gilbert – slave

Added by Lowcountry Africana · July 4, 2010

PS photo was taken at Boone Hall Plantation.

A lot of wind

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Muggy air continues. Gusty wind all day and in the last hour, rain.

Finished this. A little press will tidy the edges a bit. The fabric for the moons was dyed with indigo in South Carolina. The woven sections came after a class with Jude. I just couldn’t stop making woven rectangles for a while. The crab was stitched down a lot of years ago. It’s good to finish things, isn’t it?

But mostly, I’ve been editing. Received written comments from my editor on the last section of novel yesterday and spoke with her today.

I’ve known all along that the last bit drags. How to fix? Invent a crisis? Shorten the timeline?

I’m going with the recommendation (long-considered) of skipping a batch of years. It’s gonna help so much!

In the meantime, I need to start submitting chapters here and there with the hopes of getting part of the novel in print. It helps you get published.

The following two photos come from a tiny book called, The Art of Seeing. They were the prompts in the writing session this morning.

I’m upstairs. The book is downstairs. I’ll provide photographer’s names after dinner.

They were effective prompts.

Up before dawn

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Downstairs by four. Reading. An old Mary Stewart romance: The Moonspinners.

I have a new mental touchstone. Not quite a mantra, but close. At odd times during the day I remind myself that I am having a day that my mother did not get. She did not live to be 63 1/2. A day she did not get.

The next week, at least, will be very busy. The editor and I spoke for close to an hour yesterday. At last! We got into the weeds: chapter heading formatting, the improper use of single quotes, when to italicize.

Also addressed some content: Why Saffron has no African name when the other characters who made the Middle Passage do. Where to cut in chapters of secondary characters (Eliza’s father, Melody’s first owner). And voice. That’s a biggie. An author’s note at front was recommended to address the fact that none of the enslaved characters would have had the English vocabulary I’ve given them.