Tuesday, November 29, 2016
Nothing Gained
Nothing Gained
by Donald G. Redman
My resistance to you
is time wasted.
I sometimes struggle
to realize the obvious.
Tethered to the reality of the
photograph before me,
I let it happen.
Nothing Gained is a poem repurposed from a newspaper article of the same title, written by Sarah Bonnette. The article originally appeared September 21, 2016 in the Slidell-Picayune.
Wednesday, April 6, 2016
Three Haiku
I.
My jagged edges -
A broken heart, shattered dreams
-
Cut deep nonetheless.
II.
Unkept promises
like withered leaves in autumn
carried by the wind.
III.
Encased behind walls
Of marble cold to the touch
Inside beats a heart.
Copyright 2016 Donald G. Redman. All rights reserved.
Tuesday, March 15, 2016
Ernest Gaines: A Timeless Storyteller
Ernest J. Gaines (Photo by Joseph Sanford, courtesy Ernest J. Gaines Center.) |
By Cheylon Woods
In 1933 a child came into this world with so much potential
to learn from, be influenced by, and influence the world around him. As the
world was slipping in to political and economic devastation, no one knew that a
small boy born on River Lake Plantation in Oscar, Louisiana would become Ernest
J. Gaines, One of the most prolific and timeless authors of the 20th century.
Growing up on a plantation gave Ernest J. Gaines a unique
type of perspective on life. Gifted with the talent of honest observation, as a
child Gaines was able to perceive the crux of complicated social issues such as
race, gender and class. He was also able to see how people influenced their
world around them and how, in return, they were influenced by the world.
As he embarked on his career he used all of the things her
learned from River Lake Plantation, adolescence, and San Francisco State
University to create honest depictions of how he saw life in the South. Mr.
Gaines used the information he gleamed from observing personal interactions
throughout his life to create characters that wholly embodied the essence of
being alive. Characters like Miss Jane Pittman (The Autobiography of Miss Jane
Pittman), Catherine (Catherine Carmier), Louis (Of Love and Dust), and James
and Jefferson (A Lesson Before Dying) all embody a realness that draws you
deeper into your own awareness about self and the world you live in.
It is this realness that makes the work of Ernest J. Gaines
so timeless and pointed. All of his books paint a complex picture of real life filled
with love, sadness, hardship, betrayal, mistreatment, and hope that resonates
beyond the Civil Rights Era. His novels and short stories strike at the heart
of real issues such as racism, oppression of all kinds, miscarriage of justice,
gender inequality, while showing us that
through it all people can still love, learn, be strong, progress, and care
about one another and their places that shaped them.
The topics that can be found in Gaines’ writing are not only
as old as humanity, but have been driving forces in shaping civilization, both
good and bad, as we know it. To this day some are looking for ways to ensure
equality for all while others may be looking to secure their personal power. We
still look for love and acceptance while there are those who look to live a life strictly by their own whims,
unconcerned with who or what gets hurt in that process.
Throughout his work,
and throughout his career, Gaines strove to show the world a mirror of itself
through a Southern lens. He crafted people from different upbringings, with
different interests and peculiarities, and showed us both the good and the bad
in all. Readers can find some vestige of themselves in all of his characters,
and are reminded that they possess as many complexities as those on the page.
His work forces us to think about our own perceptions reality and righteousness
and how these ideas actually work in our own communities.
Common themes
throughout Gaines’ work are the ideas of justice and accountability. In almost
every novel there is some measure of justice and accountability, although often
subtle. A Lesson Before Dying is one of
his more powerful novels that directly puts these issues in the forefront for
the reader. This book not only looks at the idea of justice and the justice
system, but it also calls the idea of masculinity, advocacy, reality, and
community responsibility to the forefront of our minds. All of the characters
are confronted with their ideas of right and wrong through the incarceration of
one man, and throughout the book you see how each character comes to some kind
of terms with the idea of justice as it relates to the society that they live
in.
Gaines expertly crafted the story and characters of this
book in a way that conveyed the true weight such an incident would have on a
small community and community leaders today. In 2016 most people who read A
Lesson Before Dying can remember at least one time during their lifetime where
something similar happened, and their community (physical community or
intellectual community) discussed the ideas of justice and personal
accountability.
Ernest J. Gaines has created some of the most moving and
accessible pieces of literature of the 20th century. He wrote during a time of
social awakening which is reflected throughout his work. He strove to show the
humanity in all and all of humanity, and succeeded doing so in such a way that
is never dated. His characters are not locked in some era from so long ago,
distanced from us by a great cultural chasm of days long gone, but are real,
breathing and visible to us today. The plots and the characters created by Gaines
so beautifully reflect the complexities that is life and humanity that they
still resonate with readers more than fifty years since his career began. This
in itself is the mark of a great author, and this is the mark of great
literature.
Cheylon Woods is the director of the Ernest J. Gaines Center
at University of Louisiana at Lafayette, where she is also the Center’s archivist
and ULL assistant professor of Library Science. She received an MLIS from LSU
and an MA in Heritage Resources from Northwestern State University.
Editor's note: Cheylon Woods' essay originally appeared in "Prologue," an audience guide for Slidell Little Theatre and is reproduced here with permission.
Monday, March 14, 2016
Walker Percy Film: Journey from Medicine to Fiction, Agnosticism to Faith
My first
introduction to the writings of Walker Percy was Love in the Ruins. I was
instantly hooked, and moved on to devour The Second Coming and Lancelot. But I
hit a wall when it came to perhaps his most famous novel, the National Book
Award-winning, The Moviegoer.
For some reason –
immaturity, perhaps – I just couldn’t get into the novel. I tried a couple of
times, but I always ended up setting the book down, unread, and moving on to
something else. It wasn’t until I was in my forties that I picked up the book
again, and it was like I had been hit by a bolt of lightning. I realized for
the first time the brilliance of The Moviegoer.
I told that
story a few years ago to New Orleans-based filmmaker Win Riley, who seemed
nonplused by my lack of appreciation for The Moviegoer. A
Percy devotee since his teens, Riley once said that he first read the novel
when he was a teenager and that it hit him “like a depth charge.” Thus began a years-long
fascination with Percy that culminated in Riley’s must-see biography, Walker
Percy: A Documentary Film.
In a 2011
interview with Micah Mattrix, Riley explained his interest in Walker Percy: “I’ve
been curious about Walker since, as a teenager, I first pulled The
Moviegoer from my parents’ bookshelf…. Part of my curiosity came from the
fact that Walker was steeped in the traditions and culture of the South, yet
his interests led him to people like Camus and Sartre and Kierkegaard rather
than someone like Faulkner. That was intriguing to me. And the story of moving
from medicine to fiction, from agnosticism to faith, was very, very
interesting.”
Three years in
the making, Riley’s award-winning documentary tells Percy’s story with archival
film, excerpts from his work, and interviews with family, friends and scholars.
Here, Riley
describes the film in his own words:
As a doctor turned writer and philosopher, Percy was concerned with the big issues: “Where do we come from? What are we? Where are we going?" But he knew his audience was inured to a direct approach. Binx Bolling, in The Moviegoer, is almost allergic to such discussions-––“...if they spoke to me of God, I would jump into the bayou”––yet he is preoccupied with what he calls ‘the search.’ It is a preoccupation that haunts all of Percy’s work. Part of what makes Percy’s characters like Binx, Will Barrett, and Thomas More so indelible is their wry humor despite being ‘Lost in the Cosmos.’ In Percy’s fifth novel, The Second Coming, the protagonist, Will Barrett, descends into a cave, determined to confront God. He is thwarted by a toothache. For Walker, “humor was an instrument of introspection,” writer Robert Coles says in the film. “That’s what he beautifully combined: that lighthearted sensibility merged with a grave, seriously introspective side. This takes a genius.”
Walker
Percy: A Documentary Film can be purchased or rented here.
Winston “Win”
Riley’s first film, Walter Anderson: Realizations of an Artist, won several
film festival awards and was broadcast on PBS. The documentary is absolutely
fascinating and I highly recommend it.
Here’s a description
of the film from Riley’s website:
Walter Anderson: Realizations of an Artist explores Anderson’s life and art, from his student days to his last trip to Horn Island in 1965, during Hurricane Betsy.
Using never before seen film footage, as well as artwork and archival photographs, this one-hour biography traces the extraordinary life of the fiercely independent artist. Interviews with family members, artists, and art critics describe Anderson’s struggle to survive during the Depression, his hospitalizations and subsequent escapes, and his eventual triumph as an artist. Born in New Orleans and trained at the Pennsylvania Academy of the Fine Arts, Anderson had a spiritualist side that resulted in a lifelong search. As a student, he set out to visit the mystic G.I Gurdjieff at Fontainebleau, as well as the Paleolithic murals at Les Eyzies. He walked across war torn China in 1949, hoping to visit Tibetan monasteries. And on many occasions he set out from Mississippi on cross country bicycle trips––to West Texas, Florida, Pennsylvania, and New York––painting watercolors and writing along the way. “He believed,” says Washington Post art critic Paul Richard, “that somewhere down the road, he would find the enlightenment he sought. It was a religious quest as well as an aesthetic quest."
Walter Anderson:
Realizations of an Artist can be purchased here.
Thursday, February 18, 2016
Love in Abstract - by Donald G. Redman
Love in Abstract
She wanted
something that wasn’t real:
An emotional
thing,
An esthetic
thing -
Love amid tangled
wire
And butterflies,
A white camellia
Crafted out of photographs
Taken of you
At the end.
‘Love in
Abstract’ was created by repurposing an article by Sarah Bonnette in
the north shore edition of the Times-Picayune. The poem was an exercise in "blackout poetry," a technique introduced by Austin Kleon who created poetry by blacking out words in a newspaper article.
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