Dancing Priest

Author and Novelist Glynn Young

Writing

Literary and Other Kinds of Fiction

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Wiseblood Books, which leans in the direction of being a Catholic publisher, has been issuing a series of novels and poetry collections that that interesting, thought-provoking, and broader than the idea of “Catholic publisher” might imply. Its novelists and poets include Dana Gioia, Marly Youmans, James Matthew Wilson, Samuel Hazo, Charles Hughes, Katy Carl, Sally Thomas, Glenn Arbery, R.R. Reno, and others.

What these writers have in common is that they write perceptively and unapologetically about faith, although it’s usually not that obvious. The fiction is serious, literary fiction; the poetry is just as serious, and just as literary. Both compare favorably to anything produced by mainstream, “secular” publishers. Wiseblood’s books aren’t out to score political points and tick the boxes of the latest social and cultural mania to seize the imaginations of what passes for America’s literary elites. 

Instead, they tell stories. They wrestle with what people wrestle with, including holding on to faith in a world growing more indifferent and more hostile.

I was reminded of this when I read a Wiseblood monograph, Christopher Beha: Novelist in a Postsecular World by Katy Carl. I’ve heard of Beha, a writer and novelist who served as editor of Harper’s Magazine from 2019 to 2023. He stepped down from the position for the best of reasons; he couldn’t balance his editorial duties with his writing.

Carl’s 32-page monograph explores Beha’s novels – The Whole Five Feet (2010), What Happened to Sophie Wilder(2012), Arts & Entertainments (2014), and The Index of Self-Destructive Acts (2020). And what she finds is that, in what describes as a “postsecular” world, raising the possibility of faith and belief is, well, okay. You can do it in serious fiction, and Beha does it very well, indeed. 

Carl is the editor in chief of Dappled Things Magazine. Her stories and articles have appeared in numerous literary publications, and she previously published the novel As Earth Without Water (2021) and a short story collection, Fragile Objects (2023). She was chosen as Wiseblood Books first writer in residence in 2020, and she is pursuing an MFA degree in creative writing at the University of St. Thomas in Houston., whose founding faculty were James Matthew Wilson and Joshua Hren.  

Katy Carl

Her essay on Beha’s novels repeatedly made me think about my own writing, and how I would describe it. I don’t write literary fiction. I can’t say I write “popular” fiction, or mass market fiction, either. When asked, I’ve said “contemporary fiction.” A few people have suggested “alternative history” or even “alternative future history.” More recently, it’s been historical fiction – no doubts about what to call a novel set during the Civil War and 1915. And now a new one is underway, and it’s definitely contemporary fiction. 

It may be a copout of sorts, but, setting labels aside, all authors have to write the story that’s asking to be written, because it’s a story that the author has to tell. 

I’ve gradually learned the importance of trusting my characters and writing like the writer Harvey Stanbrough describes – WITD, or “writing into the dark.” That means writing with no set outline but trusting your characters enough because they know what they’re doing. I learned that lesson with my last novel, Dancing Prince. One character refused to stay in the minor role I planned for him. I finally surrendered and gave him his head, and he took over. 

And it worked.

Related:

Fragile Objects: Short Stories by Katy Carl.

Wiseblood Books monographs.

Top photograph by Aman Upadhyay via Unsplash. Used with permission.

“Why I Write” by George Orwell

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Why I Write is a small volume of four essays by George Orwell (1903-1950), the author of 1984, Animal Farm, and many other works. The essays include the title one, “Why I Write;” “The Lion and the Unicorn: Socialism and the English Genius,” “A Hanging;” and “Politics and the English Language.”

Orwell’s writing, and his understanding of it, reflected his political beliefs. He had a five-year stint with the Burma Division of the Indian Imperial Police, but eft with a medical certificate because his health was ruined, he dabbled in writing and a somewhat itinerant life and married, but then joined the Republican side in the Spanish Civil War. That experience shaped the rest of his life, his politics, and the books and essays he wrote. He became a democratic socialist, but he was opposed to totalitarianism in all its form, both right and eft.

He identified four motives for writing, all of which are present in a writer but to varying degrees, depending upon the immediate context. The four are sheer egotism, aesthetic enthusiasm, historical impulse, and political purpose. “Writing a book,” he wrote, “is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon who one can neither resist nor understand.”

George Orwell

“The Lion and the Unicorn,” the longest essay in the volume, is a meditation upon writing England, socialism, and how they all have mixed together. In its own way, it’s Orwell’s manifesto for a very specific kind of socialism.

“A Hanging” is one of Orwell’s best-known essays, a short account of the hanging of a prisoner in Burma. Orwell formed part of the police escort for the execution. “It is curious,” he says, “but till that moment I had never realized what it means to destroy a healthy, conscious man.” When the prisoner steps to avoid a puddle, he sees “the mystery, the unspeakable wrongness, of cutting a life short when it is in full tide.” The essay is not a direct discussion of writing, but it is an example of writing very well done.

The last essay, “Politics and the English Language,” is one with which I was familiar. Some 30 years ago, a new CEO at the company where I worked said that everyone in communications, and everyone in the company, in fact, should read this essay by Orwell. To my knowledge, I believe I was the only communications who did so. The previous CEO had had an inclination toward the writings of Winston Churchill and the novels of Charles Dickens. I was his speechwriter, and so I didn’t have much choice in the matter.

I read the Orwell essay. It’s about the decline of the practice of the English language in writing; Orwell saw it descending into a staleness of imagery and a lack of precision. He also identified the problems of dying metaphors; what he called “verbal false limbs,” or sentence padding; pretentious diction; and meaningless words. 

The former CEO, whether he wrote for himself or used what I’d written for him, was never guilty of any of that; he had run through half a dozen speechwriters and freelancers before me and booted them all until he was satisfied. The new CEO, however, the one who urged everyone to read the Orwell essay, spoke from notes and memory. 

It might have helped if he’d read it himself. 

Writing a Bibliography – for a Novel

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It’s been two weeks since I read a book about the Civil War, and it feels strange. My draft novel is done, at least for now. It’s not so much a novel about the Civil War as it is a novel of the Civil War.

If you grew up in the South, or even if you didn’t, what happened in the years 1861-1865 affected you, even when you didn’t know it. Both my maternal and paternal grandparents were children of Civil War veterans. They experienced the war in very different ways, both in the fighting and in civilian life. 

My mother’s grandparents were Franco-German immigrants who settled in New Orleans and descendants of the Acadians expelled from Canada after the French and Indian War who settled in what we called “the river parishes” – the stretch of territory along the Mississippi River between New Orleans and Baton Rouge. The men generally fought for the Confederacy; after 1862, the women, children, and elderly men discovered life under Union occupation. 

My father’s grandparents experienced much the same. The men fought for the Confederacy; after the fall of Vicksburg in 1863, their families in southern Mississippi lived under sometimes loose, sometimes tight federal occupation. My great-grandfather Samuel Young was the only son in the family to survive the war.

Much like World War II affected the Baby Boom generation, the Civil War affected my grandparents’ generation. A terrible and collective experience of one generation would inevitably affect their children. Louisiana had the highest per capita income in the country in 1860; it had the lowest in 1865. Family members had died in the fighting; the social order was in chaos and upheaval. What happened to my ancestors was repeated millions of times in both the South and, in a different way, the North.

My history classes in middle school, high school, and college focused on broad themes about the war – like slavery, state rights, battles, Reconstruction, the Jim Crow Era, and the rise of the “Lost Cause.” When you write a novel rooted in the war, you discover that, while all of that is important, the broad themes don’t tell you much about how people lived, died, fought, and coped with the war. 

Vicksburg during the 1863 siege

I turned to reading and research – not only histories but also memoirs, newspaper accounts, sociological studies, photographic essays, fiction, and even poetry. I had to be selective, and so I focused on 1863 and post-war Mississippi, including Grierson’s Raid of April 1863; the Battle of the Wilderness in Virginia in 1864; and the battles in April 1865 around Petersburg and Appomattox. But general histories were needed, too, and Bruce Catton’s The Army of the Potomac Trilogy and James MacPherson’s Battle Cry of Freedom were among the readings as well.

Three books were particularly helpful: Of Age: Boy Soldiers and Military Power in the Civil War Era by Frances Clark and Rebecca Jo Plant; Hearts Torn Asunder: Trauma in the Civil War’s Final Campaign in North Carolina by Ernest Dollar; and Ends of War: The Unfinished Fight of Lee’s Army after Appomattox by Caroline Janney. Louisa May Alcott’s Hospital Sketches and Irene Hunt’s Across Five Aprils were two works of fiction backed by extensive historical research, and they were both an inspiration. But everything I read helped in at least a small way.

The bibliography includes 84 books and two web sites. They represent an infinitesimally tiny portion of what’s available to read about the Civil War.

It’s awe-inspiring to read what soldiers and civilians alike experienced, including some pretty horrible things. Tragedies abounded. The devastation, especially in the South, was extensive. Soldiers on both sides committed crimes against civilians.

And yet, people coped and went on. They found strength in community and faith. What they had known was gone forever, except in memory. 

Even if the novel never sees the light of day, this has been a humbling and rewarding experience.

Top photograph by Thomas Kelley via Unsplash. Used with permission.

What Happens When You Finally Type “The End”?

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It’s been more than two years since the writing began. It’s been more than four since the research started. A little over a month ago, on Jan. 16, I wrote this in my writing journal: “Reached 87,758 words. First draft completed.” Five days later, I wrote “First reread / editing completed.”

It was there I stopped, almost mentally and emotionally spent. I need to do the second edit, which for me is the most serious one. But I stopped, to catch my breath, reflect and take stock, and consider how the past two years of my life have been devoted to a story that is about 25 percent true and 75 percent fiction. Nd what I thought was mostly true mostly wasn’t.

I’ve published five novels and a non-fiction book. I’ve completed two novel manuscripts that have potential but need considerable reworking. I have at least five different novel ideas, and a dozen short stories, buzzing around my head. 

This story I just finished, this manuscript I’ve labored over, isn’t exactly a labor of love. It’s more a labor of sweat, the story I had to get done. 

To continue reading, please see me post today at the ACFW Blog.

Top photograph by Rui Silva sj via Unsplash. Used with permission.

“Across Five Aprils” by Irene Hunt

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In 1964, author Irene Hunt (1907-2001) published the middle-grade novel Across Five Aprils. It’s the coming-of-age story of nine-year-old Jethro Creighton, the youngest of five brothers and a sister. They live and work with their parents Matt and Emma on a farm in southern Illinois.

This coming-of-age story is set during the Civil War, beginning in 1861. It’s so well done, and such a good story, that it’s no wonder that it was runner-up to the Newberry Medal in 1965 (her second book, Up the Road Slowly, won the medal in 1966). In 212 pages, Hunt manages to tell both the story of the Creighton family and the story of the Civil War itself. 

Told from Jethro’s perspective, we watch what happens when the reports come of the fall of Fort Sumter. The oldest brother has not been heard from in years, having gone to California for the Gold Rush. Two brothers and the cousin who lives with the family join the Union army; Jethro’s favorite brother Bill joins the Confederate army. Jenny’s beau, the schoolteacher Jethro adores, eventually throws his lot in with the Union. 

While it is the story of the war and how his brothers fare, Across Five Aprils is also Jethro’s story and what happens back home. When Jethro is 10, his father suffers a heart attack, and the boy suddenly finds himself of being head of the family. Through Jethro’s eyes, we see the violence that happens in a region of conflicted loyalties, the impact of the war’s news on the family, and how the war meant unexpected struggles on the home front. 

The characters seem like real people. Hunt had a gift for characterization, and even the minor characters come alive on the page. Hunt based the story on the tales and letters of her own grandfather, who experienced the Civil War much as Jethro does in the novel. She also did extensive research in newspaper reports, government documents, histories, biographies, and memoirs.

Irene Hunt

Hunt, a native of Illinois, taught English and French in Illinois schools and later psychology at the University of South Dakota. She returned to Illinois to become director of language arts at a junior high school. Including Across Five Aprils, she published eight novels between 1864 and 1985, and she won several awards for children’s literature. She died on her 98th birthday in 2001.

After 60 years, Across Five Aprils has stood the test of time. It’s a riveting read as we watch, through a boy’s eyes, as the war unfold. The Creighton family will endure heartbreak and tragedy, fear and violence. But it is the family that endures. 

Top photograph: A farmer and two boys cutting hay in Kentucky during the Civil War.

The First Book I Ever Bought

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It was the summer before I turned seven. A favorite activity for all of us kids in the neighborhood was to ride our bikes up to the TG&Y dime store in the local shopping center and usually just drool over all the toys in the children’s section. The distance between our block and the dime store was about a mile-and-a-half; we’d ride back streets to get there, avoiding the more direct, and busy, nearby U.S. Highway 61.

The shopping center included the TG&Y, a Beall’s department store, a Western Auto, a Mackenzie’s Bakery, and the anchor, the A&P grocery store. A few years later, a Katz & Bestoff (K&B) drug store was added on the western end.

As young as I was, I was reading beyond my years. I liked the dime store’s toys and games as much as anyone, but I also would wander over to where the children’s books were displayed in something like a magazine rack, with staggered rows so you could see all the titles. The books were for all ages, from toddler to young teen.

One Saturday, I rode by myself to TG&Y. I placed my 16-inch red bicycle on the pavement in front, secured by a kickstand. (This was a long time ago, when you didn’t think to have a bicycle lock. Why would you need one?) I made my way to the book display. I’d had my eye on one, and I had just enough money to buy it, including tax. It was all of 59 cents.

It was my first book purchase.

Trixie Belden and the Secret of the Mansion was originally published by Julie Campbell Tatham (1908-1999) in 1948. Officially, it was a “girl detective novel,” so you didn’t exactly want to be with your friends when you bought it. It followed a long line of teen detective stories that had become wildly popular in the 1920s and 1930s – The Hardy Boys and Nancy Drew being among the most well known.

I came to that book, a mystery with two 13-year-old girl detectives, because of television. Through various TV shows, both after-school programs (like the Mickey Mouse Club’s Hardy Boys segment) and primetime TV series, I discovered I liked mysteries. So why not read one? And this one had an added bonus – an old mansion that was probably haunted.

I brought the book to the checkout counter, made my purchase, the salesgirl bagged it, and I was on my way home. I was soon visiting the town of Sleepyside-on-Hudson in New York State, where the Belden family with its four children lived. Brian and Martin were older teens; Trixie was 13; and little brother Bobby was 5 or 6, and often the bane of Trixie’s young life.

Julie Campbell Tatham

It was a fully recognizable family, not unlike Ozzie & Harriet. Kids got into minor trouble, but it was easily resolved. Nobody was dysfunctional. Heroes and villains were easily identifiable, and they were never the same person. I don’t think Trixie’s mother ever vacuumed wearing a nice frock and pearls, like June Cleaver did on Leave It to Beaver, but her character is not unlike Beaver’s mother and Harriet Nelson.

A new family, the Wheelers, had just moved into the nearby large estate next to the Belden’s farm (Mr. Belden also worked at an office job). Also close by is the Frayne mansion, decaying ever since old Mr. Frayne’s wife had died. Mr. Frayne himself has just been taken to the hospital after being found by Trixie’s father at the foot of the long driveway.

I reread the story that I first read some 65 years ago. I wanted to see how much I remembered, how much I didn’t, and if I would like it as much as that kid did back in the late 1950s. I recalled three things: Bobby getting bitten by a copperhead; a fire where the only thing that’s saved (by Trixie, of course) is a mattress; and Mr. Frayne’s 15-year-old nephew Jim, who comes to Sleepyside to get away from a mean and brutal stepfather.

My memory was intact, including the overall arc of the story. Trixie and her new friend Honey Wheeler are a textbook example of opposites attracting. I thought I’d read more about Trixie’s two older brothers, but they’re both away at camp and don’t figure into the story. I remembered that Jim had red hair.

What I didn’t remember was that, while the story ends on a high note, it also ends with a couple of hanging threads, like what happens to Jim? If I want to find out, I have to read the next book in the series, The Red Trailer Mystery. Nice marketing ploy, that.

The author, Julie Campbell Tatham, wrote the first six books in the series. The next 33 were written by a variety of writers, typically using the pen name “Kathryn Kenny.” The books are still in print. Because I read an original edition published by Whitman Publishing in 1958, I don’t know if the more contemporary editions have been “modernized” or not. Some of that has happened with The Hardy Boys and Nancy Drew. Campbell Tatham also wrote the Ginny Gordon series at the same time she was writing the Trixie Belden books.

I found my copy of Trixie Belden and the Secret of the Mansion via a used bookstore online. It is exactly the same edition I bought when I was a kid, the one I carried home on my bike from TG&Y. I’m that almost-seven-year-old kid again, buying and enjoying the first book he ever bought for himself.

Top photograph by Eleanor Brooke via Unsplash. Used with permission.