Thacker Mountain Radio Show host Jim Dees’ book recounts the furor over a Faulkner statue in the fabled author's hometown.
 
- by Rheta Grimsley Johnson

After two months in French lockdown, the author finds herself experiencing culture shock on her return to the States. 

​- Story by Rheta Grimsley Johnson

Mourning John Prine in France, where the author's extended stay turned into an indefinite lock-down.  

- Story by Rheta Grimsley Johnson
​

Confined to a cottage in a countryside village, the writer gives an on-the-ground report of drastic changes in a timeless place.

- Story and photos by Rheta Grimsley Johnson
​

Truman Capote's A Christmas Memory possesses the power to make even contemporary readers summon up their own most-cherished holiday recollections. 

- Story by Rheta Grimsley Johnson

​A couple of decades later the building would be ignited by a careless tailgater’s grill during a football game and burn to the ground. People made jokes about the Student Act being put out of its misery, but I was sad. All I could think about was the fact Truman Capote had read aloud there.
​

​But like a singer singing his own song, pretty soon it became clear that, of course, it was exactly how the words were supposed to sound. And Capote’s almost shocking, lispy soprano was perfect to be the voice of Sook saying, “I made you another kite.”
​

My love for this Christmas story grows as I get older. It has everything, including a dog that dies; the dog always dies in the end. Now I am more than aware of how hard it is to write in such true rhythm with economy of narrative.

I suppose it doesn’t hurt that I spent a year in Monroe County, in the same rural setting Capote described. I cut a Christmas tree in the same native woods, getting lost in the process.

“Always, the path unwinds through lemony sun pools and pitch vine tunnels….”
​

Perhaps the best Christmas of my life, or one of the best, was spent in a big house in a bosky oasis inside the Monroeville city limits but as secluded as Mongolia. My first husband and I decorated with fresh greenery and real candles and invited everyone we knew in town to come sing carols. It’s a wonder we didn’t burn down the landmark house, built by a local lawyer and, after his death, inherited by his daughter who had no apparent desire to stay in Monroeville.

We didn’t have a cent but were caretakers for the hacienda-style mansion with its fabulous but dry-rotting furnishings. At the old upright piano we sang in our best carol voices, fueled by love and youth and beer and enthusiasm for life. As Bob Seger sang, “wish I didn’t know now what I didn’t know then.”

In truth, the house made me a tad miserable because I knew I’d never own it; even my romantic nature had to come to grips with that. For one thing, the daughter didn’t want to sell it, and, if she had, the asking price for the tile-roofed mansion would have been more than a couple of reporters for a weekly newspaper would see in their lifetimes.
​

But for a short, magical, miserable while we were actors in a play with a grand set, seeing our reflections in borrowed mirrors and hearing the clock strike vanishing hours. That Christmas gathering was one of our best ever, both because of the house and despite it. I’ve never lived anywhere as grand since.

It was a cold Alabama winter that followed the giddy December, and the house was too much to heat with its high ceilings and endless rooms. We kept the kitchen and one bedroom warm. 

One week the water in the toilet bowls froze, and we decided perhaps some practicalities were more important than sun porches, gilded mirrors large as pool tables and 10-foor-tall mahogany secretaries.

We moved back to Auburn.
​
What Capote tapped into, of course, is that all of us have a Christmas memory, though few of us can spin them into gold for others. Life has been so good to me, and I am surrounded by friends and enough family and dogs that forgive and forget. I think to have seen the woods that Truman Capote describes and to have smelled and touched its bounty is as close as you can get to writer’s heaven.

A visit to the Maine home of E.B. White, author of "Charlotte's Web" and "The Elements of Style," two of the most beloved books in the English language. 

- Story and photos by Rheta Grimsley Johnson
​

​He wrote in his boat house, hauling a typewriter in a wheelbarrow at day’s beginning and end. A commute, if you will.
​

If you are not sure where to begin a search, go to the library. As is the case in most of Maine’s tailored towns, Friend Memorial Public Library was the loveliest building in the burg of Brooklin. You have to trust a region that values its libraries enough to make them shine.
​

E.B. White is one of my literary heroes. He wrote thousands of well-chosen words for the New Yorker Magazine over five decades. He wrote books for children, including the classic Charlotte’s Web and Stuart Little. There are thick collections of his memorable letters.

But the book I hold dearest is The Elements of Style, which White co-authored with his former Cornell University professor William Strunk Jr. “No book in shorter space, with fewer words, will help any writer more than this persistent little volume,” The Boston Globe raved upon the publication of the third edition of the perennial bestseller.

It is true. Better than grammatical rules reviewed is the “style approach” White made simple. Write with nouns and verbs. Do not overwrite. Avoid fancy words. And so on.

It is the bible of spare, understandable writing. If you’ve ever written so much as a letter, you need this book. Beware, however, it will make you a vicious critic of some of the over-wrought writing in vogue these days. Pat Conroy, for instance, would have struggled in Strunk’s class or under a White edit; Donna Tartt would have flunked and fled.

I found White’s grave at the back of the big city cemetery simply by figuring he’d take the same approach to death as he had to writing. Keep it simple.
​

​There he was – Elwyn Brooks White – beneath a plain Jane marker next to his wife, Katharine Angell, also of New Yorker fame. Name, date of birth, date of death. That’s it. I half expected to see someone’s worn copy of “Elements” on top of the grave, but White’s devotees would never part with their copies. I have the one I bought at Auburn in 1971 and my late husband’s dog-eared copy.

The librarian was helpful and pointed out gifts from the Whites. There were two original Garth Williams drawings from the Stuart Little manuscript. The library has a small garden outside named for Katharine and E.B. White, who supported it with both money and hard work. Katharine helped with the garden design.

I went to the general store across the street and bought a scone and a t-shirt. I doubt if White hung out there much as he avoided strangers who felt like they knew him.

James Thurber wrote White would use the fire escape to get away from The New Yorker office whenever visitors he did not know arrived.

“He has avoided the Man in the Reception Room as he has avoided the interviewer, the photographer, the microphone, the rostrum, the literary tea and the Stork Club. His life is his own….”

He’s been dead since 1985, but it still felt awkward hunting E.B. White. But I wanted to pay respects, that’s all. So many times he’s saved me from myself.
Rather, very, little, pretty – these are the leeches that infest the pond of prose, sucking the blood of words….
​
That’s the kind of advice that helps a writer, day after day, word after word.

Mystery author Julie Smith sets her detective novels in big cities - but the award-winning writer is embracing the slower pace of living here in Bay St. Louis.

- Story by Rheta Grimsley Johnson, photos by Ellis Anderson
​

​Julie’s 20-plus books have been set in cities, New Orleans and San Francisco, so it is hard to imagine Julie living in a small, seaside, tree-canopied town with plenty of parking and little crime. But imagine again.
 

​ 
Early this year Julie and her husband, business consultant Lee Pryor, moved from the Marigny in New Orleans to Bay St. Louis and are happily embracing the slower pace. They thought about and explored San Miguel, Mexico, and Fairhope, Ala., among other pleasant destinations.
 
Like Goldilocks and her persnickity tour of the Three Bears’ home, Julie and Lee found Mexico too far, Fairhope too crowded and “already discovered” and something amiss everywhere they looked.
 
Finally, a “Eureka!” moment when it occurred to both that Bay St. Louis, which they visited often and always enjoyed, was just right. It is, of course, only an hour from New Orleans and their many city friends – not to mention Julie’s hair stylist – less expensive than the city, and lousy with the yachting that Lee enjoyed for years in New England and San Francisco.
 
So six months and 30-plus home tours later, they bought the shuttered house they had admired first of all in a photo, a charming coral cottage in a 10-year-old subdivision with adjacent green space, just off St.Charles.
 

Does she miss New Orleans? You have to ask.
 
“Not in the summer,” Julie says, quickly.
 
And after that you have to remember the first lines of “New Orleans Beat”: People hate New Orleans because it’s hot – certain people, that is, from the sort of bland, tepid climate that spawns good mental health and consuming boredom. In a hot climate, anything can happen….”
 
And you have to hope with fervance that the ocean breeze doesn’t unduly domesticate Skip Langdon. There is that danger.
 
Many days you find Lee on the porch drinking his coffee and spoiling their King Charles spaniel, Rambla. And Julie is indulging a passion for off-the-wall decorating, filling their new home with original art and bright appointments. She uses the same sense of humor employed in her mysteries to label the drawers on a dining room cabinet: Forged Passports, Alibis, Brass Knuckles, Stolen Securities, Fabergé Eggs….
 

​ 
But, mystery fans rejoice. Julie remains in the traces, daily handling a capacity workload of writing, publishing and marketing. After Katrina, Julie started an e-book publishing company called “booksBnimble” that specializes in mysteries – her own and those of other authors. She begins each day with editing and correspondence – “I get that out of the way first”—and changes pace later, working on her own stories.
 
Her home office is upstairs in a richly-appointed corner of the guest bedroom. Harem scarves soften the ceiling, and the view is blisss. But the Mississippi Gulf Coast might just inspire a murder or two if we’re lucky.
 
“I’ll set something here, I suspect.”
 
Julie’s mysteries are informed by her former life as a newspaper reporter for The New Orleans Times-Picayune and the San Franciso Chronicle. It was at the Chronicle that Julie decided she was tired of feeding the voracious daily journalism monster.
 
“I wanted to do my own work,” she says, remembering the day the straw broke her camel. The editor told her that the paper was going to become computerized, and that he’d noticed she hadn’t taken the training course designed to prepare reporters for the technological onslaught.
 
“I told him that day I was leaving.”
 

​ 
She appreciates the irony that now she’s up to her bangs in computer work and that most of her books are available only in the popular e-versions.
 
There was, of course, transition, and she and two other female writers who had to make a living with words formed a consortium of sorts called “Invisible Ink,” which did a little of everything, from editing other authors’ books to writing news releases for political candidates. Julie also did a stint for the San Franciso district attorney’s office, more grist for the mystery mill.
 
Even now, in the quiet Bay, her eyes brighten as a new friend recalls a long ago murder when a body was found in a chifferobe floating in St. Louis Bay.
 
There is hope, Skip Langdon, there is hope.

​Artist Cindy Easterling creates kiln glass works that reflect the beauty of life on the Gulf Coast.
​
- Story by ​Rheta Grimsley Johnson, photos by Rheta Grimsley Johnson and Cindy Easterling
​

​The motion of the ocean is reflected in the glass that has become Cindy’s passion, an art she perfects in a shed where kiln space is divided with rakes and shovels. The shed/studio is behind her old pink house near the beach in Pass Christian. The house looks like a beach house should, not some brick McMansion but a wooden relic that has withstood a lot and earned its defects.
 
“That’s why I chose it,” she says.
 
Her grandfather’s house in the Pass, where Cindy spent many happy childhood days, was heavily damaged in Camille, and her great-grandfather’s house destroyed. But that did not dampen her enthusiasm for the coast. Buying an old house in the same town appealed to both Cindy and her engineer husband, Bob, who loves to sail.

 
But right now they divide their time between the Pass and St. Louis, where her architecture business and Bob’s job and elderly mother keep them anchored. They hope someday to live full-time on the coast, and they plan their lives around that eventuality.
 
Cindy’s work has become increasingly popular all over the coast, and its distinctive transluscence and sea glass colors make it instantly identifiable. Some would say recognizable work is the mark of genius, like a Willie Nelson upbeat riff, or a Walter Anderson swirl.
 
Her fused glass work, also called kiln glass, began about seven years ago when she took classes from a neighbor at Craft Alliance Gallery in St. Louis.
 

​ 
“But it all really began in college with a bottle cutter,” she insists. That bottle cutter stayed on a shelf for more than 30 years until an empty nest and self-employment -- after years in the corporate rat race -- let her pursue her art again.
 
A New Orleans native, Cindy graduated from Newcomb College of Tulane University. She was in a fine arts curriculum but her father insisted that her degree must be in something “practical” enough to support herself, need be, so she finished in architecture as a kind of compromise.

Now, with time and the Mississippi Gulf as inspiration, she makes plates, vases, dishes, platters, ornaments and other glass delectibles, using American or recycled glass. They are both functional and decorative, but all beautiful. “I love the play and interaction of light on glass.”
​
​She likes to be able to see through the pieces, so usually at least two layers of flat glass are cut and fused together at high temperatures to add strength. Decorative flourishes can be more glass – descriptively called stringers, frits and confetti – or gold, silver, copper or other metals.
 
“The first thing that I do every morning is open my blinds and look out at the water, trees and clouds. It is different every day, and I never get tired of looking at the view.”
 ​

​ 
Her house designs through the years also spawned another hobby. Cindy hopes to compile a book of photographs she made of homes in the Pass before Katrina, which now can be found on her note cards.
 
Those photographs, she says, “are an outgrowth of looking through the lens at details” and different views of the homes she designed and the old homes she loves.
 
It pleases Cindy no end when her art projects find “a good home,” and other people see in her work the ocean, the sand and the vegetation of the area she loves.

A riff, a lyric or a chorus can transport us to a time long gone, to a place far removed, as we choose.
- story by Rheta Grimsley
​

​I filled my glass, put my feet on the leather ottoman bought on the cheap 30 years ago at a Jackson department store, and mentally strapped down for serious time travel. The shuffle feature made the trip more kaleidoscopic than chronological.

Bob Dylan, for instance, carried me ‘way back to Loachapoka, Ala., where oddball friends often gathered on old bedspreads in tall grass to solve the world’s problems. My back pages are in braille, a stubble of memory and meaning that feel good to touch.

Aretha took me to a dorm room in Auburn where a steam radiator hissed and, without irony, we sang “Natural Woman” while wearing electric rollers in our hair and cold cream on our unlined faces. Collegiate independence came with a safety net – “I’ve overdrawn my checking account, Daddy, and I don’t know how it happened.” – a sweet spot in life.
​

​The inimitable John Prine put me on the pristine banks of the Middle Fork of the Salmon River on an early June raft trip. We weekend adventurers ended each night around a campfire listening to Prine’s soft picking and the recitation of Robert Service poetry.

Before that trip, I didn’t know anything about either Prine or Service, two poets you discover you need while negotiating what Lewis and Clark called The River of No Return. Try bookending Prine’s “Souvenirs” and Service’s “Yellow” and your boat will float.

​Music is lightning. Every listen might just bring to your life something you didn’t know you couldn’t live without.

Speaking of rivers, Emmylou and Mark Knopfler sang Hank’s “Lost on the River” and reminded me that I come by my passion for music honestly. My father played Hank again and again on the first piece of furniture he ever bought: a Crosley record player, one with a lid that had to be cleared of Mother’s knickknacks to use.
​

Hank has been to my life what calcium is to women; you need more and more Hank the older you get.

I was enjoying myself immensely, feeling better and wiser with each selection, when suddenly Patty Griffin weighed in with her “Mother of God” song. “I live too many miles from the ocean,” she sang, “and I’m getting older and odd….”
I’m definitely getting older and odd, but thank goodness the first part of that lament doesn’t apply to me any more. I no longer live too many miles from the ocean.

Each time I go to the grocery or the bank I make a point to get at least a glimpse of the Gulf, the reason I’m here, the reason almost all of us are here.
I try to remember what a great gift it is to live on the edge of the sea, whence we came. Life and politics and aging may make us blue, bring us down, and send us running to the stereo and our most dependable old tunes.
​
But as long as I have what Jimmy Buffett called “Mother, Mother Ocean” a few steps away, there should be a smile buried somewhere in my wrinkles and a song in my flinty heart.
​

​Read more about award-winning author Rheta Grimsley Johnson on her website - you'll also be able to order her books! 

Former U.S. Ambassador and survivor of the 1998 embassy bombing in Kenya, Prudence Bushnell, tells that story in her gripping new book, "Terrorism, Betrayal and Resilience."   With the emphasis on resilience.  
- by Rheta Grimsley Johnson 

Pru Bushnell will be speaking and signing her book at Pass Books (300 E. Scenic Drive, Pass Christian) from 5:30pm till 6:30pm, on Tuesday,  January 29.

At noon on January 31 she will speak to a joint meeting of Gulfport’s Kiwanis and Rotary clubs.

In 1998, Pru was American ambassador to Kenya when the embassy in Nairobi was bombed by the radical Islamist group al-Qaeda – back before most of us had heard of al-Qaeda.

She did not die. Pru lived to tell her firsthand story of the bombing, its 213 fatalities and 5,000 casualties. A story that never inspired congressional hearings and is largely forgotten except by those who were there.

And in telling that story from a hard-hitting, non-partisan perspective, she illuminates flawed characters, policies and agencies.

For it isn’t always a flattering portrayal of the national security community or politicians. Her exchanges with Susan Rice, Madeleine Albright, Bill Clinton and other “name” public servants sometimes make you wince. This is a minefield of what-ifs.

Pru grew up in exotic places and largely patriarchal cultures, everywhere from Paris to Pakistan. Her father was in the foreign service, her mother the perfect foreign service wife, not an easy job that included, in post-war Germany, hosting orphans and helping widows.

But the men were in charge.

“As a girl growing up in the 1950s, it was inconceivable that I could become a leader, much less one who excelled in disasters,” Pru writes.

“My only role model was Joan of Arc, and I was well aware of what happened to her when she put on a pair of pants and led men.”

So it surprises no one more than Pru what a continuous adventure her life has been, a serial of true and turbulent stories that make a mockery of Hollywood and its “Homeland”-style heroines. From her first assignment in Dakar, Senegal, she has worn the pants and embraced the leadership role fate assigned her.

Before the embassy bombing in Kenya, Pru worked in Washington in the State Department’s Africa Bureau during the Rwandan genocide that slaughtered 800,000 people. 

“We were doing nothing to stop the killing, so I took it upon myself to call Rwandan military figures perpetrating the genocide to let them know we were watching and to advise that they would be held personally accountable for their deeds,” she writes. 

That episode of her life would be depicted in a movie, “Sometimes in April,” in which Pru is played by actress Debra Winger. 

The cover of her new book – Pru is walking away after laying a wreath at the bomb site in Nairobi – is a photograph by John McConnico that won the 1999 Pulitzer Prize for Photojournalism.
​
From Kenya, still suffering with post traumatic stress, Pru became ambassador to Guatemala, hardly a healing place. There she was burned in effigy and watched, from a distance, as the United States was attacked by al-Qadea on September 11, 2001.

Now retired, in theory only, she crisscrosses the country giving talks about leadership, mostly to women.  She lives in Washington with her husband, Richard Buckley, in a home with a view across the Potomac of the Lincoln Memorial.

This visit to the Pass is due to her friendship with former State Department employee and Pass resident Betty Sparkman.

The book, published late last year by Potomac Books, an imprint of the University of Nebraska Press, is on sale now at Pass Books.

One of the longest-running syndicated columnists in the country and author of eight books, award-winning writer Rheta Grimsley Johnson divides her time between Pass Christian and Iuka, Mississippi.  You'll find her books at Pass Books and other book retailers.  Read more about herhere.  

Southern author Rheta Grimsley Johnson unpacks sentimental sand dollars to decorate the Christmas tree in her out-of-step Pass Christian chalet.

I love my house.  Woefully out of step with prevailing style, it suits me. It also reminds me of a small wedding chapel at Georgia’s Callaway Gardens, where once, early on a December morning, I made vows I would not keep.

My house looks its best at Christmas. With a live tree in one of the big glass windows that fill the front, it is if the outside has slipped inside, blurring the lines between exterior and interior convincingly. Only unraked hickory leaves banked against glass reveal the demarcation.
​

The Christmas tree is up, no credit due me. Two nice young men from an Ocean Springs nursery set all eight flocked feet of it in its ready-made stand in the proper spot. They left. And now the tree looms unlit and bare and dares me to decorate. So far I’ve avoided it.

Somewhere in a laundry room that also serves as my office and domestic catch-all is a box of sand dollars I often use as ornaments. I picked them up on a St. Simons Island beach 43 years ago – Georgia, again -- bleached them white and strung ribbon through the holes nature gave them. Whenever they are touched, ancient sand still falls out. 

​I remember the day I found them. You could feel the sand dollars with your bare feet on the ocean floor before you could see them.
​
I realize that means the sea urchins were not dead when I harvested. The dollars that were dead or dying – “moribund” Wikipedia calls them – would have been on the beach being naturally bleached by the sun. My catches still had their velvety silica and were moving in concert and about their business, possibly even cloning, when my toes touched them.

Maybe that’s why they make such ideal Christmas ornaments. They come packaged with their own guilt, which powders the floor as I hang them.

And I will get around to hanging them. I always do. Else those urchins in the order Clypeasteroida would have died in vain.

Only a couple of times have I gone another decorating route. One recent year the tree was artificial and pre-lit, a gorgeous specimen I “won” at the Hancock Library tree gala, homage to those innocents killed in Paris by terrorists, and decorated with French flags and Eiffel Towers.

Something must jumpstart me into the season, reminding me to get through it. Probably it will be music. Usually is. The “Blood Oranges in the Snow” album Carole McKellar gave me one year is good for a nudge. That’s by musicians called Over the Rhine, a husband and wife duo that do the best cover of “If We Make it Through December” I’ve ever heard.
​

And there’s the holiday blues collection my New Orleans buddy John Bedford gave me as a gift one year. Till you’ve heard Charles Brown’s “Please Come Home for Christmas” three or four times nothing gets done.

You can run from the holidays, of course, but you cannot hide. For one thing, it’s hard to avoid the sight of an eight-foot tree covered in artificial snow in a small living room two blocks from the beach. Emotional blinders only hide so much.

By the time you read this I’ll have found the box, hung the sea dollars, played the albums, had a good cry and gone on about my holiday business. If I remember to water it, this monster tree might even serve for Mardi Gras. Or not. I’m usually first to the curb with leftovers.

The melancholy is as much a part of the season as tinsel and wassail. It passes.

And soon enough, the tree can be on the beach, fueling a bonfire, toasting the very toes that tentatively outlined the urchins that, with any luck, will go back in a shoebox and make the clutter cut for another 43 years.
         

Noted Southern author Rheta Grimsley Johnson joins an annual community party in a German village, where the vineyard harvests are cause for an unusual type of celebration. 

Nobody does it better. Except maybe … little Freinsheim near Mannheim, Germany, in the Southwest region called the Palatinate.

 I recently visited relatives in the town of 4,800 just after grape harvest. Freinsheim is at the center of seven wine-making villages. How’s that for convenient geography? So it’s a big deal when the grapes are picked and the new crop sampled.
​
Let me tell you about the party.

​I don’t speak a lick of German, so it was as if I’d slipped from Stage Left onto an elaborate theater set in a beautiful musical.  I didn’t know my lines but figured out the basic steps and sang and danced my way by following the others. Think Lucy Ricardo slipping into one of Ricky’s nightclub production numbers.

One Saturday afternoon on cue thousands of people wound their way through the endless grape vineyards and walked for miles into the sunset. But this was no sweaty, non-stop marathon in the name of exercise. Oh, no.

​We had only just entered the orchard when appeared the first kiosk selling tall glasses of new wine. The glasses were dimpled, the better to hold them, and the general idea was to throw back refreshment as you made your way forward to the next wine filling station.

A man sat on a stool and played a barely-recognizable “When the Saints Go Marching In” on an old accordion. People bought sandwiches made from a cow whose stripped-clean bones were still spinning on a spit. Neighbor greeted neighbor as if it had been decades since they’d met.

Thus refreshed, we tramped on for another few hundred yards and then did it all again. You could sip or chugalug, didn’t matter. You knew where your next drink was coming from.

Not everyone walked the entire course. Some cheated. A few families set up picnic tables between the vineyard rows and ate and drank at their leisure. Some lounged on cushioned chairs provided, I suppose, by the various wineries.

 Those ugly portable toilets that must be universal were the necessary evil, a scratch on a canvas that could have been painted by Monet. Men, as usual, had the advantage and simply wandered off down the rows to water the crop.
 
I kept walking and drinking, which is a lot easier than you might imagine. The new wine had about a  six percent alcohol content, roughly a beer’s worth. I’ve done the same thing getting to the far end of Ship Island while lugging a cooler.

The most amazing thing was that nobody in the wine-swilling crowd of thousands appeared drunk. There were no fistfights or loud words. The only music was the occasional accordion, yet it seemed as if our lubed conversation was orchestrated.

As the sun got lower and the crowd higher, I kept waiting for the down side of such a frolic, a sick teenager, passed out geriatric or an angry boyfriend. It never came. Now I didn’t stay into the wee hours and the scene might have changed, but somehow I doubt it.

Theirs is an old and grape-fueled civilization.

Almost before I knew it, my group had reached a vineyard hilltop that looked down on the red-roofed medieval village of Freinsheim. We rested. And drank some more.
​
We didn’t so much walk as float home. I kept thinking wistfully of a similar production along the edge of the Mississippi Sound, but I don’t think it would translate.

One of the country's favorite female syndicated columnists considers the rhythms of her recent retirement. 
- story by Rheta Grimsley Johnson, photography by Marc Lamkin 

Days would go by without people stopping by to look at the beautiful assortment of paintings, pottery and photography. I felt tempted to write “Art Doesn’t Bite” on the sign outside but somehow refrained.

Marc seems to be sincerely feeling my pain about the closing. Few do.

I mailed back his unsold photographs that combine humor, pathos and beauty in the strangest, most delightful way.  I felt like a fool. How had I failed to sell those?

And he wrote back that both of us are goal-driven, needing a project, something to work toward. “We don’t golf, sew, hunt or hike,” he said. So, he reasoned, we feel rudderless in retirement.

An architectural photographer by trade, Marc still shoots a couple of “official” jobs each year, but mostly now sits on his deck and lets the subject matter come to him. He shares a lot of pictures of sunsets, flowers, grandbabies and rainbows. They are beautiful. I find them infinitely more interesting than 99 percent of the art photos I’ve seen in coffee table books and museums.
​
And yet Marc admits to missing real deadlines and relentless struggle to get a job done just right. But probably not enough to leave his comfortable perch and his big loving family and take to the road again. 

Therein lies the retirement conundrum. We miss the work but not enough to do anything about it. I loved the road for a long time but had rather take a beating now than drive more than 20 miles -- unless the road is in France.

I used to think nothing of writing four columns a week. Now I struggle to write one essay every other month.

My idea with the gallery was to exploit the artists and other creative folk I’d met in four decades of trolling for columns. I would have art receptions, book-signings, music events and cartoon exhibitions. I would do all of this in a town of 3,000 that has six auto part stores, 12 beauty salons, 22 churches and not much else.
​
The work would be different, more social than sitting at a computer by myself for hours each day while attempting to turn a phrase. I was good at my job, but I was tired of it, too.

If anything, the gallery proved lonelier. But I still can’t admit it was a stupid idea. There was, I believe, potential. Good ideas don’t always net good results. If you build it, they don’t necessarily come.

The things I worried about seem silly now.  I worried about having enough inventory, and now  struggle to return much of it. I worried I didn’t know enough about art to start a gallery. Turns out, I knew far too little about business to start a gallery.

Right out of college I tried to birth a weekly newspaper. After 26 weeks, the adventure was over. I swore to myself then that I’d never be in business for myself again. Until two years ago, I remembered the lesson.
​
Marc says I get points for trying. He charitably called me a “risk-taker,” which is a nice way of saying I threw a lot of money at a vision nobody could see but me.

Retirement makes some of us hobbyists, travelers or philosophical. Others of us still search for our retirement rhythm.

 We remember our old jobs – the hard work and daily deadlines, bad food, bad roads and lonely nights -- the way Marc remembers the dreaded humidity. At the core of our beings. 
​
And, still, we miss it.

Rheta Grimsley Johnson was one of the longest-running female columnists in the country and beloved throughout the South. Her website contains a selection of past columns and more about her books.  

Award-winning author Rheta Grimsley Johnson checks out a new and unusual cookbook for Southern swamp to table meals. 
- by Rheta Grimsley Johnson

Anne, with bearing as regal as you’d expect the doyenne of a family plantation to exhibit, has written books on travel, crime, the misadventures of running a bed and breakfast and, most memorably, her own story – being shot and left to bleed out by an estranged husband, the former warden of Angola. She’s penned a couple of children’s books as well.

Recently her home was the setting for a Hallmark Channel movie, one of those romance stories that has scenery so beautiful you don’t mind the show is missing good acting and a plot.

This time out my author friend is wearing her good citizen hat, helping to tackle what’s become a real problem in the woods of Mississippi, Texas and Louisiana and, yes, her own lush but manicured backyard.
​
The Big Badass Boar Cookbook, co-authored by Amanda McKinney, reports that wild pigs are more destructive than nutria and may be “the most prolific large mammal on the face of the earth.” Feral hogs average six piglets per litter and can have several litters per year.

 Turns out, however, there may be a way to control the population and help end the $1.5 billion national cost of wild pig damage to agriculture and the environment. Eat them. The book says wild pigs are good to eat.

“When prepared properly so that high temperatures destroy any internal bacteria, they are safe, tasty and cheap.”

Being a responsible sort, Anne includes in her book a list of diseases that humans and hunting dogs can get while cleaning, butchering, handling or eating wild pigs. It sounds a little like the inevitable side effects list whispered quickly at the end of television ads for pharmaceuticals.

Swine brucellosis, leptospirosis, trichinosis, toxoplasmosis tularemia and swine influenza are reasons, for instance, that the Louisiana Department of Wildlife and Fisheries no longer provides any recipes for cooking your wild boar kill.

This cookbook, however, gets past the warnings about safe butchery and cooking to share both high- and low-church recipes. Famous Chef John Folse is included. So is John “JD” Desselle with his “Wild Hog Street Tacos” and Kerry Bordelon with “Real Hog Headcheese.”

I haven’t been offered any of the 180,000 pigs killed in Louisiana per year, or from anywhere else, so I probably won’t be using the recipes, though I love game and love to eat and try to keep an open mind when it comes to food. I’d sure try a hog if I knew the source – and the cook. The taco especially sounded good.

The cookbook mentions nutria and how Louisiana chefs also concocted recipes for those rats. It took pseudo-sophisticated New Yorkers to belly up, however, and then only after menu writers got creative and used the French for nutria -- ragondin -- and made the rat sound better than it tasted.

I never tried it; I owe nutria nothing.

Once, in Leland, Miss., city hall tried to solve a beaver problem in the town’s picturesque Deer Creek by introducing alligators. You can guess how that story ended.
I call it The Kudzu Syndrome. The story often ends badly when something is plopped into an environment not its own. Anne’s book says Spanish explorers brought us the wild boars. My alma mater Auburn, or at least its extension service, gets the blame for kudzu. Louisiana fur farmers for nutria.

The moral of this story? Look before you leap. Cook before you eat. One man’s beast is another man’s pate. A wild boar in the pot is worth two in the bush.
​
Stop me before I hurt myself.
 
 

As author Rheta Grimsley Johnson's time with an old friend comes to a close, she looks back on the years they've spent together. 
- by Rheta Grimsley Johnson

Many children get stylish monikers so that any given year a kindergarten class has six Jennifers or 12 Matthews. It’s as if a committee somewhere takes a vote.

I always try to envision yelling a dog’s prospective name loud and long into a populated world without sounding foolish.  I try to keep it simple.

Boo was the perfect name for a perfect piebald, brown and white, mixed-breed. I’ll admit. I first wanted him just to release some of the pressure cooker steam that powered my young yellow Lab, Mabel. I wanted another energetic puppy to run her ragged. 

Boo did that and more. He was devoted and diligent, even after he caught a slow-moving pickup truck that broke his leg. It was set but never mended properly. That didn’t slow him much, not for a decade and a half anyhow.
​
Boo was born to play toady. He didn’t seem to mind leftover collars and leashes and bowls. He took whatever bed that was left, possibly remembering the hard ground from his year in the joint. As long as he got enough food, he was uncomplaining, even happy.

Boozoo has outlasted the elegant Mabel and several other faithful dogs. What’s more, I have lived with the little man longer than I’ve ever lived with anyone, including my parents. I have been divorced and widowed and, let’s just say, will never be in a church basement celebrating 50 years of marital bliss. Boo probably is as close as I’ll come to a lengthy and successful coexistence.

Life without him is hard to imagine.

But on a recent Sunday I had to start. Imagining. Life without Boozoo. Friends took turns digging a grave for him across the branch in the hollow in North Mississippi where I spend much of my life.

Boozoo had fallen, reinjuring that old break in his front leg. He’d essentially been a three-legged dog for all these years, but now he was down to his two back ones, those stiff and straight from arthritis. Any attempt to walk sent him crashing on his head, or sometimes his side. When that happened, he thrashed about frantically like a beached fish and yelped.

The plan was to take him to his veterinarian on Monday, soon as she opened, let her inject a little mercy and bring his tired carcass home. Plans are for fools.
​
The doctor couldn’t see us till 2 p.m. I was glad for the extra time. I spent most of that day lifting Boo to wherever he needed to be, and then watching him sleep a fitful sleep. Because he’s always been about the feed bowl, I gave him extra and special rations.

Once as a reporter I covered the execution of a man at Parchman Prison. His sadly plebian request for a last meal was Sloppy Joes.

I gave Boo Vienna sausages. I knew from experience – countless fishing expeditions as a child – what a guilty pleasure those could be.

I left a little early for the vet’s office to drive a way we never go. My thought was that by using a different route Boo wouldn’t suspect our destination.

I went inside and told Boo’s doctor what was happening and asked if she’d bring her needle to the car. She pressed me to allow an examination.

I rather reluctantly brought Boo to her table, resenting the trauma that he always feels when boosted onto the slick exam table. Not a good last memory, I thought. Better to have ended with Vienna sausages.

“It’s not broken,” she said. “We could try an anti-inflammatory and if it’s going to help it will help quickly.”

That is how Boo and I soon were on our way back to the hollow, adjusting to a new routine. The shot made a dramatic difference. The pain seemed to go away. He still stumbles but less frequently.

Boo for the first time is the center of attention. The other dogs sense he’s been promoted.

And I am walking that fine line, doing a little stumbling myself. It is hard to decide when to let go. On the one hand, it’s easy to do all you can for an old, old friend who has never made many demands before. But I don’t want to make Boozoo – veteran of The Joint – suffer needlessly.

For now, at his doctor’s suggestion, we soldier on. “It won’t be for long,” she said.

Boo has been through all the states between Mississippi and Colorado. He has visited in Alabama, Louisiana, Georgia and Tennessee. He’s been in the back of a half dozen vehicles and on the cover of a book. He’s growled at one person, nipped one person, fought occasionally over food, but mostly been a sweet-tempered, long-suffering, patient-to-a-fault companion.

The pile of dirt across the branch is a constant reminder of Boozoo’s ultimate destination. Pulling back from it, if only for a few days, feels right.

​Rheta Grimsley Johnson believes she was privileged to know a few of the old-school, legendary reporters from 'way back when print ruled journalism. One of them was Mississippi's Bill Minor.

Editor's Note:  There's a free showing at the documentary about Bill Minor Rheta refers to in this story on Thursday, April 12, 2018, at the Gulfport Westside Community Center, 4006 8th Street, Gulfport.  There's a reception at 5pm and the screening starts at 6pm.  It's sponsored by the Historical Society of Gulfport.

In George Wallace’s Montgomery, I grew up on Ray Jenkins’ liberal editorials, the “Ask Andy” science feature and the comics. Especially the comics. I must admit that Brenda Starr might have had more to do with my career choice than Huntley, Brinkley and Ray Jenkins combined.

Not to disparage today’s working press – enough unfounded criticism twiddled and Tweeted lately – but I miss the staccato rhythm of the old-fashioned newsroom and the disposition of old school reporters. They never expected to be liked, for one thing, which is probably why they sometimes were idolized.

Two things happened recently to satisfy my nostalgic longings for solid, shoe leather journalism out of the Damon Runyon mists. One was the movie “The Post,” which celebrated the guts it took for The Washington Post to publish the Pentagon Papers.

I went to the movie not expecting to like Tom Hanks as Ben Bradlee, though I like Tom Hanks. I simply didn’t think he could reach the gravitas bar that Jason Robards set so high in “All the President’s Men.” But Hanks did. He exhibited the sardonic wit and passion for truth that characterizes the best in the trade. If your mother says she loves you, check it out.

The second surprise was local, a documentary screening in the Pass Christian library of
“Bill Minor, Eyes on Mississippi; The most essential reporter the nation has never heard of.”

The room was full. In the film the late, great reporter Bill Minor pretty much narrates his own story, drawn out by the questions of Ellen Ann Fentress, producer and director. Ellen Ann was hired by Bill when for several years he ran a liberal alternative weekly in Jackson, The Capitol Reporter.

In all, Louisiana native Bill Minor wrote from Mississippi for 70 years, beginning with Theodore Bilbo’s funeral in 1947. His long career of civil rights reporting began then, writing for The Times Picayune until that New Orleans paper closed its Mississippi bureau. In his last decades, he wrote syndicated columns that did what they could to keep the state’s politicians accountable and honest.

Throughout his long reporting career, Bill Minor made enemies, the right enemies, and was threatened and sued and maligned. 

Our paths crossed in the early 1980s in the Capitol Newsroom in Jackson. Minor was introduced to me as the dean of Mississippi journalists, a title he earned. He also was a really nice guy. 

As a reporter for Jackson’s struggling United Press International, I quickly learned that Bill was the man to see if you had a question about anything to do with the state’s byzantine politics. He had the key to the vault of institutional knowledge. And he didn’t mind sharing.

I last saw Bill in Athens, Ga., at an annual gathering of old civil rights reporters given an ironic lofty title, the Popham Fellowship. It was named for John Popham, a celebrated New York Times reporter who traveled the South to the tune of 50,000 miles a year. His race reporting was the gold standard.

I was there to write a column in 1999, the year Popham died. The decision had to be made whether to continue the yearly gathering. It was an emotional, inspirational scene. I’ll never forget the arrival of one of my professional heroes, Bill Emerson, formerly of Newsweek, holding his portable  oxygen apparatus in one hand, his whiskey bottle in the other.

I can’t remember how the vote went about future meetings, but I will remember till I die roaming the halls of the unremarkable chain hotel amongst the giants of our print trade, including Bill Minor, Claude Sitton, Joe Cumming and the aforementioned Ray Jenkins. The war stories were from the front line. The wit and stamina was legendary. An era was winding down, but not quietly. 

When Chet Huntley retired from The Huntley-Brinkley Report in 1970, the network gave him a horse because he was moving home to Montana.

Huntley lived only four years after retiring. 

Bill Minor died last year at age 94, still reporting and writing until almost the end, when he became too ill. His last columns were among his best; there was a lot that needed saying.
​
He never left Mississippi or abandoned his hope that race relations and hearts here could change. I am not alone in missing him.

Find out more about Rheta's books at RhetasBooks.com.  Rheta's gallery/shop, Faraway Places, is located at 102 West Front Street, Iuka, Mississippi.  ​

Award-winning author Rheta Grimsley Johnson unpacks her holiday decorations and some thoughts about what's supposed to be "the happy time of year." Big Bonus: the recipe to Lera Johnson's Oatmeal Cookies.  

Find out more about Rheta's books at RhetasBooks.com.  Rheta's gallery/shop, Faraway Places, is located at 102 West Front Street, Iuka, Mississippi.  

Maybe we weren’t “laid off down at the factory,” as Merle wrote about, but not all years are created equal. Some simply suck.

That’s when it’s time to put one Size Nine in front of the other and carry on. If you think you’ve sensed a mood here, you have. I don’t mean to hate December/It’s meant to be the happy time of year…

Sometimes by simply going through the motions you get caught up and carried along. So I trudged through the carpet of leaves to the storage room behind the car shed. In it are the Christmas boxes shoved haphazardly into hibernation in past years.  Starting the intimidating task of unloading decorations didn’t make me merry, but it did make me thankful.

I put “Blood Oranges” in my boom box and began.

There is the music box my sister made in ceramics class back when there was such a thing as ceramics class – back before double-knit. Mr and Mrs. Claus dance before a mantel with stockings to the tinny music of “I Saw Mama Kissing Santa Claus.” On the ceramic calendar hanging by the ceramic fireplace the date is December 24, which is exactly when the handmade gift arrived in Jackson, Mississippi, the year I Iived in a South Jackson rental we called The Smurf House. My former husband and I shared the big house with several single men, and the Smurf theme seemed obvious and stuck.

The two vintage plastic snowmen come tumbling from another box, top hats at jaunty angle. I remember the first Christmas Terry Martin spent across the road from me in his little red house. He gave me those retro Frosties. The warm feeling having him so close gave me was the real gift. How many people can say their closest neighbor is not just a geographical accident but someone in philosophical and political agreement about almost every fundamental thing?

Not many. We are blue dots in an ocean of red.

The red sled my niece Chelsey made from Popsicle sticks remains intact, despite my careless packing.  So does the Plaster of Paris snowman with stick arms. A friend’s child sold me that treasure from his private fund-raiser.

Children are not only clever but enterprising.

By my sofa are a dozen or more of those home and garden magazines that make you want to burn down your own house and start over. I wonder where the people with thematic, color-coordinated trees and rooms stash their stick sleds and Plaster of Paris snowmen.  Worse yet, how do healthy people justify not decorating at all?

Next from the bubble wrap rubble comes the chalk Santa my father won for me at a Florida county fair. I was six. He was deft at pitching nickels. The games back then evidently weren’t rigged.

And if the Santa is coming out, so must the snow globe my mother mailed at great expense when she heard my modest collection had frozen and burst. The event cured me of collecting, but Mother insisted I should have one globe at least.

I find the straw animals my friend Edwin “Whiskey” Gray has given me over a dozen years. They are the ornaments that remind me of France, not unlike the ones sold at the flower market that surprises you when you emerge from the Metro. Chelsey once told me that anything I really love reminds me of France, and I guess that is true.

Speaking of. I search for and find the three French hens painted on a red egg replete with the Eiffel Tower.

Unpacking accomplished, I’ll next bake the late Lera Johnson’s oatmeal cookies, a recipe that makes enough to share with her two grown sons. Back when folks cooked with Crisco and I was young, hungry and skinny – not to mention terrified of what the future held -- there was one thing you could count on. Whenever I stuck my hand into my mother-in-law’s cream-colored cookie jar, I never once hit bottom.
 
Lera Johnson’s Oatmeal Cookies

3 cups Quick Oats
1 cup brown sugar
1 cup white sugar
1 cup Crisco
1 cup nuts
2 eggs
1 and a half cups flour
​
Cream sugar and Crisco; mix in eggs, oats, flour and pecans. Bake at 300 degrees until brown.
                  

Across the Bridge - Oct/Nov 2017

Award-winning author Rheta Grimsley Johnson on how art has the power to transport and transform us - especially the work of Mississippi coast artist John McKellar.

Find out more about Rheta's books and read her latest syndicated columns at RhetasBooks.com.  Rheta's new gallery/shop, Faraway Places, is located at 102 West Front Street, Iuka, Mississippi.  

 The man can write – I mean McKellar as well as Melville.

You might say John is the Sybil of coast artists, with multiple personalities, defying categorization and having fun.

I went to a recent “pop up” exhibition – I question that term; nothing as good as this “pops up” like a ring of mushrooms -- at the Ohr O'Keefe Museum of Art’s Creel House in Biloxi. Along with John and Kerr Grabowski of the Bay was Mary Hardy of Ocean Springs.  The talent was thick enough to spread on French bread.

The small cottage was so full of admiring art patrons that I had to spend a lot of time outside near the taco truck. It was exactly the kind of enthusiastic turnout that gives the coast its well-deserved reputation for artistic appreciation.
​

I think coast artists are a bit spoiled by such gung-ho receptions. Nobody sits alone in a gallery waiting to be noticed south of I-10. Up here, bumping on Tennessee, it’s often a different story.

I’ve spent the past year trying to start a shoestring gallery in Iuka, population 3,000. I’m making it up as I go along, and learning a lot about art and humanity. From my perspective, it would seem there are far more good but starving artists than patrons, at least in my particular neck of the woods.

 Almost every day, some eager artist without a place to show his or her work arrives with an excellent portfolio, often stored on a telephone. I don’t have the room or budget to accommodate all the deserving painters and photographers and potters who drop by. It is a shame, really, how much talent stays stacked up in remote studios instead of hanging on museum or gallery walls.

Just today I went with a friend to the library and had to turn on the exhibit room’s light to see some wonderful watercolors by a local artist. We were the only visitors.

I’ve puzzled much over the difference between communities that don’t just embrace but bear-hug the arts, compared to those towns that think a painting is a frill meant for rich folk.

It is not.

When I was a young girl, my mother bought the kind of art she could afford: two prints in cheap wooden frames of Asian street scenes. She didn’t pay money for the art, but swapped the Top Value stamps she collected at the Kwik-Chek grocery store in Pensacola, Fla.

Now even at the Top Value redemption center there were more practical choices than art. Lamps, cookware, dishes. Mother, however, seemed hungry for something pretty to look at as she went about her housewifery day after day. She chose art.

I can remember sitting on the floor beneath the two prints and making up stories to go along with the rather generic street scenes. In one, a beautiful woman was scurrying along, and I imagined where she might be headed. I never gave out of storylines, which sometimes overlapped with what I’d last seen on “Gunsmoke.”

That’s what art does, in a way. It transports us to places we may never visit, inspires us to think about both foreign ports and home in a different light. It makes us yearn to be seaside, or in the mountains, or on top of a worn bedspread next to a yellow dog.
​
It sometimes makes us laugh.

John’s Cat Island is the South on my inner-compass, a destination hidden in my heart and head.

One of the South's beloved writers, Rheta Grimsley Johnson, takes a fresh look at her Iuka homestead through the eyes of good friends. 

Find out more about Rheta's books at RhetasBooks.com. Rheta's new gallery/shop, Faraway Places, is located at 102 West Front Street, Iuka, Mississippi.  You can also look for it on Facebook!

I’m not being falsely modest here. I love my place in this dark hollow the way a parent loves her child, but it has – and always will have – rough edges. I see this most clearly in the days leading up to special company.

I do my best to stage it for visitors. I cut and clean and hide and polish. I even wash windows. But minutes before the scheduled arrivals, I take a look around and see the truth.
The yard is a yard, not a lawn, and it looks good for approximately half a day after mowing.

Then the briars and the weeds and the gum balls begin to compete for attention, and visitors realize the endless river of green they first glimpsed is hopelessly polluted. It’s not a space for playing croquet, but more like a practice field for teaching youngsters how to drive a pickup with a straight shift.

The “house” really is a collection of two small cabins, one bedroom and one bath respectively, made less claustrophobic with a screened porch tacked on each. You better like your hosts and those with whom you travel when you land here.

​And don’t think quaint. There is none of the “cottage charm” that Bay St. Louis residents take for granted, but instead a 1950s look with low ceilings, thin floors, inherited furniture and too much sentimental swag. Clutter is clutter is clutter.

But this is a story of redemption, so stick with me. My sister-in-law from another life used to say that we, the permanent residents, eventually are the last not to see the worst things about our own abodes. We’ve grown used to the problems and no longer notice the wavy Sheetrock and rotten eaves. That’s not true, not this summer. I see it all.

As I sit wondering what the latest guests must think, they tell me.

A visitor cries out, and I think she must have slipped on the mildew-covered walkway between the cabins, something I’ve done myself. “Look, look,” she says, pointing. One of last night’s crop of luna moths is sticking around. They routinely beat against the wickedly irregular windows in the back room, drawn to the light.

Together we study the moth’s green velvet wings.

That night the visitors see the stars in a sky uncluttered with ambient light. They remark on the lightning bugs and rhapsodize over the lack of traffic. They hear the whip-poor-wills and owls and frogs. They notice things I take for granted. But good things.

The next day I take them to the old pontoon boat that floats in a nearby Pickwick Lake marina. Earlier in the season I’d wrapped the cracked vinyl seats like big birthday gifts with a few yards of sale cloth in a color that matched nothing else on the boat.
​
“Oh, what magnificent spider webs,” one visitor says, just as I am about to knock the webs down with a broom I keep aboard for that purpose. 

I drive most guests to the late Tom Hendrix’s wall in nearby Florence, Ala. He spent a quarter of a century building a mile-long wall from eight million pounds of river rock he harvested and hauled himself. The wall honors his Native American great-great grandmother’s five-year trek home from Oklahoma after her forced march on the Trail of Tears.

In a world where people like lively entertainment, a rock wall is a quiet anomaly. But my visitors get it.

We picnic on the Tennessee River along the Natchez Trace. The breeze is constant, the conversation lively. And suddenly I’m proud of where I spend half of each year, half of my life. Domestic imperfections seem inconsequential, dwelling on them silly.
​
If you invite the right people, if you have the right friends, gracious living is a given.

Author Rheta Grimsley Johnson remembers a friend who understood the value of many things, especially silence. 

All this happened after my second husband, Don, died in 2009. I could not suffer fools, who seemed all of a sudden to be everywhere. It was a regular fools’ convention, gathering outside my door.

Many wanted to compare their own grief with mine, as if we were in a global grief competition. When my mother died, they’d begin, meaning well and telling best how to cope, irritating beyond belief. Or, someone might recall with misty eyes, when my husband died 30 years ago, I swore never to remarry and have not. Bully.

They congregated on my porch and ate and drank and laughed, all in the name of keeping me company. I wanted desperately to be alone. They left me alone when I wanted company. Fools, fools, fools.

Everyone had an opinion about honoring the dead. Some lobbied for marble, replete with dates, else The Almighty would not know the deceased was deceased. In-laws and friends wanted some of the ashes to feel more a part of the sorrow. I resisted.

I wanted to scatter most of Don’s ashes by myself in the Atchafalaya Swamp. I thought it fitting. His happiest hours were in that swamp. By himself.

Problem was, I had a plan but no boat. But I knew someone who did.

I drove all day from North Mississippi to Henderson, La., straight to the home of a friend who did not irritate me. Not then, not ever.

Greg Guirard was standing in his yard as if we’d had an appointment. I told him my mission. “I’ll take you to a pretty place,” he said. That was it.

​Because he was a crawfisherman, his yard always was full of boats of every size and description. Motors hung from tree limbs like over-sized fruit. He backed my old red Ford to one of his boats on a trailer, and quickly – we were trying to beat sunset – we drove to the nearest landing.

The pretty place was Bayou Benoit. Greg had a houseboat bobbing there. He disappeared, not literally, but leaving me alone to the most private of tasks. I don’t remember that he said a word. No intrusive or sentimental claptrap worthy of Hallmark. No suggestions about moments of silence. No toasts. Certainly no prayers.

Greg got us back to the landing and my truck before dark.

When Greg died last month, I mourned again. This time I find myself on the irritating side of the grief equation. He was a man who meant so much to so many people that I want to grab strangers by the lapels and tell my Greg stories, to explain his worth again and again. Now I am the noise.

What was there about his calm presence that inspired so many? He taught literature, wrote books, took countless swamp photos, fought environmental battles against oil companies with his fellow crawfishermen. He reclaimed sinker logs, made beautiful cypress furniture, planted oak and cypress trees, lived simply, honored his elders, had an amazing sense of humor and was one of the best-read men I’ve ever known. And he helped a widow scatter her husband’s ashes.

But none of that exactly explains why he will be remembered when so many of us will not.
It is tempting – and irritating – to make a dead Greg into a super hero.

“Greg,” I once said to him while tagging along to check crawfish traps. “You are a beacon of contentment.”

“I’m a beacon of Lexapro,” he retorted.

He was the most guileless of heroes, the most modest of men.

For my money, it was mainly this that made Greg Guirard unforgettable: He knew when to stop talking and listen. His deafness made him bend forward as if he wanted to hear everything you might utter. As if yours was the most important voice, not his.
​
And now, I perhaps have sated your curiosity about a giant of a man. I will take a page from Greg and from here on remember him in silence.