The Odyssey
2 days ago
Linda
1948-2007
The word “Linda” means “beautiful” in Spanish. That was the perfect name for our Linda, because she WAS beautiful.
Yes, she knew all the various ways to fluff up hair and highlight eyes and add a little color to cheeks and lips. She knew how to add the decorations, too, right down to the practical aspects of piercing ears with a sewing needle and an ice cube. What she didn't know was that she didn't really need any enhancements: she was just plain beautiful. But Linda was not the first name I knew her by. To me, her adoring younger cousin, she was half of PatsynLinda. It took me quite awhile to think of Patsy and Linda as separate people, partly because it seemed like they were always together. PatsynLinda helped me learn to read. PatsynLinda taught me to dance along with the latest 45 rpm records.
It was always a holiday when PatsynLinda came to visit. And getting to visit them was an exotic vacation. On one visit, when I was in junior high school, I got to go to school with Linda for a day. She was in high school then, planning to go on to college and a career. But life had other plans for Linda. After she finished high school, she became a mother, so on my next visit she taught me how to take care of a baby.
Lee was still just a toddler when Linda went to work in a factory. I got to babysit him now and then, and I remember Linda coming home from work with machine oil under her fingernails. She might not have believed it, but her hands were still beautiful even then.
One day she came home unusually happy. She'd met this wonderful guy named Bill, and he'd asked her out. Bill was able to look right past Linda's factory-worker hands and see how beautiful she was.
Bill tells me it snowed the day they met, so what you see on the ground out there is just Linda's way of saying goodbye.
It's beautiful, isn't it?
Bill and Linda got married and brought even more beauty into the world: Lee's lovely sister Belina, who looks so much like her mother.
In what seems like the blink of an eye, another generation came along, and now Bill and Linda have three beautiful grandchildren.
Science tells us that the actual physical material that makes up our bodies is completely replaced every few months, so what makes us what we are, and who we are, is not the physical but the spiritual, a pattern of energy.
Linda's physical body won't be with us anymore, but her energy remains.
I will remember Linda every time I sing along with an old rock-n-roll song on the radio, every time I put on makeup or try to fix my hair. I will remember her whenever I do something good for my health. I will remember her when I think of one of our favorite places: the old swimming hole at Potter's Falls in Tennessee. I will remember all the things, and all the ways she taught me about the beauty of this world.
Thank you, Linda.
And on behalf of Linda's family, I thank all of you for being here to honor her today.
With love,
[miz duncan]
February 8, 2007
One of the many odd things about my creation of buddy don duncan, a vehicle I created in order to tell a long story, is how he became an almost independent "person." My original plan was to work out his use of the hillbilly dialect I grew up around. I wanted to make sure it had a fairly consistent grammar and spelling.(ifn ye wonta make a comment, ye gut to click on 'link' below.)
My plan was not to do scholarship, to attempt to claim I could speak for all speakers of the dialect. As far as I can tell, there are regional differences between New River and Wartburg, much more between Lake City (once known as Coal Creek) and Oak Ridge. So my plan was simply to codify as well as I could the form of speech used by my family when they gathered for events such as Thanksgiving and Christmas. No matter what the context of the family's gathering, the high point was the telling of tales from the family history.
Though my grandparents' generation and my father's were educated, when it came time to tell tales, they always slipped into the folksy dialect of the hills. In some cases, this was deliberate, but there were several non-standard usages that were believed to be correct: Vick's Vapor Rub was always called "Vicks Save," meaning "Vicks Salve" with "salve" pronounced as "Save." As a sickly child, I believed that it was something meant to "save" the patient, and it helped me breathe through many sick nights. That's a small example, but there were many: "Vie-eenna" sausages, "putt" for "put," "tuck" for "took," "skillet" for "pan," "vittles" for "food," "uphold for yourself" for "defend your position," use of double-negatives to increase the degree of negativity (not to negate it) among others.
When I studied the philosophy of language in West Germany in the 1970s, I learned that English usage in the mountains of East Tennessee more closely resembles that of the English used during Shakespeare's time than English usage anywhere else in the world. Because of its isolation, East Tennessee's moutain communities continued such usage long past the time that English elsewhere in America was becoming more homogenized.
Once I began practicing this dialect using buddy don as my mouthpiece, I was surprised to find I'd begun a novel. I'd originally planned the writing of such a novel, but I always thought of it as something I would turn to someday. My habit of writing was well-established, and I figured once I had a better handle on life and truth and beauty, I would be able to take the raw material of my life and the stories I learned from other people and the stories from their lives and mix them all into a huge cauldron of the life and times of our country during the latter quarter of the 20th century.
But instead, the novel was what happened to me while I was busy practicing the language of the novel I was someday planning to write: the novel you write is what happens to you while you're busy making plans to write a different novel.
Once the novel broke out, it amazed me, the author, as much as it could have amazed anyone else. A lot of that had to do with the dialect I hoped to have buddy don use to tell his tale.
I have been fortunate enough in my life to learn two languages in addition to English: German and Spanish. I learned the former the "proper" way by studying at the university and then spending time living in a German-speaking country. I learned the latter the better way (but not "proper" way, according to language experts at universities) by meeting someone who spoke Spanish and learning it by using it as often as possible.
In each case, as I did so, I began to feel as if I had dug new deep ruts in my mind, ruts where German is spoken and where Spanish is spoken, both of them off the beaten track of English. When I say ruts, I am referring to the kind of ruts that develop in the backwoods, where there are deep tire tracks for the road and it's hard to drive anywhere but in the ruts. Once in the rut of Spanish, it's very difficult to steer the verbal vehicle out of the Spanish rut to speak German: all of the common terms want to come out in Spanish.
What most amazed me from this exercise was that I discovered a rut for buddy don's dialect that was as deep as any I'd dug for either of the non-English languages I had learned (not mastered, but I can "uphold for myself" in each of them fairly well).
And that led to a different and very pleasant surprise: writing as buddy don, using the rut I'd run through the wilderness of my creative mind to move my story along, led to better writing. When writing as buddy don, I don't have have the luxury of over-explaining things, which is a tendency I fight unsuccessfully in my usual writing.
It got to the point that I almost felt – Strike that, I should be more honest: I almost feel as if buddy don is a separate creature from me. My wife (buddy don's "miz bd") and I often speculate about what buddy don will write on a given morning.
But I also discovered more than that. Through the vehicle of buddy don and his dialect rut, I found myself reliving much of my life, looking at it as if through the eyes of a stranger, even though I am myself that stranger, or at least his "creator" or "author." Still, it has led to a lot of work on myself and re-evaluation of what I have done with my life and what I believe.
In addition, it's taken its toll in health matters. I haven't written a chapter on life n pinions of buddy don, hillbilly since life of buddy don, chaptur 145: puzzles of the hart. The day after posting that chapter I got a migraine attack and remained under its spell for 17 days. That led to a period of two and a half months of short-term disability, during which some of my doctors suggested I face reality and prepare to accept long-term disability. (I am much too young to consider that!)
But I have since found myself a little gun shy about picking up the story again. I have written the final chapter of the entire thing, have it all "outlined" in my mind, know what I have left to do with the novel, but I greatly fear the possibility that messing with such topics as honestly as I have been trying to do via the voice of buddy don, I am risking further misery. I truly don't know if there is a relation between my writing and my migraines, but every time I prepare to write the next chapter, I find myself flinching, as if to avoid the blow I know is likely to follow.
Despite that, I know I have to continue if I am to do what I am on this earth to do (insofar as any of us can know what we are here to accomplish, I know that writing this huge novel is part of my reason for being). It would be easy if I had lived the life of a saint, but I haven't even come close to that. The next chapters begin taking me through a long and shameful part of my life, which though fictionalized and changed to make a better story, to get closer to "truth" than I believe "non-fiction" can do, will still be hard for me to confront as honestly as I need to do to reach my goal for this work.
In addition to that, as the story gets closer to the present (and it's still 24 years in the past at the moment), more and more of the characters can be mistaken by readers for historical people. I am taking the grist of history and using the mill of creativity to make something new. Any resemlance to the originals is pure luck on my part, if not lack of talent or just lazy writing. Even so, some of the people I know might mot realize what I am doing and want to "correct the record," as it were. But there is no record to correct: I am not trying to record the history of my world but to create a new world to illustrate the truths and morals that do not come from an accurate accounting of the non-fictional record.
So there are many risks involved with writing the next chapter, and for that reason, it has been almost a year since I attempted one (the draft of the last being completed on January 27, 2006). Despite those risks, for me the greater risks are in not completing what I have begun, in not having the courage to face all my demons, living and dead, real and imagined, threats to personal health or not.
To do that, I have to be able to quit chasing the will o'the wisp of politics. The little poems I write on topical subjects have very temporary worth, going out of date almost as soon as they are written. Commentary on politics only gives the amen chorus what they need to continue shouting "Amen!" But I truly do not believe anyone has a change of belief or viewpoint on the basis of reading what buddy don duncan has to say about any issue.
Enough of that! I hope from now on to devote myself to that, giving myself days off to do politics and such since I can't write a chapter every single day. But I must get back to writing that. I'm about to be on the planet for the 55th time it has circled the sun since I was born: there is no time to waste!
'When I began working at KC, I didn't know very much at all about Black people. In fact, it seems to me now that black people in general are almost invisible to white people (in this country anyway). White people certainly never see Blacks (or only rarely) when white people aren't a conspicuous majority, and Blacks are different when very few Whites are present.i member feelin as ifn i had let go of a lode of wurry n woe whenever i finishd ritin that entry in my diary. twuz a fine day in a beeyootifull place, so i lit a number n jes enjoyd bein hi in such tranquilty till tutherns cum back frum fishin.
'I thought I knew a lot about Blacks, certainly more than most white people I knew. I concentrated on helping black students in writing lab, tutored at the Black Cultural Center, and even did a little "business" in Gamble Valley. Thus I knew several black individuals pretty well. I worked for Ralph at Carbide, also, which let me have good knowledge of one individual. In groups, however, Blacks are different, and I really began to learn that at KC.
'One of the problems for white people in seeing black people (in contrast to Blacks being invisible) is that for many white people, myself included, for most of my life, is that blackness becomes a uniform to a white eye. The eye sees the uniform, as in seeing a policeman or fireman or guard, and makes the only recognition it needs: a negro. Few whites around here know enough Blacks personally to have any reason to identify any individual Black. Thus, once a White sees it is a Black, he can stop looking. (The well-known low visibility of Blacks in the media also contributes to this problem). And in this way, the old saying is true: all Blacks look alike to many Whites.
'So it was for me when I began teaching at KC. One of the scariest moments I had was the first day of drills in Elementary Comp I (Fundamentals of Grammar). I called on students randomly and had to learn all of their names quickly. I did, but it was the first time I had to look closely at any group of Blacks as individuals. The longer I've been looking at Blacks this way, the better I've gotten at doing it.
'At first, I also didn't find black women very attractive. I had the usual complaints: hair too kinky, lips too large, nose too flat, or just plain blackness. I remember quite well when Kamal 'Too Short' Trotter pointed to Shantell Brown and licked his lips. I smiled and nodded, but I didn't find her very attractive (though I know now just how incredibly sexy she is). I enjoyed teaching (and still do) because the students were so eager to learn (and they still are – most of them). I became close to many students and one of those was Cassandra Worthy.
'I "met" her at drama club winter quarter. I'd had her in class for 1.5 quarters in elementary composition but I knew her only as a very bright student with a lot of problems, leading to her finishing the first quarter in one-on-one sessions due to her having left class following a very traumatic experience. When I began going to drama club, I was the only white person there and because of the different atmosphere, I felt nervous and uneasy. I recognize Cassandra and we gravitated to one another so we wouldn't feel so ill at ease. And we found we could talk quite easily.
'Some months later I realized she had a crush on me. And I also realized I'd "had a crush" on her for a long time. I don't know how long, but I did feel very happy about getting to know her the very afternoon following drama club (the oddity about that being that I didn't feel I got to know her very well when I was giving her one-on-one instruction in grammar). It took me several months before I could see how beautiful she is, and I only admitted to myself that I had a crush on her when Emily pointed it out to me.
'Of course, this brief note doesn't give you any idea of the many hours I've spent in Cassandra's presence. I haven't touched her at all, but the tension between us is great enough that Emily noticed it when Sharon Worth, Violet Johnston and Cassandra came over for dinner. She asked, after I'd taken the girls home, if I had a crush on Cassandra and I admitted I did. This caused us to talk at great length until morning. That evening, Cassandra called to talk with Emily. The two of them talked at length about a problem – Cassandra was raped by four men (or so she says – for some reason, I have growing doubts about the story). Emily and Cassandra had dinner together to discuss the matter and became friends (or so Emily says). Cassandra could be visiting Emily right now for all I know.
'I hate to write about or discuss feelings because I always feel foolish. But I need to talk about feelings, foolish as they be. I don't understand that heart at all. I "fell in love" with Darlene and against all reason, I had to have her, to marry her. I still love her. But I also love Susannah (or so I think). I hate feelings! But I do love Susannah. And I love Emily. And now I wonder if I love Cassandra. I certainly am attracted. Because of the many barriers between us, my feelings seem passionate, very demanding, urgent. I think about her very often, almost always. I can't remember feeling this carried away (which tells me the whole thing is ridiculous – it can't be the same) with anyone. I feel my love for Emily is sensible and sane and whole. I do not love her less due to whatever I feel for Cassandra, more if anything.
'But why must I feel this way? And my feelings are for a woman who would be trouble in every sense of the word. My family wouldn't soon (ever) accept Cassandra. Looseburg would kill me. It would probably ruin both Cassandra's and Emily's life. I probably wouldn't be as happy. My children with Cassandra would be black. Society would object. I am teacher, she student, so I'd lose my job. ETC!! And still, I am so strongly moved by her that I can't bring myself to write in my diary for fear of saying anything about it. How can my heart be so crazy? I have the perfect woman and I know it. Any such feelings of mine towards Cassandra serve no purpose, but I can't say I don't feel them or that I don't want to feel them ... even though I know of no sane way my feelings could be satisfied because I can't live two (four? counting Darlene and Susannah?) lives. I am especially happy now, so why such feelings? They only cause problems.
'But I do have such feelings and they're amazing to me – they excite me so, especially since they came upon me so unexpectedly. I had no idea such a thing could happen. I didn't realize a black woman could even be attractive to me, but one can and – damn it! – is. Now I find myself more attracted to black women than to white! That is, I will look at a black woman on the street before I will a white. Both are eye-catching, but the black gets me first, probably because I know where Emily is at any given time, but any black girl could be Cassandra, whose whereabouts I rarely know. So I check. Whites need no checking, I guess.
'Any "fulfillment" of my feelings – an affair, one night stand, marriage, etc. – is bad in more ways than I care to count. I want to be responsible, but I fear I lack the strength or the will.
'I pray this will pass. I look forward to the year in Germany when Emily has to go for her DAAD since I'll be away from all temptation, from Cassandra. But I dread it, too, and fear Cassandra will get over me before I get over her. What am I saying? Things are not so bad. I just wish I could lead two lives.
'But I need to say I love Cassandra.
'Are our bodies, our psyches, our souls – are they evil? Why do things like this happen? I do not choose to be evil. I do not choose to love two women at once. How can I? But I do, and I see each very often and I love each. I love Emily. I love Cassandra. I love so many people and I can't understand why it should be wrong. Of course, I know it is and I pray for strength to do right. Be a model for Cassandra as a writer, be her guide as a teacher; be a husband – a loving husband – to Emily. Accept it that I will love more people than I can marry and give my life to ... but it still hurts and I think and think and think. Surely this will pass! Surely this is like crushes I've had and forgotten, not like Darlene or Susannah or Emily. Surely.'
'One of the difficult things about being white (laughter) is that when you're embarrassed or touched, everybody knows it because you turn red.i held up that plaque n waved it round to the crowd n let em cheer fer a spell.
'When I was told by several of my students that I should attend this day's contemporary issues, and when I heard the early speakers 'dogging out' the administration (more laughter, more applause), I assumed my presence was desired so that I could hear the students standing up for themselves and taking a real and active interest in their college. And I am very excited by what I heard today. I am pleased and proud of the students for becoming active and vocal. But I must admit I would have hoped the activism could have been a little more productive and effective than name-calling.
'I can certainly undersand the impulse, even the need, to criticize those whose performance we find lacking. I am reminded very much of myself when I was younger. I, too, found much wrong with this world, my parents, this country, and my place in it. I, too, criticized and protested in my own feeble way. I fought hard, too. I dropped out of high school – it was 'silly.' And I ran away from my 'silly' parents. And I ignored everyone's 'silly' advice and got married at the age of eighteen.
'Before you know it, I was a raging, angry, ineffective young nobody, flipping burgers for a living and getting nowhere. All my protest and anger did nothing but make my situation worse than it had been.
'After years of spinning my wheels in such fruitless activitiy and rage and after I'd suffered enormously, I had an accident, an automobile accident that could easily have killed me.
'When I crawled out of that wreck, I realized for the first time that, try as I may, I could only be sure of changing one person: myself. And when I began working on that person, the world began to get a little better.
'Much is still wrong with it, as we all know only too well, but we can't cause it to change by calling it 'silly.' We all have logs in our eyes. We all fall short of perfection.
'Let us begin by changing ourselves, each of us. And if we do, KC will become an even more wonderful place than it already is.'
'It is already one of the world's most wonderful places to me. This is the most outstanding moment of my life, and I am very grateful to you all. Thank you.'as i dun writ, my lil speech wuz tuck purty well by them stoodents. i dont know whar it cum frum, eggzackly, but it dint seem to anger the stoodents nor the administrayshun. corse, me bein a white teacher n gittin that award did cause a lotta antagonism fer me amung the faculty on a counta thay wuz a good number that dint know me frum adam till i won that award.
