Arrayed in a rusty, dusty, shiny black suit, creaky black undertaker shoes, and a black-greenish hat, he was thin as a stalk of sugar cane. He had a long red wrinkled shirt. I thought he was nice, we all did; he had a flower tattooed on his wrist, his eyes were gentle, he was gently spoken. He said his name was Bancroft (which, as it turned out, was his true name). My uncle Jennings asked him: “What’s your line of work, Mr. Bancroft?”
“Well,” he drawled, “I’m just lookin’ for some. Like most everybody else. I’m pretty handy. Can do most anythin’. You wouldn’t have somethin’ for me?”
Jennings said: “I sure could use a man. But I can’t afford him.”
“I’d work for most nothin’.”
“Yeah,” said Jennings. “But nothing is what I’ve got.”
Unpredictably, for it was a subject seldom alluded to in that household, crime came into the conversation. Mary Ida complained: “Pretty Boy Floyd. And that Dillinger man. Running around the country shooting people. Robbing banks.”
“Oh, I don’t know,” said Mr. Bancroft. “I got no sympathy with them banks. And Dillinger, he’s real smart, you got to hand him that. It kinda makes me laugh the way he knocks off them banks and gets clean away with it.” Then he actually laughed, displaying tobacco-tinted teeth.
“Well,” Mary Ida countered, “I’m slightly surprised to hear you say that, Mr. Bancroft.”
Two days later Jennings drove his wagon into town and returned with a keg of nails, a sack of flour, and a copy of the Mobile Register. On the front page was a picture of Mr. Bancroft—“Two-Barrels” Bancroft, as he was colloquially known to the authorities. He had been captured in Evergreen, thirty miles away. When Mary Ida saw his photo, she rapidly fanned her face with a paper fan, as though to prevent a fainting fit. “Heaven help me,” she cried. “He could have killed us all.”
Jennings said sourly: “There was a reward. And we missed out on it. That’s what gets my goat.”
Next, there was a girl called Zilla Ryland. Mary Ida discovered her bathing a two-year-old baby, a red-haired boy, in a creek that ran through the woods back of the house. As Mary Ida described it: “I saw her before she saw me. She was standing naked in the water bathing this beautiful little boy. On the bank there was a calico dress and the child’s clothes and an old suitcase tied together with a piece of rope. The boy was laughing, and so was she. Then she saw me, and she was startled. Scared. I said: ‘Nice day. But hot. The water must feel good.’
But she snatched up the baby and scampered out of the creek, and I said: ‘You don’t have to be frightened of me. I’m only Mrs. Carter that lives just over yonder. Come on up and rest a spell.’ Then she commenced to cry; she was only a little thing, no more than a child herself. I asked what’s the matter, honey? But she wouldn’t answer. By now she had pulled on her dress and dressed the boy. I said maybe I could help you if you’d tell me what’s wrong. But she shook her head, and said there was nothing wrong, and I said well, we don’t cry over nothing, do we? Now you just follow me up to the house and we’ll talk about it. And she did.”
Indeed she did.
I was swinging in the porch swing reading an old Saturday Evening Post when I noticed them coming up the path, Mary Ida toting a broken-down suitcase and this barefooted girl carrying a child in her arms.
Mary Ida introduced me: “This is my nephew, Buddy. And—I’m sorry, honey, I didn’t catch your name.”
“Zilla,” the girl whispered, eyes lowered.
“I’m sorry, honey. I can’t hear you.”
“Zilla,” she again whispered.
“Well,” said Mary Ida cheerfully, “that sure is an unusual name.”
Zilla shrugged. “My mama give it to me. Was her name, too.”
Two weeks later Zilla was still with us; she proved to be as unusual as her name. Her parents were dead, her husband had “run off with another woman. She was real fat, and he liked fat women, he said I was too skinny, so he run off with her and got a divorce and married her up in Athens, Georgia.” Her only living kin was a brother: Jim James. “That’s why I come down here to Alabama. The last I heard, he was located somewhere around here.”
Uncle Jennings did everything in his power to trace Jim James. He had good reason, for, although he liked Zilla’s little boy, Jed, he’d come to feel quite hostile toward Zilla—her thin voice aggravated him, and her habit of humming mysterious tuneless melodies.
Jennings to Mary Ida: “Just the hell how much longer is our boarder going to hang around?” Mary Ida: “Oh, Jennings. Shhh! Zilla might hear you. Poor soul. She’s got nowhere to go.” So Jennings intensified his labors. He brought the sheriff into the case; he even paid to place an ad in the local paper—and that was really going far. But nobody hereabouts had ever heard of Jim James.
At last Mary Ida, clever woman, had an idea. The idea was to invite a neighbor, Eldridge Smith, to evening supper, usually a light meal served at six. I don’t know why she hadn’t thought of it before. Mr. Smith was not much to look at, but he was a recently widowed farmer of about forty with two school-aged children.
After that first supper Mr. Smith got to stopping by almost every twilight. After dark we all left Zilla and Mr. Smith alone, where they swung together on the creaking porch swing and laughed and talked and whispered. It was driving Jennings out of his mind because he didn’t like Mr. Smith any better than he liked Zilla; his wife’s repeated requests to “Hush, honey. Wait and see” did little to soothe him.
We waited a month. Until finally one night Jennings took Mr. Smith aside and said: “Now look here, Eldridge. Man to man, what are your intentions toward this fine young lady?” The way Jennings said it, it was more like a threat than anything else.
Mary Ida made the wedding dress on her foot-pedaled Singer sewing machine. It was white cotton with puffed sleeves, and Zilla wore a white silk ribbon bow in her hair, especially curled for the occasion. She looked surprisingly pretty. The ceremony was held under the shade of a mulberry tree on a cool September afternoon, the Reverend Mr. L. B. Persons presiding. Afterward everybody was served cupcakes and fruit punch spiked with scuppernong wine. As the newlyweds rode away in Mr. Smith’s mule-drawn wagon, Mary Ida lifted the hem of her skirt to dab at her eyes, but Jennings, eyes dry as a snake’s skin, declared: “Thank you, dear Lord. And while You’re doing favors, my crops could use some rain.”
PREFACE TO MUSIC FOR CHAMELEONS (1980)
My life—as an artist, at least—can be charted as precisely as a fever: the highs and lows, the very definite cycles.
I started writing when I was eight—out of the blue, uninspired by any example. I’d never known anyone who wrote; indeed, I knew few people who read. But the fact was, the only four things that interested me were: reading books, going to the movies, tap-dancing and drawing pictures. Then one day I started writing, not knowing that I had chained myself for life to a noble but merciless master. When God hands you a gift, he also hands you a whip; and the whip is intended solely for self-flagellation.
But of course I didn’t know that. I wrote adventure stories, murder mysteries, comedy skits, tales that had been told me by former slaves and Civil War veterans. It was a lot of fun—at first. It stopped being fun when I discovered the difference between good writing and bad, and then made an even more alarming discovery: the difference between very good writing and true art; it is subtle, but savage. And after that, the whip came down!
As certain young people practice the piano or the violin four and five hours a day, so I played with my papers and pens. Yet I never discussed my writing with anyone; if someone asked what I was up to all those hours, I told them I was doing my school homework. Actually, I never did any homework. My literary tasks kept me fully occupied: my apprenticeship at the altar of technique, craft; the devilish intricacies of paragraphing, punctuation, dialogue placement. Not to mention the grand overall design, the great demanding arc of middle-beginning-end. One had to learn so much, and from so many sources: not only from books, but from music, from painting, and just plain everyday observation.
In fact, the most interesting writing I did during those days was the plain everyday observations that I recorded in my journal. Descriptions of a neighbor. Long verbatim accounts of overheard conversations. Local gossip. A kind of reporting, a style of “seeing” and “hearing” that would later seriously influence me, though I was unaware of it then, for all my “formal” writing, the stuff that I polished and carefully typed, was more or less fictional.
By the time I was seventeen I was an accomplished writer. Had I been a
