All Over but the Shoutin' Read online

  Rick Bragg

  ALL

  OVER BUT

  THE SHOUTIN’

  Rick Bragg is the author of Somebody Told Me, All Over but the Shoutin’ and Ava’s Man. A national correspondent for The New York Times, he was awarded the Pulitzer Prize for feature writing in 1996. He lives in New Orleans.

  FIRST VINTAGE EDITION, SEPTEMBER 1998

  Copyright © 1997 by Rick Bragg

  All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Vintage Books, a division of Random House, Inc., New York, and simultaneously in Canada by Random House of Canada Limited, Toronto. Originally published in hardcover in the United States by Pantheon Books, a division of Random House, Inc., New York, in 1997.

  Grateful acknowledgment is made to the following for permission to reprint previously published material: EMI Music Publishing: Excerpt from “I Been to Georgia on a Fast Train” by Billy Joe Shaver. Copyright © 1972 by Sony/ATV Songs LLC. Administered by EMI Blackwood Music Inc. (BMI). All rights reserved. International copyright secured. Reprinted by permission of EMI Music Publishing. • MCA Music Publishing: Excerpt from “The Great Speckled Bird” by Guy Smith. Copyright © 1937, 1964 by MCA-Duchess Music Corporation. Copyright renewed. Duchess Music Corporation is an MCA Company. International copyright secured. All rights reserved. Reprinted by permission of MCA Music Publishing. • Warner Bros. Publications U.S. Inc.: Excerpt from “I’m So Lonesome I Could Cry” by Hank Williams. Copyright © 1949 (renewed) by Acuff-Rose Music, Inc. and Hiriam Music for the U.S.A. World outside of U.S.A. controlled by Acuff-Rose Music, Inc. • Excerpt from “Pancho and Lefty” by Townes Van Zandt. Copyright © 1972 by Columbine Music & EMI U Catalog Inc. All rights reserved. Reprinted by permission of Warner Bros. Publications U.S. Inc., Miami, FL 33014.

  The Library of Congress has cataloged the Pantheon edition as follows: Bragg, Rick.

  All over but the shoutin’ / Rick Bragg. p. cm.

  eISBN: 978-0-307-76291-7

  1. Bragg, Rick. 2. Bragg, Rick—Childhood and youth. 3. Journalists—United States—Biography. 4. Working class whites—Alabama—Biography. 5. Alabama—Biography. 6. Alabama—Rural conditions. I. Title PN4874.B6625A3 1997 070’.92—dc21

  [B] 97-9918

  Author photograph © Marion Ettlinger

  Random House Web address: www.randomhouse.com

  v3.1_r1

  TO MY MOMMA

  AND MY BROTHERS

  Contents

  Cover

  About the Author

  Title Page

  Copyright

  Dedication

  Epigraph

  Prologue

  1 THE WIDOW’S MITE

  1 A man who buys books because they’re pretty

  2 A killing, and a man who tried to walk on water

  3 Fake gold, other people’s houses, and the finest man I never knew

  4 Dreaming that a crooked man will straighten up and fly right

  5 When God blinks

  6 The free show

  7 No papers on him

  8 In the mouth of the machine

  9 On the wings of a great speckled bird

  10 If you got to kill somebody, better it ain’t family

  11 Under a hateful sky

  12 Getting above your raising

  13 Fine qualities

  14 100 miles per hour, upside down and sideways

  15 The usual suspects

  2 LIES TO MY MOTHER

  16 In the temple

  17 Saturdays in October

  18 White tuxedoes

  19 The price tag on heaven

  20 Under Vulcan’s hammer

  21 Running hot

  22 What if

  23 Paradise

  24 Miami, in madness

  25 Eating life

  26 Tap-tap

  27 Snow in a can

  28 The interview for the Ivy League

  29 Perfume on a hog

  30 New York

  31 Coming home

  32 Dining out with no money, and living with no life

  33 Buying bodies, eating lobster

  3 GETTING EVEN WITH LIFE

  34 Gone South

  35 Abigail

  36 Mrs. Smith, and family

  37 Monsters

  38 Validation

  39 1.3 acres

  40 The same

  41 Who we are

  42 Safe in the dark

  Other Books by This Author

  Living on the road my friend

  Was gonna keep you free and clean

  Now you wear your skin like iron

  And your breath is hard as kerosene

  You weren’t your momma’s only boy

  But her favorite one, it seems

  She began to cry when you said goodbye

  Saddled to your dreams

  —T. VAN ZANDT

  Prologue

  Redbirds

  I used to stand amazed and watch the redbirds fight. They would flash and flutter like scraps of burning rags through a sky unbelievably blue, swirling, soaring, plummeting. On the ground they were a blur of feathers, stabbing for each other’s eyes. I have seen grown men stop what they were doing, stop pulling corn or lift their head out from under the hood of a broken-down car, to watch it. Once, when I was little, I watched one of the birds attack its own reflection in the side mirror of a truck. It hurled its body again and again against that unyielding image, until it pecked a crack in the glass, until the whole mirror was smeared with blood. It was as if the bird hated what it saw there, and discovered too late that all it was seeing was itself. I asked an old man who worked for my uncle Ed, a snuff-dipping man named Charlie Bivens, why he reckoned that bird did that. He told me it was just its nature.

  This is not an important book. It is only the story of a strong woman, a tortured man and three sons who lived hemmed in by thin cotton and ragged history in northeastern Alabama, in a time when blacks and whites found reason to hate each other and a whole lot of people could not stand themselves. Anyone could tell it, anyone with a daddy who let his finer nature slip away from him during an icebound war in Korea, who allowed the devil inside him to come grinnin’ out every time a sip of whiskey trickled in, who finally just abandoned his young wife and sons to the pity of their kin and to the well-meaning neighbors who came bearing boxes of throwaway clothes.

  Anyone could tell it, anyone who had a momma who went eighteen years without a new dress so that her sons could have school clothes, who picked cotton in other people’s fields and ironed other people’s clothes and cleaned the mess in other people’s houses, so that her children didn’t have to live on welfare alone, so that one of them could climb up her backbone and escape the poverty and hopelessness that ringed them, free and clean.

  Anyone could tell it, and that’s the shame of it. A lot of women stood with babies on their hips in line for commodity cheese and peanut butter. A lot of men were damaged deep inside by the killing and dying of wars, then tried to heal themselves with a snake oil elixir of sour mash and self-loathing. A lot of families just came to pieces in that time and place and condition, like paper lace in a summer rain. You can walk the main street in any small town, in any big one, and you will hear this story being told behind cigarette-scarred bars, before altars, over fresh-dug ground in a thousand cemeteries. You hear it from the sixty-five-year-old woman with the blank eyes who wipes the tables at the Waffle House, and by the used-up men with Winstons dangling from their lips who absently, rhythmically swing their swingblades at the tall weeds out behind the city jail.

  This story is important only to me and a few people who lived it, people with my last name. I tell it because there should be
a record of my momma’s sacrifice even if it means unleashing ghosts, because it is one of the few ways I can think of—beyond financing her new false teeth and making sure the rest of her life is without the deprivations of her past—to repay her for all the suffering and indignity she absorbed for us, for me. And I tell it because I can, because it is how I earn my paycheck, now at the New York Times, before at so many other places, telling stories. It is easy to tell a stranger’s story; I didn’t know if I had the guts to tell my own.

  This is no sob story. While you will read words laced with bitterness and killing anger and vicious envy, words of violence and sadness and, hopefully, dark humor, you will not read much whining. Not on her part, certainly, because she does not know how.

  I have been putting this off for ten years, because it was personal, because dreaming backwards can carry a man through some dark rooms where the walls seem lined with razor blades. I put it off and put it off until finally something happened to scare me, to hurry me, to make me grit my teeth and remember.

  It was death that made me hurry, but not my father’s. He died twenty years ago, tubercular, his insides pickled by whiskey and beer. Being of long memory, my momma, my brothers and I did not go to the cemetery to sing hymns or see him remanded to the red clay. We placed no flowers on his grave. Our momma went alone to the funeral home one night, when it was just him and her.

  No, the death that made me finally sit down to write was that of my grandmother, my mother’s mother, Ava, whom we all called by her pet name, Abigail. Miss Ab, who after enduring eighty-six years of this life and a second childhood that I truly believed would last forever, died of pneumonia two days before Thanksgiving, 1994. The night her grown children gathered around her bed in the small community hospital in Calhoun County, Alabama, I was in New Orleans, writing about the deaths of strangers.

  I was sitting in a cramped living room in a crumbling housing project, listening to a hollow-eyed and pitiful young woman tell how her little boy had been killed one morning by a stray bullet as he stood in the doorway, his book satchel in his hand, like a little man going to work. She told me how the Dr. Seuss and Winnie the Pooh just fell out on the stoop, how the boy looked up at her after the bullet hit, wide-eyed, wondering. And as she talked, her two surviving children rode tight circles around the couch on their bicycles, because she was afraid to let them play outside in the killing ground of the project courtyard. As I left, shaking her limp hand, she thanked me. I usually just nod my head politely and move on, struck anew every time by the graciousness of people in such a soul-killing time. But this time, I had to ask why. Why thank me for scribbling down her hopeless story for the benefit of people who live so far and safely away from this place where the gunfire twinkles like lightning bugs after dark? She answered by pulling out a scrapbook of her baby’s death, cut from the local newspaper. “People remembers it,” she said. “People forgets if it ain’t wrote down.”

  I reckon so.

  The next morning, one of those hotel mornings when it takes you a few uneasy seconds to remember where you are and what you are doing there, the phone shook me awake. You always look at it a second before you reach for it, because it is often the slingshot that sends you hurtling toward a place like Oklahoma City, where you walk quietly and respectfully among the rubble and blood and baby shoes scattered by a monster’s bomb, or to some obscure dateline like Union, South Carolina, and into the mind of a young mother who drowned her two sons in a dark lake. And the monstrous thing is that you secretly hope that it is something like that, not something dull.

  But this time the summons, the death I was called to, was personal. My grandmother, who fried me whole boneyards of chicken, who got mildly drunk on her prescriptions, played “Boilin’ Cabbage Down” on the banjo and stomped so hard on the planks it sounded like Jehovah pounding at the door, was gone. All her songs and sayings, all the beautiful things that filled her, warmed her, were quiet.

  I had known she was sick. But my kin, hopeful she would recover, told me not to come home yet, told me she would be there when I came home Thanksgiving. But I came home to a coldly modern funeral home, to the people of our community sitting quietly in their pews, white socks peeking out from under black dress pants. There were not a lot of people, but the ones who came would have been important to her. There were third-cousins who had not seen her in years but gave up half a day’s pay at the mill to be there; an old drunk who sobered up for her out of respect and sat pale and quietly shaking in the back pew; an ancient, hawk-nosed, hard-eyed man who had not seen her since he was young, but remembered she had once poured him a glass of buttermilk, or was it coffee? and old women who used to sit beside her on the porch, cutting okra, holding grandbabies, telling lies. These were people who remembered the weight of the cotton sack, people with grease under their fingernails that no amount of Octagon soap would ever scrub away, people who built redwood decks on their mobile homes and have no idea that smart-aleck Yankees think that is somehow funny. People of the pines. My people.

  I came home to a pale and elegant body in an open coffin, her thin hands crossed on her breast. As I said, I have made my living in graveyards of spirit, in the blasted-out, crack-infested streets of Miami’s Liberty City, in the insane hallways of Manhattan’s welfare hotels, in the projects in Birmingham and the reeking oceanfront slums of Port-au-Prince and on death rows in three states. I have seen so many horrible things in so many horrible places that I have suspicions about God and doubts about heaven, but in that funeral home, I found myself wishing for it, envisioning it. I bet even God, unless He is an Episcopalian, likes a little fais-do-do every now and then, and I like to think of her Up There, blowing a hurricane on her harmonica and singing a little too loud.

  A million sights and sounds rang through my head as I stared down at her. I thought about the times when I was still a little boy, no more than five, when she would let me sleep at the foot of her bed so we could listen to her Philco, how I drifted off to sleep with the tinny voices of Faron Young, Little Jimmy Dickens, Bill Monroe and Mother Maybelle Carter in chorus inside my head. It was one of the benefits of being old, she told me: “You can play your radio all damn night long if you want to, and no one can do a damn thing about it.” Like everyone in that part of the world, she had been enraptured by a young, thin man from Mount Olive, Alabama, who sang with a twisted spine and a tortured spirit, and she would whirl the dial, over and over, searching for his words.

  I’ve never seen a night so long

  When time goes crawling by

  The moon just went behind the clouds

  To hide his face and cry.

  She told me she saw Hank Williams once, back before he died. But she was flying pretty high on her medicine that night and might have told a lie, since she felt that another benefit of old age was that it gave you license to lie like a Republican. But it was then, as that dead man’s poetry ran through my mind, as I stared down at that old woman I had seen for just a few hours a year on Thanksgiving and Christmas because I wrongly believed I was doing more important things, that I knew I should not wait any longer to write some of this down, whether anyone ever read it or not.

  It is not something I can go look up in a book. Poor people in the South do not make many historical registers unless we knock some rich man off his horse. It is not something I can research standing over the silence of graves. My mother is only sixty, but I cannot take the chance of squandering the knowledge and the stories that she and my people hold inside them, even if—as in the case of my father—some of it is sad and dark as the darkest night.

  I miss my grandma most when I drive the back roads of the Deep South, the radio tuned to fiddle music on the Cotton States Network down around Troy, or to some wall-rattling black choir on the AM dial outside Hattiesburg. It is when I have long hours to look, think, remember. I know that any time I want to hear the rest of that haunted song, all I have to do is put on the record. But I want her to sing it to me. After all the dying I ha
ve seen, I finally understand what death is: simple wanting. My grandma would have added some happiness to this book, and although her mind had clouded considerably in the past few years—she would ask me how my wife was, and I haven’t been married for ten years—she would have remembered for me, set me straight on some things. Maybe, if I tell it right, she will live again in these pages, that all the things she could have shared about who we are, who I am, will not be so badly missed. I like to believe that.

  I already know a good bit about my history, stories that were seldom written down, only passed from one to another of us over cones of strawberry ice cream in the gravel parking lot of the tiny store owned by a one-legged man named Tillison. I heard them over the ring of guitar strings on the front porch, over the endless, beautiful, hateful rows of cotton that I still dream about even today, even though the fields lie in trash and weeds.

  I know I was born during one of those periods when my father had abandoned my mother or driven her away, that—I still do not know whether to laugh or cry about this—he did not bother to come and see me until I was almost two years old. I know he brought a stuffed panda bear as big as God, and I dragged it around by one leg until he was one-eared and his cotton stuffing leaked out and his eyes fell off. And I remember running with it, too heavy, when I was a few years older, running down a road in the night, from him.

  I know I grew up in the time when a young man in a baggy suit and slicked-down hair stood spraddle-legged in the crossroads of history and talked hot and mean about the colored, giving my poor and desperate people a reason to feel superior to somebody, to anybody. I know that even as the words of George Wallace rang through my Alabama, the black family who lived down the dirt road from our house sent fresh-picked corn and other food to the poor white lady and her three sons, because they knew their daddy had run off, because hungry does not have a color.

  I know that a few weeks later he whirled through our house in a drunken rage, and as always our momma just absorbed it, placing herself like a wall between her husband and sons. I know that later my brother Sam and I lay in the dark safety of our bedroom and tried to figure out a way to kill a grown man, before he hurt her any more.