Search Results for: The Morning News

Convenience Store Woman

Photo by Aaron Gilbreath

Sayaka Murata | Convenience Store Woman | Grove Press | June 2018 | 21 minutes (5,652 words)

A convenience store is a world of sound. From the tinkle of the door chime to the voices of TV celebrities advertising new products over the in-store cable network, to the calls of the store workers, the beeps of the barcode scanner, the rustle of customers picking up items and placing them in baskets, and the clacking of heels walking around the store. It all blends into the convenience store sound that ceaselessly caresses my eardrums.

I hear the faint rattle of a new plastic bottle rolling into place as a customer takes one out of the refrigerator, and look up instantly. A cold drink is often the last item customers take before coming to the checkout till, and my body responds automatically to the sound. I see a woman holding a bottle of mineral water while perusing the desserts and look back down.

As I arrange the display of newly delivered rice balls, my body picks up information from the multitude of sounds around the store. At this time of day, rice balls, sandwiches, and salads are what sell best. Another part-timer, Sugawara, is over at the other side of the store checking off items with a handheld scanner. I continue laying out the pristine, machine-made food neatly on the shelves of the cold display: in the middle I place two rows of the new flavor, spicy cod roe with cream cheese, alongside two rows of the store’s best-selling flavor, tuna mayonnaise, and then I line the less popular dry bonito shavings in soy sauce flavor next to those. Speed is of the essence, and I barely use my head as the rules ingrained in me issue instructions directly to my body.

Alerted by a faint clink of coins I turn and look over at the cash register. It’s a sound I’m sensitive to, since customers who come just to buy cigarettes or a newspaper often jingle coins in their hand or pocket. And yes: as I’d thought, a man with a can of coffee in one hand, the other hand in his pocket, is approaching the till. I quickly move through the store, slide behind the counter, and stand at the ready so as not to keep him waiting.

“Irasshaimasé! Good morning, sir.”

I bow and take the can of coffee he holds out to me.

“Oh, and a pack of Marlboro Menthol Lights.”

“Right away, sir.” I take out a pack of the cigarettes and scan the barcode. “Please confirm your age on the touch screen.”

As he does so, I notice him glance at the hot-food cabinet. I could ask him whether he’d like anything else, but when a customer appears to be dithering over whether or not to buy something, I make a point of taking a step back and waiting.

“And a corn dog.”

“Right away, sir. Thank you.”

I disinfect my hands with alcohol, open the hot cabinet, and take out a corn dog.

“Shall I put the hot food and cold drink in separate bags?”

“Oh no, don’t bother. Together’s fine.”

I put the can of coffee, cigarettes, and corn dog into a small-size bag. Until then the man had been jingling the coins in his pocket, but now he suddenly moves his hand to his breast pocket as though something has just occurred to him. Instantly I deduce that he will use electronic money.

“I’ll pay by Suica.”

“Certainly, sir. Please touch your card here.”

I automatically read the customer’s minutest movements and gaze, and my body acts reflexively in response. My ears and eyes are important sensors to catch their every move and desire. Taking the utmost care not to cause the customer any discomfort by observing him or her too closely, I swiftly move my hands according to whatever signals I pick up.

“Your receipt, sir. Thank you for your custom!”

“Thanks,” he says, taking his receipt and leaving.

“I’m sorry to have kept you waiting,” I say with a bow to the woman next in the queue. “Irasshaimasé. Good morning!” Read more…

On Not Being Able to Read

Kaimantha / Unsplash, Photo illustration by Katie Kosma

Tajja Isen | Longreads | August 2018 | 14 minutes (3,869 words)

They told me I wouldn’t be able to read anymore. That the pleasure of the text, like a lover in a non-law degree, would slowly grow opaque to me — if pleasure were something I even had time to consider. In exchange, I’d learn how to do other things with words: plow through pages of bad legal prose and extract the principle like an animal’s delicate skeleton. Hold up the skull to the dim courtroom light and proclaim its equivalence to the fossils of a different era, a strange phrenology. Memorize the divots in the bones of critters past. Legal education calls this “learning to think like a lawyer.”

After a few weeks of living that story, my body and I revolted at cross-purposes. The stresses of the program congealed into physical illness, which offended me; more often, panic meant productivity. Rather than resting, I hauled myself to a campus book sale I can only recall in feverish splashes — an indiscriminate hunger to grab and possess; the close press of bodies in airless rooms; violent shivers that kept sending my stack of books askew — and somehow came home with a shelf’s width of volumes: Stendhal and Dickens and DeLillo and Mann; Maugham and Poe and Davies and Irving; Gallant and Munro and Atwood and Moore. Mostly men, all of them white, and completely in violation of my network of rules for used book condition. More striking still was that nothing in the stack seemed to call to me, which was likely strategic. Even fever-drunk — a state in which, apparently, I backslid into canonical reverence — I sensed that it would lessen my feelings of loss if the books I kept around me were not ones I burned to read. Loading up my shelves was more gestural than practical; a finger to the mythos of the law school and a memorial to a version of myself that I refused to let disappear entirely. Read more…

Finding True North

Illustration by Kevin Whipple

Amy Bracken | Longreads | August 2018 | 27 minutes (6,729 words)

Samuel* bears the scars — above his mouth, on the top of his head, on both arms, on one leg — six bullet wounds in all. They’ll be considered as evidence when he goes before a Canadian immigration judge and he’ll have to tell the story that still makes his voice shake, about how gunmen attacked him at a Port-au-Prince intersection in 2013 and left him for dead. As a young police officer, he had witnessed men transporting weapons and drugs hidden in a truckload of plantains. Two of Samuel’s colleagues who were also present at the time have since been killed, he says, and when Samuel was shot at again in 2015 while taking his children to school, he knew he “had to leave Haiti.”

Thus begins the story of how Samuel, his wife, Darline, and their 1-year-old boy found themselves in a basement apartment on a chilly fall day in a quiet neighborhood of Montréal. They are part of a massive influx of asylum-seekers — mostly Haitian — who fled the United States for Canada last summer. They came at the peak of that influx, in early August 2017, when every day more than 200 people took a bus to upstate New York, then a taxi to the border, where a country road ends in grass and a well-worn dirt path. They breached the invisible boundary and turned themselves in to a Canadian Mountie, setting in motion the long process of trying to start a new life in a new country.

The urge for so many to leave the United States began to build with the election of Donald Trump and his anti-immigrant rhetoric. Then, in spring 2017, John Kelly, Secretary of Homeland Security at the time, announced that Temporary Protected Status (TPS) for Haitians would expire in January 2018. TPS had been granted to some 50,000 Haitians living in the United States, protecting them from deportation, after a massive earthquake struck their country in 2010. Although Secretary Kelly said that renewal of TPS was possible, he suggested it was unlikely, and he urged recipients “to use the time before January 22, 2018, to prepare for and arrange their departure from the United States.” (In November, the Trump Administration announced that TPS for Haitians would instead end in July 2019.)


Kickstart your weekend reading by getting the week’s best Longreads delivered to your inbox every Friday afternoon.

Sign up


Canada became the destination for TPS recipients and many others when, in June, social media messages encouraging Haitians to apply for residency here, some even falsely claiming that the Canadian government would cover all fees, went viral. The messages spread feverishly among Haitians across in the United States and beyond.

The number of asylum claims at the Québec border had climbed since the start of 2017, but then it shot from 975 in June to 2,775 in July, and more than doubled again to 5,650 in August. Most of those claimants were Haitian.

A so-called “safe third country” agreement between the United States and Canada, in place since 2004, means that anyone presenting himself at a U.S. border station crossing to seek asylum in Canada must be turned back — with few exceptions made for some, like those with close family ties in Canada. The rule does not apply to those who cross between official ports of entry, have themselves arrested, then apply for asylum in Canada. With much of the U.S.-Canada border dominated by lakes, rivers, and remote fields, and with much of the U.S. Haitian population based on the eastern seaboard, the accessibility of the New York–Québec stretch made it the chosen entry point for the vast majority of migrants.

Samuel* bears the scars — above his mouth, on the top of his head, on both arms, on one leg — six bullet wounds in all.

As the number of irregular border-crossers mounted, public officials, service providers, and the media focused heavily on the misleading social media messages that encouraged them to come north, suggesting that deception was largely responsible for the influx and that those messages were setting migrants up for disappointment.

Indeed, most of the travelers I interviewed for this story said they had been inspired by WhatsApp and Facebook posts. One said that fellow travelers were startled by the sight of a police officer arresting people at the border, and most were unaware that in 2016, Haitian asylum claims were only accepted about 50 percent of the time.

However, newcomers’ assessments of whether or not coming to Canada was the right choice goes well beyond merely weighing the odds of getting residency or considering the fees. By other measures, there is enormous benefit in coming north.

For one, immediate deportation from Canada is unlikely for most. The fate of many who entered last summer will still be unresolved months or years from now, thanks in large part to a backlog. More than 50,000 asylum claims were made in Canada in 2017more than double the number in 2016. One result is that many saw their scheduled eligibility hearings pushed back indefinitely. A spokesperson for Canada’s Immigration and Refugee Board said in February 2018 that projected hearing delays were about 20 months — despite efforts to step up capacity, such as the temporary designation of 17 Refugee Board members to focus specifically on processing the claims of recent border-crossers. The process will be longest for those whose claims are rejected, as they are entitled to appeal multiple times, dragging the process out for what might be several years.

Meanwhile, as they await a ruling on their fate, the life that Haitian asylum-seekers are able to live in Québec is often starkly different from what they had experienced in the States. Many quickly gained a foothold in Canadian society, are beginning to integrate, and are breathing easy in a way that they never could south of the border. But for some, the delays can be excruciating, for one reason above all: They prolong the time before they can send for family members they had to leave back home.

* * *

Samuel didn’t aspire to live in North America. He tried to make his way in Haiti as he was able. “I entered university but wasn’t able to finish,” he says. “I had to make a living, so I entered the police because it’s the one institution in Haiti that will hire anybody who is intelligent and physically fit.” It wasn’t a great job. He says his life was at risk on a number of occasions, yet he didn’t have a choice but to stick with it. Until he didn’t have a choice but to leave.

After Samuel was shot in Haiti in 2013, he spent two months in the hospital. Even today he has some pain in his right hand, and his fingers don’t work properly, jutting out awkwardly like sticks. And the violence did not affect him alone. He says it hurt his oldest child most.

“My daughter, who was four at the time, was shocked and traumatized,” he says. “When I returned from the hospital, she wouldn’t come near me, she was so afraid of me when she saw the scars.”

After Samuel was shot in Haiti in 2013, he spent two months in the hospital. Even today he has some pain in his right hand, and his fingers don’t work properly, jutting out awkwardly like sticks. And the violence did not affect him alone. He says it hurt his oldest child most.

When he was shot at the second time, the gunmen missed, but Samuel lost control of his motorcycle, throwing himself and his children to the pavement. Later, he says, “my daughter kept yelling, ‘Look, there’s the car that made us have an accident! Look at it, Daddy!’”

Like most Haitians crossing into Canada last summer, Samuel and Darline had entered the United States legally, flying in with five-year tourist visas. But they had been unable to get visas for their children, so they left them in Port-au-Prince with Darline’s mother. It was the hardest thing about being in Boston, but it was far from the only major challenge. Their visas did not allow them to work. Being broke, they couldn’t pay for an attorney to take Samuel’s asylum case — nor could they find one who would work pro bono. They couldn’t afford housing, so they stayed with a cousin until, Samuel says, “after six months, my wife and I needed to be independent, so we set out to find our own housing.” They wound up in a family homeless shelter an hour outside Boston, where they would spend the next year.

Samuel says messages kept circulating on Facebook about the promise of moving to Canada, but at first the couple ignored them, feeling that moving to a new country held too much uncertainty.

In July 2017, Samuel finally got his work permit, but Darline did not. And there was a drumbeat they could not ignore. “Trump was really applying pressure, sending messages that if you don’t have papers, you can’t stay in the country,” Samuel says. “I couldn’t return to Haiti. There was too much at stake. We decided it wasn’t worth [staying there]. We had to cross over to Canada.”

* * *

On an evening in August 2017, on a strip of highway in, Plattsburgh New York, near a Dollar Store, a Super 8 motel, and an A&W fast-food restaurant, a bus pulled into a Mobile station parking lot. Slowly, the front door opened, and a plastic toy truck tumbled down the stairs and hit the pavement. A family followed, lugging bags bursting at the seams. Then out came another, then another. About 20 Haitian men, women, and children descended from the bus and began looking around for taxis. Those days there were many more cabs than usual. After migration through the area exploded, new companies popped up, and old ones began working extra hours and longer routes. They also began charging astronomical prices. The New York Attorney General’s office fined a taxi company for charging migrants up to hundreds of dollars in excess of the going rate.

The cabs headed north on the highway, then along some country roads through vast stretches of cornfields punctuated by trailer homes, then down quiet, green, Roxham Road, until, at the end, beyond a thicket of vines and Queen Anne’s lace and signs that read Road Closed and No Pedestrians, a white canopy tent appeared. A Canadian police officer stood before it, poised like a nightclub bouncer, ready to check IDs at the door.

Matthew Turner had moved into a trailer home on Roxham Road in October 2016 and said that ever since then he’d been seeing taxis drive past his house to the dead end. Last summer it was a steady stream of cabs, often with names he’d never heard of. He said he found it annoying when cars unloaded in his driveway, especially if the travelers dropped trash. But he placed blame elsewhere. “All they’re trying to do is escape a pretty crappy system that we constructed because a blond wig got elected into office,” he said. “It’s sad, really. The whole Ellis Island thing just went out the window, and now they have to leave our country and seek it in a country that’s, honestly, at this point, better than ours.”

Turner, who lives with his wife and young son, works temp jobs, mostly loading and unloading for shipping companies. He said finding work is hard, but the best companies — in terms of safety, pay, and organization — are Canadian. He, too, imagines life to be better on the northern side of the border, in part because of universal health care.

As we spoke, a taxi marked WISH TRANSPORT passed, reached the end of the road, and deposited three people.

As we spoke, a taxi marked Wish Transport passed, reached the end of the road, and deposited three people. They formed a single-file line where the dirt path began. The middle-aged man at the back stood stiffly, clutching the handle of his zebra-print wheelie suitcase as he watched the others cross. I asked why he had come.

“I had problems in the U.S.,” he said.

“Is it because of TPS?” I asked.

“Yeah,” he said.

In loud, slow English, the officer asked him, “Monsieur, do you speak English?”

“A little.”

“OK, this is the Canadian border right here. OK? Over there, you’re fine. As soon as you cross over here, you’ve entered Canada illegally, and you’ll be placed under arrest. OK?”

“OK.”

“Do you understand that?”

“Yes.”

“OK, so you decide if you want to enter Canada. If you come in here, you’re under arrest, and then whatever the consequences are, you’ll have to deal with them.”

“OK.”

With that, the man soberly approached the policeman, luggage scraping along the dirt path. The officer told him he was under arrest and had a right to an attorney. He didn’t handcuff the man, though. Instead, he pointed to a sanitizer dispenser and asked him to wash his hands, before escorting him into the tent for processing.

Where Roxham Road picks up again, as Chemin Roxham, cornfields give way to orchards and houses obscured by high hedges. At the corner, there’s a turtle-crossing sign, and the air smells of apples. From the white tent, a bus took the new arrivals down narrow country roads and across a highway to a camp at the official border crossing a few minutes away. In August 2017, with the number of new arrivals exploding, the Canadian military set up rows of green canvas tents at the official crossing, as well as at a conference center in Cornwall, Ontario, with a combined capacity of close to 2,000 people. The Canadian Red Cross was at this camp, handing out blankets and hygiene kits, assigning beds, and performing medical checks.

* * *

In late September, perhaps unaware that the military had begun dismantling the camp at the border because of a decline in the number of border-crossers, the anti-immigrant, right-wing Canadian group Storm Alliance had chosen the spot for a rally. Several dozen men and women, looking like a motorcycle gang in black clothing and bandanas, marched toward the border, between the highway and the tent camp, some waving signs with crossed out pictures of Prime Minister Justin Trudeau. But they were stopped short by a boisterous crowd, a bit larger than their own, of young anarchists and members of Solidarité Sans Frontières, who chanted, “Haitians in, racists out!” and held signs with slogans like Make racists afraid again, and a banner with a sketch of President Trump’s crossed-out face, and the words Resist the Far Right — some of many indications that these activists also worry about a threat from south of the border.

In the province of Québec, public sentiment about the new arrivals has been mixed. At the height of last summer’s migrant influx, a poll by the media agency SOM-Cogeco Nouvelles found that 51 percent of Québec residents believed migrants should be prevented from crossing the border into Canada. It also found that 39 percent of the Québecois surveyed believed the influx would make the province less secure.

Still, generally what the newcomers experience upon arrival is a relatively warm welcome by the Canadian government and key organizations working alongside it, like the Canadian Red Cross. When Samuel and Darline spent a few days at the border at the height of the influx, the military camp hadn’t opened yet, and they say the government was clearly not ready for such a flood of people. For them, it meant standing in long lines for medical checks, photos, and fingerprinting. But they’re quick to add that the welcome was generally good. “They don’t push you around,” Samuel says. “They don’t handcuff you. They speak with you intelligently and in a way that you can understand. Everything went really well.”

Still, generally what the newcomers experience upon arrival is a relatively warm welcome by the Canadian government and key organizations working alongside it, like the Canadian Red Cross.

The language helps. Although many of the Canadian police who are greeting and arresting people at the unofficial border do not speak French, most officials in Québec after that point do. And for Haitians who do not speak French, at some points there are Haitian Creole interpreters.

Last August, after spending a few hours to a few days at the border, newcomers were bused to an immigrant shelter in Montréal. Normally there is only one such shelter, a YMCA. Over the summer, 12 more were added. Now there are just four.

Samuel and his family were dropped off at the Y, where they were connected with all the information they needed about government services, such as health care, and then they went to stay at Samuel’s brother’s place in Montréal. On August 14, 12 days after crossing the border, they began getting their monthly check from the Canadian government — about $1,122 Canadian ($883, in U.S. dollars) for the family, and they began looking for their own place.

The apartment hunt was hard at first, with landlords demanding references and credit reports, but then a Turkish immigrant, who lived above a rental unit, “saw our temperament and saw what kind of people we are,” Samuel says, “and demanded neither credit nor references.” He charges $600 Canadian ($472 U.S.) for the one-bedroom. With the government stipend, it left the family a little over $400 a month for food and incidentals, but Samuel says they were used to being frugal.

It’s easy to understand the landlord’s assessment of the family. Samuel is thin, with delicate features, and a soft, contemplative air, defying any stereotype of a police officer. And when I visited, Darline smiled warmly from the couch, where she nursed a robust 1-year-old, before releasing him to trot around the living room, making eye contact with each adult before bursting into delighted laughter.

A paper banner on the otherwise blank wall proclaimed Bon Fet – a Haitian Creole birthday celebration to honor Samuel, turning 36, and his son, turning 1. The rest of the place was immaculate, with only a few objects — synthetic flowers adorning a shiny yellow varnished wood dining table.

After more than a year of being homeless, lawyerless, and jobless in the States, Samuel and Darline were able to get their own place in Canada in less than a month. They’d also been assigned a public defender, accessed basic health care, and started getting free monthly public transportation passes. “Everything is moving much faster here,” Samuel told me last September. He knew he might never get to bring his two older children here to Canada, and that they might instead end up back in Haiti, but at the time he felt he’d placed his bet on the right country. “I don’t know tomorrow,” he said, “but I don’t regret coming to Canada, because the three of us, we’re really comfortable here.”

After more than a year of being homeless, lawyerless, and jobless in the States, Samuel and Darline were able to get their own place in Canada in less than a month.

Two months later, in November, the couple got their work papers, and Samuel found a minimum-wage job through a temp agency, scanning orders at a clothing-rental company.

But not everything was as fast as they’d like. It took months more for Darline to find work, and the asylum eligibility interview Samuel had scheduled for December was postponed indefinitely.

Most of the new arrivals stay at shelters for their first weeks in Montréal, until they start getting their monthly check and find their own place. When the provincial government saw that the YMCA would not be enough to meet the need, it cast around to see who had space, and managers of the Olympic Park, used in the 1976 Summer Games, offered up part of the stadium to eventually accommodate 900 people in rows of cots, while all around international competitions, concerts, and the renovation of the stadium’s landmark skyline tower whirled on. Other shelters opened around town, including in an old hospital and an old convent, but it was the image of refugees — mostly from Haiti, but also from around the world (other top asylum-seeker nationalities were Nigerian, Turkish, and Syrian) — being bused to the stadium that brought in waves of international media.

It also attracted activists. An anti-immigrant demonstration to be held outside the Olympic Stadium was canceled, but a pro-immigrant counter-rally went ahead, drawing hundreds of people, many carrying Réfugiées Bienvenues signs.

The stadium stopped housing migrants in September 2017, and today, due to the drop in new arrivals, the only shelters in use are an old hospital, an unused youth center on the grounds of what feels like a leafy boarding school campus, and the YMCA near downtown.

* * *

Jesula and James moved into the Y after coming to Québec in August. Their story is starkly different from that of Samuel and Darline, but it’s not unusual among new Haitian arrivals from the United States. For them, Canada is the eleventh country — and, they hope, last — on an odyssey that began more than a decade ago.

The two were high school sweethearts in the dusty northern Haitian city of Gonaïves. James remembers relatives who lived in the States coming back to visit and being treated like royalty. “I thought the sky over the U.S. was different from the sky over other countries,” he says with a laugh. Still, he never wanted to leave Gonaïves. He excelled in school, participated in a local debate club, and played on a national youth soccer team. But after their city was virtually wiped out by floods from a tropical storm in 2004, he decided to move to the Dominican Republic to live with his mother and continue his education there. His dream was to get a medical degree and return to Haiti to help meet a desperate need for doctors.

Jesula, meanwhile, stayed in Gonaïves. In the market, she sold goods imported from Canada with the help of relatives here. Assuming she had money because of her business, she says, thieves raided her house, stole her things, and raped her.

Asked if the perpetrators were caught, she laughs bitterly and says, “In Haiti, it’s not like it is here.”

Traumatized and fearful, Jesula fled to the Dominican Republic to live with James. But things didn’t work out there either. Both lacked the funds to complete school, and both were unable to find work.

Soon Brazil beckoned. Its economy was booming, and it needed workers to prepare for the World Cup and the upcoming Summer Olympics. In 2012 James made his way there, and in 2013 Jesula joined him. “There was no stress because from the moment we got there we were so lucky,” Jesula says. “I arrived in September, and in January I had residency. Imagine how comfortable we were.” Both found jobs easily, learned Portuguese, and settled in, forging strong friendships and a sense of community. But by 2015, the Brazilian economy was in serious trouble, jobs were lost, and Haitian migrants were no longer welcome.

Like thousands of other Haitians, Jesula and James made their way north, through Colombia, Central America, and Mexico, and finally to the United States. Once there, also like thousands of others, they were thrown in detention.

Their treatment by U.S. officials came as a shock. “I thought the U.S. was like Canaan, like paradise, like something out of the Bible,” James says. But as soon as they crossed the border, the couple was split up and sent to separate detention centers.

On an August afternoon in 2017, the couple sat in a park across the street from the Y, where they’d stayed for the previous four nights. Swing music blasted from a speaker nearby, and a man came over to ask if they want to join a free dance class. They politely declined.

Both said they felt at home in Canada. James dreamt of getting a doctorate in anthropology, and Jesula wanted to go to nursing school and learn to draw landscapes. She was pregnant for the third time. She’s miscarried twice — once in Brazil and once in the United States, but here she said she believed everything would work out. “I’m better here,” she said, “because I don’t like living in stress, and there [in the U.S.], the president would say something different every day, so I didn’t know where he really stood on anything. Here I can just be at peace.”

After arriving in the United States, they were detained for just a few days. They say they were lucky to be released much sooner than other Haitians, but the rest of their time in the States was hard. They moved to Boston, and eventually James got a work permit and a job, but the permit was set to expire last September, and he’d been unable to renew it. He also didn’t feel he was making progress in his asylum case.

Finally, Trump took office. “We heard about people being deported for nothing … people who went to see a judge and got deported,” James says. “We were afraid.”

Removals overall have slowed under Trump, but for Haitians they jumped from 300 in the 2016 fiscal year to 5,500 in 2017. That’s largely due to the end of a stay on deportations and a surge in Haitian migrants entering through Mexico. Meanwhile, arrests of immigrants with no known criminal conviction by Immigration and Customs Enforcement more than doubled from 2016 to 2017. Behind those stats are countless stories of men and women who have lived in the United States for decades being taken from families, jobs, and communities, often at a regular check-in at an immigration office.

* * *

Comparisons between the United States and Canada are constant, especially among those who entered both countries illegally. One man describes surviving a harrowing boat trip from the Dominican Republic to Puerto Rico only to be shackled at the wrists and ankles by U.S. border patrol agents. Others talk about being thrown in cold cells at the Mexico-U.S. border.

Elsie is a nurse and a resident of Sainte-Anne-des-Plaines, in plateau farm country north of Montréal. She has been living in Canada for 30 years, but occasionally returns to her Haitian homeland. “I’m proud to be Canadian and proud to be Haitian, too,” she says. And she stays tuned in to the experiences of Haitian migrants around the region.

She spent a Sunday afternoon in October 2017 like she spent most Sundays: cooking rice and beans for family members and venting about what she’d been hearing. “There was that little Haitian woman who went to the U.S. from Brazil,” she said, “and she had to pay $20,000 to get out of prison! It’s a business! If people don’t pay $15,000 to $20,000, they put them on a plane.” Elsie understands that people are not deported merely for failing to pay the required bond, but she also knows that asylum-seekers are much less likely to get asylum if they are stuck behind bars. “Canada respects asylum law,” she said. “They don’t respect asylum law in the United States right now.”

In his first week in office, President Trump issued an executive order expanding the grounds for which immigrants can be detained, and limiting the use of parole for detained asylum-seekers. Over the first eight months of his presidency, according to a report by the nonprofit Human Rights First, parole rates for asylum-seekers appear to have plummeted, asylum-seekers are held for many months, and sometimes their release is contingent on payment of bonds as high as $15,000 to $20,000.

Canada respects asylum law,” she said. “They don’t respect asylum law in the United States right now.

Elsie’s Sunday gatherings now feature a special guest — her younger brother Yves. In July, Yves walked across the border at Roxham Road, then skipped the shelter by staying with his sister. He says he fled Haiti for the United States after “jealous” people attacked his business in Port-au-Prince. But with Trump in office, he says, he had a bad feeling about his prospects there. “He was withdrawing everything, banning refugees, talking about eliminating TPS, getting rid of protections for immigrants who came as children … so I didn’t know if I could get asylum.”

Like Samuel and Darline, Yves says he had to leave a child back in Haiti, so he’s anxious to get papers to bring her here.

Within a few months, Yves had his own place and a job at a pig slaughterhouse, but in April, a judge rejected his asylum claim, saying he should have sought protection in the United States. Yves is appealing the decision and says, whatever the outcome, he’s still convinced he made the right decision in moving to Canada. “Even if some of us are not qualified [for asylum],” he says, “the welcome is completely different here.”

* * *

In my conversations with asylum-seekers last year, I kept bringing up the statistic I’d seen, that only about half of Haitian asylum-seekers with cases finalized in 2016 were granted asylum. (For 2017, the acceptance rate dropped to 22 percent.) The response was usually a recognition that they might not succeed but an insistence that they made the right choice in coming to Canada anyway.

As Matthew Turner, the Roxham Road resident, suggests, “that Ellis Island thing” is more evident in Canada than in the United States today. This is certainly true in public discourse. In October, Canada swore in a new Governor General, an important Canadian figurehead selected by the Prime Minister. Trudeau chose astronaut Julie Payette, who delivered an installation speech in a mix of French and English, dotted with phrases in Algonquin. The speech seemed a delineation of what distinguishes Canada from its southern neighbor today. She talked about the importance of trusting science, of internationalism, tolerance, and compassion, and among her last words were these: “We are the true north, strong and free, and we should always look after those who have less, stand up for those who can’t, reach out across differences, use our land intelligently, open our borders, and welcome those who seek harbor.”

When it came to Syrian refugees, in the past couple of years, Canada has served to inspire and shame Americans wishing to be a more welcoming country. Since November 2015, more than 54,000 Syrian refugees have resettled in Canada, compared with fewer than 19,000 in the United States. Facebook video posts showed Prime Minister Justin Trudeau greeting families at the airport with winter coats and words of welcome. Meanwhile, tens of thousands of regular citizens stepped in to help. Private sponsors actually brought in and supported 43 percent of those refugees for a year.

It would be hard to draw comparisons between pre-approved Syrian refugees flying in and Haitians crossing the border and being arrested. For one, there is no private sponsorship system in place to care for the new arrivals from the States. However, many private organizations in and around Montréal are committed to helping them get settled and integrated.

Take Christ en Action church. It’s in an unmarked brick box-shaped building in a quiet neighborhood, but on Sunday mornings the drums draw you through the open door and into a vast space packed with parishioners in a full spectrum of garb, from form-fitting dresses to suits in black, white, and shiny pastel damask. Several turn to greet unfamiliar faces, offering greetings in French.

The churchgoers — largely Haitian and African — pride themselves on the warm welcome. At a service last September, Pastor Fofy Ndelo, who is Congolese, said a few words in Haitian Creole, then returned to French to give an update on which donations were now needed for “the refugees” — winter coats for adults and children, as well as furniture and bedding for those who’d found their own places to live.

About 15 so-called refugees sat in pews at the far end of the church, and after the service they filed into a back room for lunch. They found out about Christ en Action when members visited their shelters and brought them here on buses. While a number of them now lived in their own places, after their meal a volunteer would drive them all home. Later, another volunteer would pick them up to bring them back for dinner. These are services orchestrated by the church’s social action team, which, team member Shirley René told me, has 10 subgroups. “One group serves nonperishable food, a follow-up group sees what your needs are, another team gives clothes and bedding and furniture, another helps people find a place to live. … There’s a group that visits them in their homes,” and so on.

René, who is of Haitian descent and has been with the church for more than a decade, said about 50 new arrivals were regularly coming to the church, “because they love the way we welcome them.”

Many other Montréal churches also stepped up to help the new arrivals, especially in the heavily Haitian Saint-Michel neighborhood. So did Maison d’Haiti, a 46-year-old organization now housed in a modern, windowy, art-filled space that bustled last fall with Haitian men, women, and children, picking up and dropping off clothing and diapers, standing in line to get help with things like filling out asylum applications, or grabbing a Haitian meat pastry in the organization’s café.

A few blocks away, on Boulevard Crémazie, is CPAM, one of several Haitian radio stations here, and down the street is a towering, shining example of Haitian success in Montréal. Groupe 3737, named after its street number, inhabits some of the 12 floors in the curtain-glass-wall building, using them for start-up incubation and training. Frantz Saintellemy, Haitian-born and Saint-Michel–raised, founded the group with his wife, Vickie Joseph, with the intent of encouraging talented young people, mostly immigrants or children of immigrants — a reflection of the community — to invest in this long-depressed neighborhood.

Saintellemy wanted to help his community thrive by capitalizing on what is true in Canada as well as the United States: Immigrants are far more likely than the rest of the population to start businesses. And he sees particular promise in Haitian immigrants, who make up about a third of his group’s participants.

“If you’re from Haiti,” he says, “you were trading. It’s the number one business in Haiti. Trading is in their DNA, so a lot of them have an entrepreneurial mindset.” In Haiti, with so few formal jobs available, many people buy food or clothes in one part of the country — often on the Dominican border — to sell in another.

Saintellemy smiles as he speaks, sitting in a bright, spacious office behind a large desk cluttered only with some copies of Groupe 3737’s glossy bilingual magazine Black is Beautiful. He says in Montréal there are great prospects for new Haitian immigrants importing food and other goods from Haiti to sell to members of the diaspora here. There are also artists and artisans, and educated Haitians who spent years in the United States and are well-positioned to work as translators. What’s more, belying the image of asylum-seekers arriving on foot and staying in shelters, many actually have money to invest in a new business, Saintellemy says.

For those with tenuous status, he says, they’re particularly worth investing in for several reasons: For one, many employers are leery of hiring people without permanent status, and for another, creating a business could help them get asylum. “The quicker you can generate income [and] hire your own lawyer, your chances increase significantly,” he says, “and if you’re working and paying taxes, the harder it is for the government to tell you to leave.”

Saintellemy says that “without question” enthusiasm for starting a business is higher among people with tenuous status. He knows this because, in addition to doing clothing drives for new arrivals last summer, Groupe 3737 offered regular Business 101 classes for those living in immigrant shelters. Participants were taught about business laws and policies in Canada, specifically Québec, and given tips like how to advertise and bid on contracts online. Saintellemy says the courses drew up to 50 people.

Before founding Groupe 3737, Saintellemy spent years in the States, including studying electrical engineering at Northeastern University and taking a fellowship at MIT Sloan. I ask him about something James told me: that in Montréal, “the Haitians ahead of you help you,” but in the United States, not so much.

“Yeah,” Saintellemy says. “The Haitian community is very well organized here in Québec.” He says Haitians generally thrive more here. “I think it’s easier because of the French. Language isn’t as much of a barrier,” he says. “Second of all, the Haitian community is more financially secure here than in Boston or even New York or Miami … if you look at the percentage of Haitians doing well. … So it’s easier for them to help others when they’re doing well.”

James told me…that in Montréal, ‘the Haitians ahead of you help you,’ but in the United States, not so much.

Of course, many Haitians in Canada live in poverty and obscurity. But there are also plenty of Haitian luminaries in Canadian sport, arts, and politics — including several Olympic athletes; the novelist Dany Laferrière, inducted into the prestigious Académie Française; parliamentarian Emmanuel Dubourg; former Governor General Michaëlle Jean; and the deputy premier of Québec, Dominique Anglade.

* * *

Migration across the border into Canada has fallen considerably since last summer, and Haitians now make up a small portion of that population, down from more than 80 percent. By last fall, Nigerians were overtaking Haitians in number, with shelter residents talking of horrors in Biafra.

Jean Nicolas Beuze, of the UN refugee agency UNHCR, says the overall decline in numbers might be due to falling temperatures and the start of school (the summer’s migrants included hundreds of children), and he believes the particularly precipitous decline in the number of Haitians coming across is likely because messages were sent through consulates and visiting politicians to correct misperceptions about the ease of getting asylum in Canada.

However, with the Trump administration’s announcement on November 20 that TPS for Haitians will end in July 2019, officials in Canada prepared for more Haitian asylum-seekers, with 27 winterized trailers — able to accommodate 200 people — set up at the border. The TPS decision affects at least 50,000 Haitian-born people who’ve been in the United States for more than eight years, and their American-born children, estimated at some 27,000.

Canada’s own version of TPS for Haitians expired in 2014, but most of its recipients were not made to leave the country. The estimated 3,200 undocumented Haitians living in Canada at the time were given almost two more years to apply for permanent residency without threat of removal, and most have been able to get permanent residency through “H&C,” or humanitarian and compassionate grounds, which takes into consideration the ties one has forged to Canada while living here.

Still, coming to Canada does not make Haitian border crossers safe from deportation. Canada deported several hundred Haitians last year — a dramatic increase over 2016, and 120 just in the first seven months of this year.

James is well aware that deportation from Canada is possible, and it’s a terrible thought. “If I’m deported, it’s like the end of the world,” he says with a nervous shriek of a laugh. “Haiti has no work. And when you are overseas, you have like 20 people depending on you, who are waiting for your help. Imagine, if they deport me to Haiti, you’ll see how many people will suffer.” He says his brothers, sisters and some friends rely on him for school and other expenses.

James doesn’t wallow in the fear of deportation though. “We have to await a response, we have to pray, and we have to accept the response, whatever it is,” he says. “But for now we have to recognize how well Canada has received us.”

Haitians who left the United States to seek asylum in Canada essentially left one uncertainty for another. And yet, for now, there is a sense that they can breathe easy because there is reason and justice in the system, that the rules will be followed, and that meanwhile the tools are there for asylum-seekers to make a life for themselves while they wait.

For Samuel, the only problem with being in Canada is that his two older children aren’t with him. “That makes me feel really, really bad,” he says, “because I grew up without my father, and I don’t want the same for my children.” He talks to them on WhatsApp every day, but, he says, “It hurts to hear them say, ‘Papi, when are you coming back? Papi, come get us!’”

A year after coming here, Samuel still has no idea when he’ll go before an immigration judge. It’s clearly wearing on him. His life is better here in many ways, but even with both of them working — him during the day and Darline as a night caretaker for handicapped adults, the cost of living is harder to manage here. Meanwhile, their two older children are growing up in another country, and there’s no knowing when and where they will reunite.

Now, when I ask him if he regrets moving to Canada, he hesitates, but then gives a firm no. “It’s a choice we made, without knowing how things would go.”

*The names of all asylum-seekers in this article have been changed to protect their identities.

***

Amy Bracken is an independent reporter and radio producer. She covers migration, economic development, religion, and human rights. She’s based in Boston, but in recent years she’s reported from Europe and across the Americas, especially Haiti. Her stories have been aired and published by PRI’s The World, Latino USA, USA Today, and Al Jazeera America, among others. She’s a graduate of Columbia University’s Journalism School and the Fletcher School of Law and Diplomacy, where she wrote her thesis on the detention of asylum-seekers.

***

Editor: Krista Stevens

Copy editor: Jacob Gross

Fact-checker: Matt Giles

At Home on Carmine Street

Tongdang5 / Getty

Abigail Rasminsky | Longreads | August 2018| 14 minutes (3,400 words)

 

When the two stragglers let the door clatter shut behind them, I turn the lights in the restaurant’s dining room all the way up and zip over to the stereo. For the past few months, we’ve been blasting the Talking Heads’ “Once in a Lifetime” while closing. We all sing You may ask yourself, my God, what have I done? while manning brooms and mops and rags, none of us aware that we are singing of our own lives. At the chorus, we give in, drop what we’re doing and dance: Letting the days go by, let the water hold me down…

I stack the chairs and tables as I’ve been taught, sweep crusts of bread and remnants of lettuce off the tiled floor, grab the register drawer with the remaining cash — 200, 300 bucks tops, since I’ve been emptying it steadily all night — while, behind the counter, Emily cleans the cappuccino machine and stashes the whipped cream, milk, and pie in the fridge. Tom drags the mop over the floor I just swept, the bucket for dunking sitting at the lip of the kitchen.

During the day, the place is bustling with people — upstairs, downstairs, out front, gates open all summer long. But now it’s 12 a.m. at The Grey Dog on Carmine Street in the West Village, and everyone else has gone home.

I leave Emily and Tom singing in the dining room, and carry the money from the register, platter-like in one hand, through the swinging doors of the upstairs kitchen, down the narrow, slippery staircase, past the dishwashing station and the baker’s area, where the croissants and scones are warmed at 5:30 a.m., past the catering department, where two Irishmen make platters of Caesar salad and triangular-cut sandwiches all morning to the sounds of NY1, and get to the restaurant’s windowless, corner office. I unhook the mass of keys from the loop of my jeans and let myself in. Sammy, the resident cat, slips past my ankles. The office reeks of cigarettes and pot.

Up on the desk, I count the cash, separating crisp bills from soft ones, count it again, and add it to the change drawer under the desk, which is always stacked with rows of 1s, 5s, 10s, 20s, and a couple of 50s — $1,000 or $2,000 total. Much of that night’s profits — but not all — have already been rolled up, wrapped in elastic bands, and dropped into a heavy metal drop box in the corner of the room.

When I’m done, I switch off the lights and lock the door behind me, making sure that Sammy is inside. If I forget — as I have before — the cat wandering the restaurant will set off the alarm at 3 a.m. and my boss will get a call from the police: There’s been a break-in.

Just as I turn around to walk through the unlit basement and bound back up the stairs, I see Emily in the semi-darkness. There is a gun by her right ear, its barrel pointing at me. Her body is bigger than usual these days — she’s 27 and six months pregnant with her second child, a mistake courtesy of a quick fuck in the restaurant’s downstairs bathroom with one of the cooks. They broke the sink off the wall, and now here she is, shuffling along the slick floor, belly first, with a man at her back, pushing her slowly into me, toward the office door at my back. I can barely see his face; it is nuzzled behind Emily’s hair and concealed by the panic on her own face.

Emily and I stand frozen in the underground quiet, looking at each other.

Then it hits me: The door.

I didn’t lock the front door.

Emily whispers, “Open the office.”
Read more…

Michelle Tea and the Betrayal of Queer Memoir

Feminist Press

Alana Mohamed | Longreads | August 2018 | 12 minutes (3,094 words)

Michelle Tea has made a career of memoir, and in doing so she has chronicled a generation of queer and punk subcultures. Growing up a lonely and shy teenager, for me Tea’s autobiographical novel Valencia represented freedom. She wrote about sex and friends and death in a way that made me feel alive, kind of like the way watching Party Monster makes some want to do a face full of cocaine. I wanted to be her, or the women she portrayed, who were all so brash and powerful and sexy. With her latest release, Against Memoir: Complaints, Confessions & Criticisms, Tea continues to write explosively about her life. But she’s also slowed down and become reflective — while still delightfully contradictory — dissecting the history of the ruptures within the communities which she has documented so well.

Recently, I’ve gotten in the habit of saying people have been “so generous” when sharing their stories. Post-#MeToo, radical disclosure has become typical, if not necessary, to speak frankly about sexual boundaries and trauma. “Thank you for being so generous with your story,” I say to the woman who just described her first fisting experience to contextualize her rape. It feels right, like it acknowledges the spiritually taxing effort that goes into disclosure when someone offers a highly personal narrative. But who talks about their first fisting for the good of the general public? Often, they’re talking about it because no one else will, and someone needs to. It’s not so much a matter of generosity as one of necessity. Read more…

Every Mission is a Suicide Mission

Midway / Namco

Nicholas Mainieri | Longreads | August 2018 | 25 minutes (6,273 words)

A tall man — mustard-yellow face paint, blackened eyes, Slurpee-blue mohawk, ripped denim, fingerless leather gloves, baseball bat on his shoulder — stalks past. He’s what they call a juvieganger, one of the cyberpunks who haunt the nearest interdimensional video arcade. He sneers: “Everyone’s looking around like it’s not 2038 or whatever.” Twelve-foot-tall columnar lamps emanate soft neon blues, pinks, and purples throughout the room. The dark walls bear bright geometric decals that look like 1980s fever visions of space-station Rubik’s cubes. On a row of LCD screens, space fighters zig and zag through cascades of extraterrestrial insects. Music pulses in the air, hypnotic beats threaded with the repurposed tones of old Commodore 64 games. An overwhelmed fighter explodes with a pixelated starburst. We groan, but enemies keep coming. The juvieganger guffaws, then prods a spectator: “You got any quarters, man?”

It’s 2018, and I’m in Santa Fe, New Mexico, for the World Championship of Galaga, the 37-year-old arcade game whose anchor sunk deep into the cultural eddies of arcades, bowling lanes, pizza parlors, dive bars, and — at one time — fried-chicken joints, supermarkets, drugstores, and laundromats. In Galaga, a player’s control of the avatar is restricted to lateral movements along the screen’s bottom border. The gameplay itself bears the player irrevocably forward across a universe of multicolored stars. The triangular space fighter, red accents on its white wings, faces squadrons of Galagas. The Galagas are mostly space bugs: bees, butterflies or moths, dragonflies, scorpions, and cicadas (perhaps), but also, on several mildly perplexing stages, things that look like the Starship Enterprise. Dodge their missiles and kamikaze dives, mash the fire button. Once nothing remains but the austere depths of flickering space, advance.

The championship is the main event of the inaugural ScoreWars, an event organized by the arts collective Meow Wolf. It is held in a redesigned wing of their New Mexico headquarters, alongside the collective’s immersive, otherworldly exhibit, “The House of Eternal Return.” Beyond the row of ten Galaga machines hooked up to monitors, the arcade room features dozens of other classics tuned to free play for spectators, as well as a roped-off section of games including Track & Field, Ms. Pac-Man, Centipede, Robotron, and Nibbler, where well-known players will attempt to break their own high scores. ScoreWars, mindful of aesthetics and propelled by a reverence for the past, strikes a different tone than the contemporary competitions of big-business eSports. There’s something here that, even with the underlying finances, cuts more directly to the heart of what it means to play a game with one’s friends.

Music pulses in the air, hypnotic beats threaded with the repurposed tones of old Commodore 64 games. An overwhelmed fighter explodes with a pixelated starburst. We groan, but enemies keep coming.

Mark Schult, a friendly Hoosier and IT technician, is one of 10 pro-level qualifiers for the championship, where the winner will receive $10,000. Mark wears close-cropped brown hair. There are laugh lines at the corners of his mouth and blue eyes. His cheerful disposition brings the word “Midwestern” to mind. He loves the film WarGames. “A great technology movie,” he says, with bonus points for the scene in which Matthew Broderick plays Galaga. Mark and I work together back in Indiana, at the University of Notre Dame, where he supports the technology in my department. I didn’t know Mark that well yet when, one February morning this year, I overheard him recall eating a corn dog at the mall and listening to the electronic sounds from the arcade’s shadowed entrance like 8-bit sirens in a cave. It slung me back to the fifth grade, the corner of Skate U.S.A., and the frenetic theme of the Street Fighter II cabinet.  Read more…

The Killer Who Spared My Mother

Nicodemos / Getty, Associated Press, Photo illustration by Katie Kosma

Diana Whitney | Longreads | August 2018 | 13 minutes (3,338 words)

 
My mother never warned me about anything before I left home. She never came into my room, sat down on my bed, ventured a comment about condoms or consent. No little talks about protection of the body or the soul, the ways a woman might use her voice. Was it her responsibility to start that conversation? Did I dismiss her attempts? I was naive and covetous and hungry to be desired. She couldn’t have changed my nature.

I was 29 before I learned she’d nearly been murdered in college. She didn’t tell me. My father did, over a pot of earl grey in my Vermont farmhouse kitchen. They’d driven up north for a visit before I moved out west with my new rower boyfriend. Tim sat beside me, tall and glorious in his sweats post-workout, while my mom chatted on about the cool weather, the sudden frost.

Dad a-hemmed professorially. “We’re flying down to Philadelphia next month. Your mother’s been asked to be a witness in a murder trial.”

“What?” I didn’t understand.

Mom looked down into her lap, her red hair loose, cheeks flushed. In her late 50s she was still a statuesque beauty, a half-Irish mix of Julianne Moore and Janis Joplin, radiant except when worry furrowed her face.

“Someone your mother dated at Penn is on trial for murdering a woman back in 1977,” Dad continued in his formal baritone. “The prosecuting attorney wants her to testify.”

“Who is this guy?” I asked.

“Ira Einhorn,” Mom said, softly. “He was crazy.”

“Ira was a kind of cult figure on campus,” Dad explained. “A charismatic Sixties radical. Your mother went out with him and he… well, he hit her over the head and left her unconscious.”

“I thought he was going to kill me,” Mom corrected.

I glanced from one parent to the other in the sunlit kitchen. A log shifted in the wood stove. The neighbor’s milking herd lumbered into the back pasture.

My quiet boyfriend, Tim, summoned the courage to speak when I couldn’t. “What happened?”

Dad sketched out the story for us then, Mom nodding in assent, adding a detail here and there. Stunned, I could barely follow their voices, unable to grasp the existence of this man, his connection to my mother, and the trial she was about to attend. I don’t remember wishing her luck or hugging them goodbye, though I hope I did both. I don’t remember following up on the conversation. Like smoke I let the name Ira Einhorn dissolve and recede from my consciousness.
Read more…

‘Country Music … Was Anything BUT Pure’: An Interview with Bill Malone and Tracey Laird

Carly Rae Hobbins / Unsplash, University of Texas Press; Anniversary edition (June 4, 2018)

Will Hermes | Longreads | August 2018 | 14 minutes (3,585 words)

Read an excerpt of Country Music USA.

First published in 1968, Country Music USA was basically a remix of the thesis Bill Malone submitted for his PhD at UT-Austin. It was, and remains, a staggering work of scholarship that became a cornerstone of American music history— anyone writing seriously about country must reckon with it.

Earlier this year, University of Texas Press issued an updated Fiftieth Anniversary edition, with additional material by scholar Tracey Laird. It includes a new chapter devoted in large part to country’s woman problem — from the excommunication of the Dixie Chicks from the mainstream after Natalie Maines’ 2003 dis of President Bush, through their controversial collaboration with Beyoncé on the 2016 CMA Awards and the rise of “bro country.” Laird writes about how country radio has been effectively black-balling women artists, a situation crystallized in the unfortunate words of a radio exec who described women artists as the “tomatoes of our salad.”

As a real and/or perceived banner of red-state, pink-skin culture, country music can seem purely that. But Malone and Laird document that, like most great things in America, it’s a melting pot of influences, attitudes and orientations, political and otherwise. And while the current landscape might not rival that of the Hank Williams-led halcyon days, artists like Sturgill Simpson, Margo Price, Jason Isbell, Kacey Musgraves, Brandy Clark, and others suggest we’re in a new golden era for the music, a renaissance Malone and Laird put in perspective.

We caught up with Malone in his longtime home of Madison, Wisconsin; Laird called in from Atlanta.

This book is an amazing achievement by 2018 standards — but Bill, you wrote the first edition a half a century ago in 1968! For the benefit of the youngsters, how do you go about researching a book like this without the Internet, let alone Spotify?

BM: Well, there were no repositories for country music either! In Nashville, the Country Music Foundation was just getting started; they didn’t have an archives yet. I just had to use whatever I could find, and that meant everything from Sears and Montgomery Ward catalogs, where I read about instruments, to popular magazines, and interviews when I could get them — when a person came to town, or when I could get up enough resources and go and find somebody.

But indispensable were the record collectors. I would really have been lost had it not been for the work that they had done. That was a real starting point.

These were not academics, strictly speaking, but armchair academics, correct?

BM: Enthusiastic and very informed collectors.

Tracey, how did you approach this revised edition? What did you want to accomplish with it?

Tracey Laird: My main task was to take the story Bill has told and extend it into the 21st century. It was a little intimidating because, frankly, Bill is one of the heroes of my own scholarly story. But I decided early on that I couldn’t mirror his encyclopedic knowledge. And so what I tried to do was connect things going on in the 21st century with other, I think, significant dynamics — including new media that’s shaping the way people apprehend country music.

Read more…

The Cowboy Image and the Growth of Western Music

Photo by Michael Ochs Archives/Getty Images

Bill C. Malone and Tracey Laird | Country Music USA | University of Texas Press | June 2018 | 25 minutes (6,531 words)

The emergence of the western image in country music was probably inevitable. Long before the process of commercialization began, the cowboy had been the object of unparalleled romantic adulation and interest. Given the pejorative connotations that clung to farming and rural life, the adoption of cowboy clothing and western themes was a logical step for the country singer.

The increased emphasis on western themes and attitudes appeared unsurprisingly in the westernmost southern states ─ Louisiana, Oklahoma, Texas ─ and in California. In these areas, country music assumed forms differing from those in the more easterly southern states. Oklahoma, Louisiana, and Texas, although southern in traditional orientation, embodied significantly different elements. All three were touched by the oil boom of the early twentieth century, and each possessed population groups that stood apart culturally while simultaneously influencing the dominant “Anglo” element of the state. Oklahoma and Texas were settled, for the most part, by former residents of the older southern states, who had brought with them their values, traditions, and institutions. Louisiana, on the other hand, can be perceived as a land of at least three great cultures: a Roman Catholic, “Latin” culture in the South; an “Anglo,” Protestant culture in the north; and an African American culture whose influence could be felt throughout the state. Immigrants brought slaves and the cotton culture to all parts of the Southwest, making Texas and Louisiana parts of the southern economic and political orbit. They also transported their evangelical Protestantism to southwestern soil and brought with them many features of their folk heritage. Some of the old British ballads survived the westward migration, although they had lost many of their former characteristics. In some Texas communities, such as those found in the Big Thicket, a heavily forested area in the eastern part of the state, old ballads and old styles of singing endured well into the twentieth century. Many of the East Texas communities were, and remain, replicas of the older southern environment. And, in many of them, folk traditions died slowly.

Listen to music writer Will Hermes’ interview with Bill Malone and Tracey Laird on the Longreads Podcast here (read as transcript).

Texas folk music, then, was basically southern derived. Texas rural musicians used instruments common to the rest of the South, sang in styles similar to those of other rural southerners, frequently attended house parties where old-time fiddlers held sway, and learned to read music at the shape-note singing schools. But despite its close cultural affiliation with the South, Texas had a culture all its own ─ a culture produced by the mingling of diverse ethnic strains: southern “Anglo,” black, German and Central European (especially prevalent throughout the southern part of the state), Mexican, and Louisiana Cajun (in the area extending from Beaumont to Houston). A passion for dancing was common among all these groups, and in this heterogeneous society, musical styles and songs flowed freely from one group to another, modifying the old southern rural styles. While rural music was prevalent and pervasive, it differed substantially from that produced in the Southeast or in the Deep South.

The discovery of oil at Spindletop, near Beaumont, in 1901 was the first of a series of finds in southeastern Texas, southwestern Louisiana, Oklahoma, and Arkansas in the years extending up through World War I. The discovery of the great East Texas oil field in the early 1930s, along with the rapid industrialization that began during World War II, further set Texas apart from the other southern states. While these factors contributed to Texas’s uniqueness, they are probably less important than the fact that it was also part of the West. In fact, to most Americans, Texas was and is the West. And this West was a glorious land peopled by cowboys.

The romantic concept of the West, shared by most Americans, has a history virtually as old as the nation itself. James Fenimore Cooper’s early novels describing the restorative qualities of the frontier were not substantially different, nor less romantic, than the themes emphasized later in Bret Harte’s stories, in the western “dime novels,” or in such books as Owen Wister’s The Virginian. Thus, the cowboy and the West had been bathed in romance long before Hollywood and the television industry began their exploitations of the theme. The American people also had long demonstrated a general interest in the songs of the cowboy ─ beginning with Nathan Howard Thorp’s Songs of the Cowboys, 1908, and John A. Lomax’s Cowboy Songs and Other Frontier Ballads, 1910 (as a matter of fact, as early as 1907, when “San Antonio” appeared, Tin Pan Alley tunesmiths had experimented with “cowboy” themes). Although a few concert-musicians such as Oscar Fox (from Burnet, Texas) and David Guion (from Ballinger, Texas) made classical arrangements of a few cowboy songs, the western theme did not make any significant impact on American music until the 1930s. Guion’s version of “Home on the Range,” first performed in 1930 in a New York play called “Prairie Echoes,” became the most popular arrangement of the song and was said, perhaps apocryphally, to be President Franklin Roosevelt’s favorite song. Such songs became so widely circulated in the 1930s that even Tin Pan Alley reverberated with the melodies of the range. The farther Americans became removed from the cowboy past, the more intense became their interest in cowboy songs and lore. Hillbilly singers and musicians did much to implant the romantic cowboy image in the minds of their American audiences.

Before the 1930s, a few musicians recorded songs that genuinely reflected the cowboy heritage. The concert singer Bentley Ball ─ who did many programs of patriotic and traditional songs, many of them in colleges ─ recorded “The Dying Cowboy” and “Jesse James” for Columbia in 1919. Charles Nabell, in November 1924, recorded some cowboy songs for Okeh, along with other types of traditional material. Several of the early cowboy singers came from Texas, and their songs, for the most part, reflected genuine cowboy experience. Carl Sprague, for example, may have done most to generate an immediate interest in the recorded songs of the cowboy. He grew up on a South Texas ranch near Alvin where he learned many of the songs (most of them from his cowboy uncle) that he later recorded for Victor. His 1925 recordings of cowboy songs — topped off by the immensely popular “When the Work’s All Done This Fall” — mark him as one of America’s first singing cowboys. While attending Texas A&M, Vernon Dalhart’s success as a singer of traditional songs convinced Sprague that a similar market for cowboy singers might exist. He traveled to New York and had a successful audition with Victor Records; his earliest recordings had a sound very similar to that of Dalhart, including guitar and studio violin. Singing, however, was never more than a hobby with Sprague, and aside from his recordings, he made few commercial appearances. For many years he was on the coaching staff at Texas A&M, and, in addition, he attained the rank of major in the United States Army.

The romantic concept of the West, shared by most Americans, has a history virtually as old as the nation itself.

Jules Verne Allen, on the other hand, had actually experienced the rugged life of a working cowboy before he embarked on his career as a radio singer. Born in Waxahachie, Texas, Allen began working cattle in Jack County, west of Fort Worth, at the age of ten. From 1893 to 1907 he worked as a rough string rider and bronco buster from the Rio Grande to the Montana line. Unlike Sprague, he used cowboy music as the basis for a professional career. During the 1920s and 1930s, Allen sang over numerous radio stations, including WOAI in San Antonio, where he performed as “Longhorn Luke.” Like most of the pioneer recording performers of the 1920s, Allen and Sprague drew most of their material from turn-of-the-century cowboy life, although some of their songs were learned directly from the Lomax collection.

Other cowboy singers of the early commercial period varied widely in the amount of actual range experience they possessed. The Cartwright Brothers (Bernard and Jack) grew up in Boerne, Texas, directly on the route of “the long drive” that proceeded on to Kansas. Essentially a fiddle band, the Cartwrights performed a variety of songs. Their version of “Texas Rangers,” however ─ marked by Bernard’s haunting fiddle ─ is one of the greatest performances of a cowboy song heard on early commercial records. Carmen William “Curley” Fletcher, from California, was a rodeo performer and itinerant hawker of songs long before he made any commercial recordings. His greatest claim to fame came through his writing in 1915 of the poem that became the basis for “The Strawberry Roan,” which he sold on broadside sheets. The song became one of the most popular western numbers, performed usually with a chorus added by the California radio singers Fred Howard and Nat Vincent. At least a couple of the pioneer cowboy singers, Goebel Reeves and Harry McClintock, were southerners whose wanderlust drew them west, where they worked at a wide variety of occupations. Both men, for example, spent some time in the famous radical labor union the Industrial Workers of the World (IWW, or Wobblies).

Our knowledge of the otherwise shadowy figure of Goebel Reeves comes from the pioneering research done by Fred Hoeptner. Known as “the Texas Drifter,” Reeves was born in Sherman, Texas, in 1899. Before his death in California in 1959, he had enjoyed a varied career that led him across the United States and around the world. Although he came from a respectable middle-class family (his father served in the Texas legislature), Reeves deliberately chose the life of a hobo. During the course of his wanderings, he enlisted in the army, saw front-line service in World War I, worked as a merchant seaman, became active in the IWW, toured the vaudeville circuit, performed on radio, and recorded under several names for such companies as Okeh and Brunswick. In his recording career as a singer and yodeler ─ he claimed to have taught Jimmie Rodgers the yodeling style in the early 1920s while living in New Orleans ─ Reeves introduced some of the most interesting examples of both cowboy and hobo songs found in American music. These included the well-known “Hobo’s Lullaby” (which he claimed to have written), “The Hobo and the Cop,” “Railroad Boomer,” and the cowboy songs “Bright Sherman Valley” and “The Cowboy’s Prayer.”

Harry McClintock was as well traveled as Reeves, having also been a merchant seaman, a soldier, and a hobo. Born in Knoxville, Tennessee, he roamed widely throughout the United States and became a member of the IWW in the early twentieth century. Because of his musical talents, McClintock was a welcome addition to the Wobblies, who had a well-known fondness for singing and whose Little Red Songbook became virtually the bible for labor/protest singers in America. McClintock’s claim that he wrote “Hallelujah, I’m a Bum” and “Big Rock Candy Mountain,” two of the world’s most famous hobo songs, has never been seriously challenged. Once he settled down from his wanderings, McClintock began a career as a radio cowboy singer as early as 1925 on KFRC in San Francisco. “Haywire Mac,” as he was often called, also recorded for Victor from 1927 to 1931. Along with superbly performed cowboy songs such as “Sam Bass,” “Jesse James,” and “Texas Rangers,” McClintock’s labor songs make him one of the important progenitors of western music.

John White and Otto Gray contributed to the shaping of western music by presenting it widely to a national audience. White was an unlikely “westerner,” hailing from Washington, DC. However, he was the first person to introduce cowboy songs on radio to a New York audience (on NBC from 1927 to 1936). He also recorded cowboy songs, as well as hillbilly material, from 1929 to 1931, under several pseudonyms including “the Lonesome Cowboy.” White specialized in the history of cowboy songs, and over the years he did more than any other person to describe the origins of the ballads, and he dispelled much of the romantic claptrap that had gathered around them.

Otto Gray, a prosperous rancher from near Stillwater, Oklahoma, pioneered in the commercialization of cowboy music. In about 1923, he assumed the leadership of a string band that earlier had been composed of real cowboys ─ the McGinty Cowboys (named for Billy McGinty, an Oklahoma rodeo performer). Gray’s group had the distinction of being one of the few country groups publicized in Billboard, although Gray paid for most of the advertising. From 1928 to 1932, Gray and his Oklahoma Cowboys made a tour of radio stations throughout the country and performed on the northeastern RKO vaudeville circuit. Momie Gray (Otto’s wife) was the featured singer of the organization, specializing in sentimental songs. The Oklahoma Cowboys were a highly professional group that possessed most of the characteristics of slick show-business organizations. A special publicity man traveled in advance of the group, and appearances on radio stations provided further exposure. Two agencies, the Weber-Simon Agency in New York and the William Jacobs Agency in Chicago, handled the group’s RKO bookings. The Gray performers, dressed in plain, western-style clothing, traveled in Gray’s $20,000 custom-built automobile, which was wired for sound reproduction and had a radio receiver and transmitter.

If Otto Gray contributed significantly to the commercialization of “western” music, Jimmie Rodgers played an equally important role in fusing it with country music. As discussed earlier, Rodgers spent the last few years of his life in Texas and conducted many of his most successful tours there. He took great pride in the Texas heritage and the romantic cowboy past. The modern concepts of the “singing cowboy” and of “western” music may very well date back directly to Rodgers.

Scores of singers who modeled themselves after Jimmie Rodgers emerged in the 1930s, and most of them gave themselves “cowboy” titles and dressed in western attire. Young Hank Snow, for example, in far-off Nova Scotia, dressed in cowboy regalia and called himself “the Yodeling Ranger.” In even more remote Australia, Robert William Lane performed under the name of Tex Morton, described himself as “the Boundary Rider,” and sang cowboy songs with a bizarre, trilling yodel about both the Australian bush and the Texas Plains. Others, like Ernest Tubb, included few cowboy songs in their repertories but wore cowboy boots and ten-gallon hats. Since the western attraction was irresistible, even young hillbilly singers from the Deep South or from the southeastern mountains, whose associations with cowboys came only through story and song, embraced the western image and imagined themselves “way out west in Texas for the roundup in the spring.”

Perhaps because of Rodgers’s close association with Texas, many of the successful Texas hillbilly performers ─ Ernest Tubb, Lefty Frizzell, Floyd Tillman, Bob Wills, Tommy Duncan ─ credited Jimmie Rodgers as their inspiration. One of the most important of these individuals, and the one who completed the “romantic westernizing” process begun by Rodgers, was Orvon Gene Autry. Autry owed most of his initial success to the fact that he could perform Rodgers’s repertory in Rodgers’s yodeling style. Autry was born on a horse farm near Tioga, Texas, on September 29, 1907, but moved to Oklahoma with his parents while in his teens. Although his father was a horse trader, one finds that Gene experienced little of the cattle ranch life that his promotional material later stressed. At any rate, he left the “ranching” life as quickly as he could, working as a railroad telegrapher and singing at every opportunity.

According to a much-repeated story, confirmed by Autry himself, Will Rogers inspired his decision to become a professional musician. One day in 1927 the great humorist came to Chelsea, Oklahoma, where Autry was working as a telegrapher for the St. Louis and Frisco Railroad, heard the young man singing and strumming his guitar, and strongly encouraged him to go to New York and become a professional. Autry’s first trip to the big city in 1927 was unsuccessful, but he returned to Tulsa and got a job on KVOO as “the Oklahoma Yodeling Cowboy.” Returning to New York in 1929, he made his first records for Victor, accompanied by the Marvin Brothers, Johnny and Frankie. In December of the same year, Autry began a crucial association with Arthur Satherley, who recorded him for the American Record Company (ARC), producer of records for chain stores and for Sears. It was through the association with the Sears Conqueror label that Autry made it to WLS and the National Barn Dance.

In Chicago after 1931, Autry was an immediate success. His appearances on the Barn Dance and on his own radio program, Conqueror Record Time, made him one of the most popular performers in WLS history. His records, released on Sears labels, were those most prominently displayed in the Sears-Roebuck catalogue. As a result of his growing popularity, a number of Gene Autry songbooks and guitar instruction books began to appear in the early 1930s. An ad for a Gene Autry “Roundup” Guitar, priced at $9.95, reminded the reader that Autry had become a famous performer “simply because he learned to play a guitar while on the ranch.” Autry’s promotional mentors, Art Satherley and Ann Williams of the WLS production staff, capitalized on the “western” motif and advertised him as a singing cowboy long before the bulk of his recorded repertory came to include western numbers.

With Autry ensconced as a singing movie cowboy, hillbilly music now had a new medium through which to popularize itself.

In his early years as a professional singer, and on through the WLS period from 1931 to 1934, Autry remained a hillbilly singer, only rarely singing anything of a western variety. In both song selection and in style of performance, he revealed his indebtedness to the southern rural tradition. His Jimmie Rodgers imitations were among the best in country music, and his own “compositions” (written or cowritten with people like Jimmie Long) included such songs as “A Gangster’s Warning,” “A Hillbilly Wedding in June,” “Gosh, I Miss You All the Time,” and “My Old Pal of Yesterday.” In 1931, he recorded one of the biggest-selling hits in hillbilly music’s then-short history, “That Silver Haired Daddy of Mine,” recorded as a duet with the song’s co-composer, Jimmie Long. Autry’s many and varied recorded selections even included at least one labor song: “The Death of Mother Jones,” recorded on at least seven labels, which applauded the life of the famous and radical labor leader. While the song seemed rather remote from the type one would expect from a cowboy singer, it nevertheless reflected the passion for social and economic justice that many people felt during these Depression years.

Autry’s success on the Chicago radio stations and on record labels gained him in 1934 the position that made him the best-known cowboy in the United States and one of the most famous hillbilly singers. In that year, he arrived in Hollywood and began his career as the “Nation’s Number One Singing Cowboy.” Beginning with a small part in Ken Maynard’s In Old Santa Fe, he then starred for thirteen episodes in a strange cowboy/science-fiction serial called The Phantom Empire. Autry went on to a featured role in 1935 in Tumbling Tumbleweeds, a film that also included his old sidekick from Chicago days, Lester Alvin “Smiley” Burnette. In the following decades, he made more than ninety movies for Republic, Columbia, and Mascot, eighty-one of which included the multitalented Burnette, who usually played a bumbling character, Frog Millhouse. While becoming one of the most popular and wealthy actors in Hollywood, Autry also created the stereotype of the heroic cowboy who was equally adept with gun and guitar. Autry was not the first individual to sing in a western movie ─ Ken Maynard had done so as early as 1930 ─ but he was the first to institutionalize the phenomenon. With Autry ensconced as a singing movie cowboy, hillbilly music now had a new medium through which to popularize itself. The silver screen further romanticized the cowboy and helped shape the public idea of western music.

After signing his Hollywood contract, Autry made a radical shift in his repertory from “country” themes to “western” motifs. Instead of singing songs about the mountains, he came increasingly to perform songs with such titles as “Ridin’ Down the Canyon,” “The Round-up in Cheyenne,” and “Empty Cot in the Bunkhouse.” Both in Autry’s singing and in the instrumentation that accompanied him, one hears a distinctly measurable change in the records he made from 1929 to 1939. As the one-time hillbilly singer reached out to a larger audience, he smoothed out his presentation of material with a lower vocal pitch, well-rounded tones, and honey-coated articulation. Instrumentally, Autry’s sound exhibited a similar evolution, particularly after the violinist Carl Cotner became his musical director. Soft guitars, muted violins, a melodious but unobtrusive steel guitar, an accordion, and occasionally even horns could be heard as background instrumentation, as he and his directors sought a sound that would give no offense to America’s broad urban middle class. Whatever vocal sound was featured, however, Autry demonstrated a mastery of it. No country singer has ever shown more versatility.

Autry’s popularity inspired other movie companies to present their own versions of the singing cowboy. In searching for likely candidates, the companies usually delved into the ranks of country music, acquiring acts that had already established themselves on hillbilly radio shows or on record labels. Following Smiley Burnette, the Light Crust Doughboys became the first country group to join Autry in a movie (Oh, Susanna!). Some Autry sidemen went on to become important entertainment personalities in their own right. Johnny Bond, Jimmy Wakely, and Dick Reinhart, for example, came to Hollywood in 1940 (as the Jimmy Wakely Trio) and joined Autry’s Melody Ranch radio show in September of that year. Reinhart became one of the early exponents of the honky-tonk style, with songs like “Fort Worth Jail” and “Truck Driver’s Coffee Stop.” Wakely eventually starred in many movies of his own, became one of country music’s smoothest singers, and made several seminal recordings, such as “One Has My Name (The Other Has My Heart)” (one of the first successful “cheating” songs in country music). Bond remained on the Melody Ranch program until it ended in 1956, playing the role of a comic sidekick and opening the show each Sunday with the bass guitar run introduction to “Back in the Saddle Again.” Bond also became one of country music’s greatest songwriters, creating such songs as “Cimarron” (a song about a small river in Oklahoma, and performed by all western groups), “I’ll Step Aside,” “Old Love Letters,” and “I Wonder Where You Are Tonight” (now a standard in both bluegrass and mainstream country music).

A long line of hillbilly singers made only occasional appearances in western movies, usually as supporting actors for such leading cowboy stars as Charles Starrett and Johnny Mack Brown. The Sons of the Pioneers appeared in numerous movies, while Bob Wills and his Texas Playboys were in about eight. A few singers, such as Ernest Tubb, Jimmie Davis, and Bill Callahan, made only rare appearances.

Other singers, however, became leading men and posed at least modest challenges to Autry’s dominance. Atlanta-born Ray Whitley, the writer of “Back in the Saddle Again” and the designer of one of country music’s most popular guitars, the Gibson SJ-200, became a movie star in 1936 after an earlier successful career in New York as a cowboy singer. Tex Ritter also began his movie career in 1936, and, in the fifty-six movies that he eventually made, he became the most believable of all the singing cowboys. The most successful challenge to Autry, though, came from Roy Rogers, who signed with Republic in 1937. His visibility in American public life would last, because of television, well into the 1960s. The singing cowboy genre also persisted in American movies on into the 1950s, with Arizona-born Rex Allen being its chief exponent after 1949. In many ways, this last singing cowboy was the best singer of them all. Allen’s rich voice ranged from a deep bass to a sweeping tenor ─ a sound that almost no other country singer could equal.

Largely as a result of Hollywood exploitation, the concept of “western music” became fixed in the public mind. After the heyday of Gene Autry, the term “western” came to be applied even to southern rural music by an increasing number of people, especially by those who were ashamed to use the pejorative term “hillbilly.” Not only did the public accept the projection, but even most hillbilly singers became fascinated with the western image and eventually came to believe their own symbols. Autry was the first of a long line of country singers who clothed themselves in tailored cowboy attire; in the following decades, the costuming became increasingly elaborate and gaudy, with the brightly colored, bespangled, and rhinestone-laden uniforms created by Nudie the Tailor (Nudie Cohn, born Nuta Kotlyarenko in the Ukraine in 1902) in Los Angeles being the most favored fare. Eventually, most country performers, whether they hailed from Virginia or Mississippi, adopted cowboy regalia–usually of the gaudy, dude cowboy variety.


Kickstart your weekend reading by getting the week’s best Longreads delivered to your inbox every Friday afternoon.

Sign up


Along with the clothing, country bands and singers ─ particularly in the Southwest and on the West Coast ─ adopted cowboy titles. Singers with names like Tex, Slim, Hank, Red River Dave, the Utah Cowboy, and Patsy Montana, and groups with such titles as the Cowboy Ramblers, Riders of the Purple Sage, Radio Cowboys, Swift Jewel Cowboys, Lone Star Cowboys, and Girls of the Golden West (Dolly and Millie Good) abounded on radio stations (and record labels) all over the nation. Radio and record promoters, of course, were very much alive to the appeal of the western myth, and they often encouraged musicians to adopt appropriate western monikers. Millie and Dolly Good, for example, were farm girls from Illinois who sang and yodeled in sweet, close harmony. Their agent advised them to dress like cowgirls, gave them the romantic title Girls of the Golden West, and then, after scanning the map of western Texas, attached to their promotional literature the statement that they were born in Muleshoe, Texas. The Girls very carefully preserved this fiction to the end of their performing career.

Patsy Montana’s career was similarly shaped by romantic conceptions of the West. She was a singer and a fiddler from Arkansas named Rubye Blevins, but on the West Coast in the early 1930s, Stuart Hamblen renamed her Patsy Montana, and she thereafter cultivated the performing image of the cowgirl. Although much of her career saw her appearing as a “girl singer” with such groups as the Prairie Ramblers, Patsy made dramatic history in 1935 when “I Want to Be a Cowboy’s Sweetheart” became the first huge hit by a woman country singer and a virtuoso yodeling piece that still influences the style of women singers (Austin country-rock singer Marcia Ball, for example, made the song and yodel standard parts of her repertory in the late 1970s).

Many of the “western” entertainers performed cowboy songs, usually highly romanticized, but more often their titles and attire were the only ties they had with the “West.” Several musicians, however, stayed rather close to the cowboy repertory. Some of them had been performing long before Gene Autry achieved Hollywood fame, and many of them, such as “Haywire Mac” McClintock and the Crockett Family (John H. “Dad” Crockett and his five sons, originally from West Virginia), had performed on California radio stations since at least 1925. Other early California groups included Len Nash and his Original Country Boys, broadcasting from KFWB, Hollywood, as early as March 1926; Sheriff Loyal Underwood’s Arizona Wranglers; Charlie Marshall and his Mavericks; and perhaps the most important (and certainly the most interesting), the Beverly Hillbillies.

Largely as a result of Hollywood exploitation, the concept of “western music” became fixed in the public mind.

The Beverly Hillbillies were the brainchild of Glen Rice, station manager at KMPC in Los Angeles. Reversing the trend toward adoption of western names during the 1930s, Rice used the eastern moniker Hillbillies for the group of western musicians that he assembled around the accordion player Leo Mannes (renamed Zeke Manners) and conducted a ballyhoo campaign alleging that a group of strange and primitive musicians had been unearthed in the hills of Beverly. The band made its debut on KMPC on April 6, 1930, and remained a popular feature throughout the decade. Over the years the Hillbillies included several fine musicians, such as Manners, who had no background in country music but had been attracted to California because of the lure of Hollywood. A few Hillbillies were genuine country boys, such as the sky-high yodeler Elton Britt (James Britt Baker), who came from Arkansas in 1930, and Stuart Hamblen, who came from Texas in the same year. Britt went on to become one of country music’s most gifted yodelers (virtually the last of that once-hardy breed) and a leading soloist during the 1940s. Hamblen, the son of a Methodist minister in Abilene, Texas, was a fixture on West Coast radio from 1930 to the 1950s. He hosted his own shows in Hollywood after 1931, boosted the careers of other performers, wrote many of the most successful songs of the decade (including “My Mary,” “Texas Plains,” “Golden River,” and “My Brown-Eyed Texas Rose”), was the first country performer signed by Decca in 1934, and became sufficiently known to become a candidate for Congress in 1938.

The western group that ultimately became the most famous, and the most frequently emulated, was the Sons of the Pioneers. They sang virtually every type of country song and even ventured into popular music, but the majority of their melodies dealt with western themes. Perhaps more than any other group, they preserved a western repertory and exploited the romantic cowboy image. More “western” stylistically than any other group, they were among the least western in terms of origin. Bob Nolan (Robert Clarence Nobles) was born in New Brunswick, Canada, but he moved with his parents to Tucson at the age of fourteen. In Tucson he found himself fascinated with the desert, a feeling that never left him and eventually inspired some of country music’s greatest songs, such as “Cool Water,” “Tumbling Tumbleweeds,” and “At the Rainbow’s End.” Tim Spencer, also an outstanding songwriter, was born in Missouri but grew up in Oklahoma, Texas, and New Mexico. Roy Rogers came from southern Ohio.

The three musicians came to California in the early 1930s and soon fell into a pattern common to most country singers during the decade, moving from group to group before they formed their own organization. Roy Rogers, the prime organizer of the trio, was born Leonard Slye in Cincinnati, on November 5, 1911, but grew up on a small farm near Portsmouth, in southern Ohio. Here he garnered his earliest musical training from his Kentucky-born mother and his mandolin-and-guitar-playing father. In 1931 he and his father moved to Tulare, California, and worked as migratory fruit pickers. In the following three years, beginning with a duo called the Slye Brothers (Leonard and a cousin), he worked with several western-style groups until the Pioneer Trio was formed in 1933. Renamed the Sons of the Pioneers the following year, the trio soon became noted for their smooth, inventive harmonies and yodeling, and for the finely crafted songs that Nolan and Spencer created. They became so famous for their harmony that their instrumental accompaniment is often forgotten. Two extraordinarily talented brothers from Llano, Texas, Hugh and Karl Farr, joined them in 1934 and 1935. The Farrs were jazz-influenced country musicians whose progressive styles were sometimes obscured by the vocal emphasis of the Pioneers. Hugh Farr, who also sang a low-down bass with the group, was one of the hottest fiddlers of the period, and his brother, Karl, was a master of both the rhythm and single-string styles of guitar.

The Pioneers won extensive popularity on the West Coast with an early-morning radio program on KFWB in Hollywood, but 1936 proved to be their banner year. By this time their radio transcriptions were being widely circulated, and the group became a featured act, along with Will Rogers, at the Texas Centennial in Dallas. Leonard Slye left the group in 1937 after signing a movie contract with Republic Studios. At this point he changed his name, first to Dick Weston, and later to Roy Rogers. His performances after this time were made on an individual basis, and he eventually rivaled Gene Autry as America’s most popular singing cowboy (Rogers was also one of country music’s finest yodelers). He was replaced in the Sons of the Pioneers by Lloyd Perryman from Ruth, Arkansas, whose natural tenor was the first the group had ever had, and who gave them an even closer harmony than they had earlier possessed. The Sons of the Pioneers underwent numerous personnel changes after 1937 but have never disbanded. Their songs moved into the repertories of country singers everywhere, and their style of harmony was widely copied, most effectively by Foy Willing (originally Willingham) and the Riders of the Purple Sage, who appeared with Monte Hale and Roy Rogers in Republic Pictures from 1942 to 1952.

The flourishing singing cowboy industry inspired the emergence of songwriters, including two of country music’s finest ─ Fred Rose and Cindy Walker ─ who made their debuts as country composers in the 1940s when they wrote songs for movies (Rose for Autry, Walker for Bob Wills). The interest in western music in the 1930s, however, was not confined to country performers and their supporters. Writers from Tin Pan Alley also reacted to the western craze, and the entire nation was soon humming western-style tunes such as “Gold Mine in the Sky,” “There’s a Home in Wyoming,” and “I’m an Old Cowhand.” Some of these tunes were written by easterners who had never been near a cow, but the Happy Chappies at least lived in California in the midst of the Hollywood industry. The Chappies were a pop-singing duo named Nat Vincent and Fred Howard who wrote or arranged such songs as “When the Bloom Is on the Sage,” “Mellow Mountain Moon,” “My Pretty Quadroon,” and “Strawberry Roan” (the last a musical adaptation of Curley Fletcher’s earlier poem). The most successful of the western-oriented popular songwriters was a Bostonian, William J. (Billy) Hill. Hill’s birth and musical training gave no indication of his future success as a western songwriter. Born in Boston in 1899, he studied violin at the New England Conservatory of Music and performed for a short time with the Boston Symphony Orchestra. In 1916 he traveled west, riding the rails and working at odd jobs until he had seen most of the western states. He returned to New York in the late 1920s after becoming thoroughly acquainted with western life ─ including everything from camp cooking to cowpunching. In New York he worked as a doorman at a fashionable hotel and composed songs occasionally. Over the years his compositions ranged from popular melodies like “The Glory of Love” to hillbilly songs like “They Cut Down the Old Pine Tree” and “The Old Spinning Wheel.” His chief success, however, came with western-style songs like “Call of the Canyon,” which were distinguished for their beautiful melodies and for rhythms that suggested the gait of a horse. He experienced his most spectacular success in 1933 with “The Last Roundup,” the song that really awakened the general public to the romantic West while becoming the most popular tune in the country. Performed by both hillbilly and popular groups, its appeal may have stimulated a greater interest in the more “authentic” country and western material and ensured a greater national following for country music.

Most of the western bands in California and the Southwest used Billy Hill’s material, but his New York songwriting ventures were directed primarily at big-city popular-music audiences. Although country music has always encountered its coolest reception in the Northeast, particularly in the city of New York, country-style entertainers have always achieved some prominence there on local radio stations. Ethel Park Richardson, for example, did much to educate New Yorkers about the beauties of folk culture between 1933 and 1935 with her weekly dramatizations on WOR and the NBC Network. Each week she was assisted by such singers as Frank Luther, Carson Robison, and Tex Ritter as she dramatized a famous folk song. Luther and Robison had been in New York since the 1920s, but Ritter was one of several cowboy singers who kept New Yorkers range conscious during the mid-1930s. Others included Texas Jim Robertson, a deep-bass singer from Batesville, Texas; Zeke Manners and Elton Britt, who had moved from California; Dwight Butcher, a Jimmie Rodgers disciple from Tennessee; Ray Whitley, who sang regularly at the Stork Club and on WMCA; and Wilf Carter, the Nova Scotia yodeler who performed over CBS as Montana Slim.

The most singular of all the cowboy singers in New York, however, was Woodward Maurice “Tex” Ritter. Born in Murvaul, in deep East Texas, January 12, 1905, Ritter grew up far removed from the scene of much cowboy activity. He attended the University of Texas for five years (singing in the university glee club under the direction of Oscar Fox) and then went to Northwestern Law School for one year. Throughout his youth he had collected western and mountain songs, and therefore had a storehouse of interesting songs when he began singing on KPRC in Houston in 1929. In 1930, he joined a musical troupe on a series of one-night stands through the South and Midwest. By 1931, he had gone to New York, where he joined the Theatre Guild and began his acting career with a featured role in Green Grow the Lilacs (a short-lived play that eventually became the basis for the musical Oklahoma). With his thick Texas accent and storehouse of cowboy lore, Ritter quickly emerged as a New York sensation. He became greatly in demand for lecture recitals in eastern colleges on the cowboy and his song. During the fall of 1932, he was the featured singer with the Madison Square Garden Rodeo and from there went on to a recording contract with ARC and a program slot on WOR entitled The Lone Star Rangers, one of the first western radio shows ever featured in New York City. From 1932 to 1936, he appeared on other New York stations, including the WHN Barn Dance, where he acted as cohost with Ray Whitley. Then, inevitably, in 1936, he made the first of several movies, Song of the Gringo. Ritter, however, was not a cowboy, but was instead a very believable interpreter of cowboy songs. Impressionable easterners were easily convinced that he came, not from a small East Texas community and a college background, but from a working cattle ranch. And Tex very skillfully lived up to the part.

Tex Ritter’s exploitation of the western theme was typical of what was happening all over the United States in the mid-1930s. From New York to California, individuals responded to the western myth, and “cowboy” singers and groups sprang up in all sorts of unusual places. “Western” became a rival and often preferred term to “hillbilly” as a proper appellation for country music. It is easy to understand, of course, why “western” would be preferred to the seemingly disreputable backwoods term. “Western,” specifically, suggested a music that had been developed by cowboys out on the Texas Plains or in the High Sierras; more generally, it suggested a context that was open, free, and expansive. In short, the term fit the American self-concept.

***

Listen to music writer Will Hermes’ interview with Bill Malone and Tracey Laird on the Longreads Podcast here (read as transcript).

Excerpted from Country Music USA. Copyright ©1968 by the American Folklore Society. Copyright © 1985, 2002, 2010, 2018 by the University of Texas Press. All rights reserved.

Seeing Private Everyman

Life Magazine March 16, 1942, courtesy the author / Nevin Ruttanaboonta, Unsplash

Steve Edwards | Longreads | July 2018 | 16 minutes (4,482 words)

When my wife was first pregnant with our son, it startled me to think that the life we were living before his arrival would be a mystery to him, part of some dim and distant past. All he would have were our stories. And because we lived far from our respective families, stories would be almost all he would have of them, too. It may have been first-time father jitters, but it felt important that he know something of his people and what we were all about. Or maybe I just imagined him a captive audience to whom I could tell stories my wife had already heard a thousand times.

My family’s big story was my grandfather’s brush with fame in Life magazine. During World War II and beyond, he was Life’s Private Everyman — Charles E. Teed of Effingham, Illinois, a figure meant to typify selectees in the war effort. On March 16, 1942, he graced the cover and was profiled in a long feature article. In 1961, he appeared alongside the 20th century’s most notable celebrities in Life’s 25th-anniversary issue. There’s Marilyn Monroe on one page. There’s Granddad on another. By Life’s estimation, “victory over the common enemy” depended upon Granddad and men like him, and whether, when the time came — in a line paraphrased from War and Peace — they shouted “‘Hurrah!’ or “‘We are lost!’” I was 10 when he died. Nearly everything I know about his life, I learned from the magazine.

I remember the night a copy of that magazine was brought to the dinner table. The dishes had all been swept away and it was placed before me. I was instructed in the careful turning of its pages so as not to rip them.

At first, I didn’t understand. The Granddad I knew, then in his late 50s and early 60s, wasn’t anybody famous. He shot pool, taught us pinochle, and took us fishing. He worked in a factory and often came home exhausted at night. “I’m sorry, honey,” he’d sometimes say to my brother and me when requests to shoot pool came down in the after-dinner hours, “I’m too tired.” But there he was on the cover, a skinny John Wayne.

He’d been photographed from below, solitary, outlined only in sky, his eyes set on something in the middle distance. He wore a field jacket and gloves. The bayonet on his rifle stabbed into a corner of the frame. In the photographs inside the magazine, he looked like one of my miniature plastic Army men come to life. He sprinted through the woods out on maneuvers; scrubbed canvas puttees and cartridge belts; swept up on KP. And there were other pictures, earlier ones, which my great-grandmother had supplied from home: Granddad at 6 in a Little Lord Fauntleroy suit, and later, in the backyard, playing Cowboys and Indians. In a picture of his sixth grade class, he stood in the back row, smiling and self-possessed, described by Life as the “tallest and best-looking boy” of the bunch. And how proud he seemed at 16 and already 6-foot-2, dressed in his Sunday finest — a white collar shirt, a pair of high-waisted slacks cinched tight by a belt — on a front-porch step beside his grinning and equally handsome 6-foot-6 father.

It was a revelation to see him so young. It was a revelation, too, to imagine that people all around the country — millions of them — had looked upon these same images. When his issue first hit newsstands, Pearl Harbor had happened but we were still several months away from any major land battle. It was a time of deep uncertainty. The lives of those willing to sacrifice themselves for the country were stories yet to be written.

It was a time of deep uncertainty. The lives of those willing to sacrifice themselves for the country were stories yet to be written.

For reasons even he never knew, Life chose Granddad to represent those possibilities. Maybe it was his good looks. Maybe he was just in the right place at the right time. Regardless, there he was, an icon of the everyman.

Hope writ large.

After that night at the dinner table, I don’t think I ever looked at him the same. Though my understanding of the war was incomplete, only a child’s understanding, I felt great pride that he had been someone our country turned to for hope. And I knew that appearing on the cover of Life meant he was anything but ordinary. And if the magazine changed the way I saw him, it also changed the way I saw myself. Maybe there was something brave in me. Maybe I could give people hope. The feeling was that Granddad mattered, and that I could matter, too. And if I could pass along anything to my son, it would be that.

* * *

So much of what we think we know about each other — even the people we love — is predicated on what we don’t know. Or can’t know. Or what is kept from us as children for our own good. On nights Granddad wasn’t too tired for a game of pool, I remember watching him hover silent as a shark around the table in his basement, chalking his cue and lining up shot after shot and slamming them home. Other nights he’d pull out his projector and show clips of 8 mm film he’d taken at the go-kart races at the fairgrounds, or some scene from a fishing trip out at Lake Sara. In my earliest memories, it’s the 4th of July and I’m sitting atop an old-fashioned oak-barrel ice cream maker while he turns the crank. Around us are friends and family with sweating cans of Coors, talking and laughing and telling stories, their enormous Oldsmobiles and Buicks parked at odd angles down the street. I remember his gentleness in those moments, the care he took teaching me how to hold a pool cue, how to aim and think about angles when making a bank shot. The only time I ever heard an edge creep into his voice was a night the news showed images of the famine in Ethiopia. Granny saw the children’s bloated stomachs and got a pained looked on her face and told him to turn it off. “This is what’s happening,” he hissed. “You have to look.”

From my vantage as a 43-year-old looking back, I’m tempted to say that the news footage triggered the PTSD from which he must surely have suffered. Something in how he scowled at the television so intently — his laser-like focus on it — betrayed a nervous system that had trained itself to be ever-vigilant for signs of trauma.


Kickstart your weekend reading by getting the week’s best Longreads delivered to your inbox every Friday afternoon.

Sign up


Against the innocence of my childhood memories, it takes an act of imagination to consider the scope and severity of the suffering Granddad endured. The picture of his father and him so proud on that porch step was taken around 1936, in the heart of the Great Depression. A little over three years later, his father — a workman for the Illinois Central Railroad — was hit and killed by a freight train, his lanky 6-foot-6 frame severed at the waist. Granddad had just graduated high school, his whole future ahead of him.

In their profile, Life rendered his father’s death as part of Granddad’s backstory, a detail that testified to the humanity of ordinary selectees and that celebrated the American ethos of overcoming adversity by reinventing yourself. His father’s death wasn’t a tragedy but an opportunity. With an insurance payout and a settlement from the railroad, Granddad and my great-grandmother started a restaurant in downtown Effingham called the Heart Café. He put in grueling 17-hour days, bussing tables, manning the cash register, sweeping up. And it was at the Heart Café, in the depths of his loss, that he met Violet Kincaid — Granny — a dark-haired young woman from a nearby farm who took a waitress job. In a story my mother says isn’t true, or maybe only half true, Life wrote that Granny dropped a tray of dirty dishes on her first day: “Teed helped her pick up the pieces, they looked into each other’s eyes and it was all over for Teed.” Six weeks later they got engaged, and not long after, in July 1941, he was drafted into the army.

There is an almost irresistible romance to his story — from its tragic beginnings, to his sudden fame on the cover of Life, to the fear of death in battle that must have hovered in his mind like an ungraspable wisp of steam.

And those starkly beautiful black-and-white Life photographs only served to amplify the drama and spectacle.

But the reality of war was that in the course of his 27 months as a combat soldier in the infantry, Granddad had seen “a lot of things die.” That’s how he described it to Life editors in an interview for the 25th-anniversary issue in 1961. In Morocco, he’d stormed the docks at Safi under sniper fire, and later marched 250 miles across the desert to Port Lyautey. In Sicily, he led pack mules up mountains so steep the mules sometimes fell off. Outside St. Lô, France — a city Allied bombs reduced to rubble — he was shot in the chest and crawled under an apple tree to die. Luckily for him (and me) a field guide found him.

He told Life he remembered thinking that “the orchard and the clouds were the last things [he] was going to see.”

Instead he spent the next two years in a hospital. In his absence from Effingham, The Heart went under and so his first job upon arriving home was racking billiards at a bar. He and Granny saved up and started a ma-and-pop grocery, only to see it run out of business when national chains swooped in. He taught himself TV repair, started a shop out of his home. When that was no longer profitable he took a line job at a factory.

All his life he worked and scraped by and found a way to provide. He answered his country’s call for sacrifice and never quit on his family and embodied every bit of the rugged selflessness of a John Wayne war flick. His private life, however, would have been more morally complicated. No matter how selflessly he gave himself after the war, he still had to live with the things he’d done to survive it. And as such, despite millions of people having come to know him from his photographs in Life, he may have felt invisible.

And as such, despite millions of people having come to know him from his photographs in Life, he may have felt invisible.

In a 1943 column about how war changed soldiers like Granddad, who’d spent years on the front lines, the famous World War II correspondent Ernie Pyle wrote that: “The most vivid change is the casual and workshop manner in which they now talk about killing. They have made the psychological transition from the normal belief that taking human life is sinful, over to a new professional outlook where killing is a craft. To them now there is nothing morally wrong about killing. In fact it is an admirable thing.” I don’t believe — can’t believe — becoming a professional at killing is something any veteran walks away from easily or without harm. I think Granddad would have wanted to protect us, his family, from the trauma he knew. He would have wanted to protect himself from the pain of our knowing. But how often the dead, friend and enemy alike, must have sat in the room with us, their ghosts crowding the card table while we bid for trump in games of pinochle. While 8 mm films flickered on a screen in the basement. While I sat atop an ice cream maker and Granddad turned the crank some long-lost 4th of July.

I remember one night — it must have been a year or two before he died — he came into my bedroom with a gift. It was a small framed black-and-white picture of him at 16. In the photograph his hair was slick and black, his cheeks tinted a rosy pink. He held out the picture and said he thought I might like to have it for my desk.

Something about the moment overwhelmed me. I didn’t know what to make of such a gift. And I refused to accept it.

He nodded and quietly left, taking the picture with him. The next morning I had a change of heart and tried to tell him I wanted it after all but the words failed me. He packed the picture into his suitcase. I never saw it again.

In the hard light of morning, maybe giving me a picture of himself felt too much like vanity. Maybe he realized that his memories from 16 — before his father was killed, before the war came along and changed everything — would be lost on an ’80s kid like me. There is no salvaging the past, no storing it up in someone else for safe keeping. Maybe a man who killed in war in order to live should have known better than to be sentimental. But I think about what it says about his heart, and maybe all hearts, that he wanted me to know him. That after years of hard knocks, some part of him remained tender enough to be hurt by a child.

One thing I’ve learned as a writer is that the stories inside us — especially the ones that hurt — have to come out. Whatever the cost of telling them, the cost of holding onto them is greater. As such, I think the courage it took Granddad to go to war had a twin in the courage it took him to examine his life afterward, and to offer its fractures for the world to see. When Life contacted him in 1960, wanting to catch up with “Private Everyman” for the magazine’s 25th-anniversary special double issue, he could have said no. Instead, he agreed to be photographed over the course of a whirlwind two-week trip that took him from Effingham to Fort Bragg, Normandy, Casablanca, Palermo, New York City, and back — the places the war had taken him 15 years before. Life billed the story “an adventure in time as well as a journey through space.”

On each leg of the trip, elaborate “re-creation” photos — pictures meant to invoke Granddad’s experiences in the war — were staged. In one shot, taken in France, he and some soldiers from a nearby Army post flank a crack-filled farmhouse, rifles drawn. In another, in the mountains of Sicily, he squats beside a pack mule, the white slash of a cigarette in his mouth. Alongside the “re-creation” shots are shots of the man he’d become — the 40-year-old husband and father hammering a sign for his TV repair shop in the front yard; the laconic veteran reading names on the white stone crosses in the cemetery at Omaha Beach.

In one man lived the other.

Of all the images of Granddad to have appeared in Life, the shots from November 1960 are the most personally affecting to me. For one, he looks more like the man I remember from when I was kid. For another, there’s something in his countenance — a flintiness and melancholy — that suggests an incalculable depth of hurt.

It’s there, too, in the quotes Life editors lifted from their interview with him to serve as captions for the pictures. Under the shot of the crack-filled farmhouse in France, Granddad says: You never could tell about those broken-up farmyard buildings in Normandy. You could be running into a sniper there or a booby trap or, on the other hand, you might get real lucky and find a keg of Calvados. I guess there’s only one thing you can say about war after you get to know something about it, and that is it’s rough. The circumspection and carefulness of his talk — and the euphemism of war as “rough” — speaks to the unspeakable.

And to that I would only add that photographs like Granddad’s, in simultaneously concealing as much as they reveal, testify to a fundamental truth of being human: We live by illusions. We curate our lives like stories in a magazine.

Some part of me has always been drawn to hidden truths. Like a kid turning over a rock, I’m curious about what’s underneath the tidy and convenient narratives we create to smooth over the chaos of life. Staged to suggest Granddad’s memories of war, those “re-creation” shots fascinate me. They are conspicuously absent of blood and suffering and death. The stink of human misery doesn’t rise off the page like black smoke. At the same time, however, could even the most graphic of photographs capture that? And confronted with the true horrors of war, who could stand to look at them? Not the readers of Life, I don’t suppose. For them — and for me — the suggestion of war is as far as we can go. The rest is a journey of the imagination. “To take a photograph,” writes Susan Sontag in On Photography, “is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.” And to that I would only add that photographs like Granddad’s, in simultaneously concealing as much as they reveal, testify to a fundamental truth of being human: We live by illusions. We curate our lives like stories in a magazine.

* * *

The photographer who accompanied Granddad on that 1960 “adventure in time” was a man named Leonard McCombe. Other Life photographers of the era — Frank Capra, Henri Cartier-Bresson, W. Eugene Smith — enjoy more name recognition, but McCombe’s photographs are every bit as incisive and iconic. He was born on the Isle of Mann, and at 19 had been embedded as a photographer with British troops in Normandy not far from where Granddad was shot. The trip was something of a return for him, too.

Several years ago, I had a brief email exchange with McCombe. He had retired from photography and now owned an apple orchard on Long Island. Having heard from an online connection that I was looking for information about his trip with Granddad, he wrote to me out of the blue:

Dear Mr. Edwards,

I am now in my late eighties, and I don’t do any interviews. My memory is not perfect, but I could answer a few questions by email. I was sent by the editors of Life about fifty years ago to do a story on your grandfather. My job was to get a picture story and I did not make any notes. Remembrance of the past was the theme of the story.

Sincerely,
Leonard McCombe

I wrote back immediately, saying I was simply curious what he might remember and whether he had any stories to share. Two weeks later, a page of McCombe’s remembrances arrived via email. He remembered Granddad’s backstory of growing up poor during the Depression, and losing his dad; starting a restaurant with my great-grandmother; and meeting a “pretty waitress” (Granny) and getting married quick. He remembered that “one thing [Granddad] liked in the army was marching with the band,” because “he felt for the first time like one of the boys.” He told me about shots he’d made in Effingham, and how from there they traveled to Fort Bragg and Normandy, where Granddad had landed at Utah Beach on D-Day Plus 4. “Chuck remembered fighting in the hedgerows,” McCombe wrote, “and securing abandoned farmhouses with landmines going off, booby-traps, and snipers in the orchards.” After Normandy it was on to Morocco and to Sicily, where McCombe said he made his best shots — photographs of Granddad in “the high mountains with mules carrying munitions and food supplies to the troops.”

I read and reread the email, savoring even the smallest fragments of story. Like the day they had lunch with an innkeeper at the Lyon D’Or, a small hotel in Bayeux, and listened as she told about being awoken in the night during the initial D-Day bombardment. Or how, during one of the “re-creation” photo sessions, the local soldiers they brought in had set off so many smoke bombs McCombe feared a visit from the police.

The stories McCombe shared brought the trip to life in a way the photographs alone couldn’t. Beneath the images’ glossy surfaces were the sacrifices he and Granddad had made to get them. The conscious choice to look.

In one sliver of a story, McCombe mentioned that their flight from Paris to Casablanca had been full of German tourists. The irony wasn’t lost on me. In the days prior, Granddad had been photographed wandering Utah Beach looking at remnants of the big German guns that fired upon him. He stood in an orchard like the one where a sniper put a bullet in his chest. Only 15 years had passed since he’d crawled under that apple tree to die. No time at all. The voices of those German tourists must have chilled his blood.

Life wrote that for Granddad “the slow summoning up of memory was always a poignant experience, sometimes tender, often painful. … Most of those who were there with him are long since vanished into the past.” And now that he has long since vanished, I marvel at his willingness to participate in that summoning.

What compelled him to do it? Did he want to test himself? Did he feel some kind of obligation to Life’s readership?

I can only speculate about his motivations. I know as much about Granddad’s private thoughts and feelings as I do about the circumstances that landed him on the cover of Life in the first place. But against everything I can’t know stands a simple fact: He was there. One of the first “re-creation” photographs of the trip — a shot that never made it into the magazine but that I discovered years later in an online archive — boldly underscores the seriousness of his commitment. In the picture, a group of men at the railroad yards stand over a body that’s been covered by a blanket. One man has his hand on his head as though in shock. The image is composed so that a nearby freighter’s boxcars crowd out the entire right side of the frame. Foregrounded on the left and taking up nearly as much space, his back to the camera, Granddad looks on. He’s dressed in clothes he might have worn at 19 — a denim jacket, a wool cap with earflaps. He and Leonard McCombe, on maybe the first day of their trip around the world and back, had staged the scene of his father’s tragic death. When I look at the picture, I don’t see the picture. I smell pitch oozing from railroad ties. I feel the heat and rumble of the freighter’s big engine. No one else could have known what he felt standing there. Maybe that was reason enough to want to tell the story.

In 1944, after he’d been shot, Granddad thought the last things he was going to see were the clouds and the sky. Forty years later, dying of lung cancer in the Veterans’ Administration hospital in Danville, Illinois, the thought became a kind of wish. After chemo and surgery, talk had turned to him coming home. Granny bought a chair and a beach umbrella so he could sit in the backyard and listen to birds and watch the clouds. I imagined him getting better, stronger, putting on weight, not coughing anymore, his hair growing back, his arm around my shoulders some afternoon at Lake Shelbyville fishing for black crappie. But the night he got the all clear, the relief was too much. Instead of coming home, he died in his sleep.

At 10 years old, nothing had ever scared me as much as walking into his hospital room and seeing him so frail. My brother and I stood by his bed, stunned, just looking at him and trying not to cry. He slowly pulled the oxygen tube from his nostrils and put a thumb over the vents and beckoned my brother to come close.

When my brother leaned in, Granddad lifted his thumb from the tube and blasted him in the face with the cold air.

Or I should say he tried to blast him with cold air. His movements were too slow and shaky to really make it happen. And my brother only pretended to be surprised. But that was Granddad — he didn’t want us to be afraid.

The better story from his last days was one I learned later, secondhand from my mother. Upon Granddad’s arrival at the VA, word somehow got out that Private Everyman, the soldier featured in those old Life magazines, had been admitted. In their wheelchairs and hospital gowns, people began stopping by to pay their respects. They struck up conversations with him in the day room and on the elevator. They remembered him.

According to my mother, Granddad delighted in being recognized. She said that when they all got to talking he was like a king holding court. These years later it strikes me that in Granddad’s photographs in Life, his fellow vets had seen themselves, their triumphs and struggles. They had felt acknowledged by the witness he bore. And it occurs to me, too, that in chatting him up in the VA and telling him their stories from the war years, they acknowledged him. The tremendous gift of that stops me cold. No one in the world escapes from trauma and tragedy — it’s coming for us all. But in sharing our stories, we can see and be seen.

My son is nearly nine now, around the age I was when I first read about Granddad in Life. He likes legends of knights and castles and dragons. Lately he’s been putting together the story of how his mom and I met, and coming to terms with the puzzling fact that we were once children ourselves. One of these nights, after we’ve finished dinner and cleaned up the dishes, I’ll bring out one of Granddad’s copies of Life and instruct him in the careful turning of its pages. I’ll tell him everything I can about the people in the pictures. I’ll try to answer any question that might spring to mind — about the war, or why people are always fighting. I don’t know what it will mean to him, if anything. Maybe for him the story will be how meaningful it all was to me. Or maybe it will blur and fade, one more dog-eared photograph waiting to be discovered in memory’s dusty attic. Anything is possible. We live in a little town in Massachusetts, surrounded by orchards like the one in France where Granddad nearly died. Someday years from now my son may even realize why, when we’re out driving, I always point out pretty clouds in the sky.

***

Steve Edwards is author of Breaking into the Backcountry, a memoir of his time as the caretaker of a wilderness homestead in southern Oregon. He lives in Massachusetts with his wife and son.

***

Editor: Krista Stevens

Copy editor: Jacob Gross

Fact-checker: Ethan Chiel