Tag: Author Event (Page 12 of 15)

Author Q & A with Robert Gordon

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (March 25)

Memphis’s Grammy and Emmy award-winning author and filmmaker Robert Gordon highlights his city’s lesser known artists who he proudly emphasizes brought “something different” to the Memphis music scene through their authenticity and uncommon styles.

memphis rent partyMemphis Rent Party: The Blues, Rock & Soul in Music’s Hometown is a collection of 20 profiles and stories composed throughout his career of more than four decades of passionate writing about the music of his beloved Memphis.

Gordon’s previous books, all about the American South, and its music, art, and politics, include It Came from MemphisCan’t Be Satisfied: The Life and Times of Muddy Waters, and Respect Yourself. His work on Keep an Eye on the Sky was selected as a Grammy winner.

His film work includes the documentaries Johnny Cash’s America and William Eggleston’s Stranded in Canton. His Best of Enemies was shortlisted for an Oscar and won an Emmy.

Born and raised in Memphis, he still calls the city his home and touts: “I drink my whiskey neat.”

Memphis Rent Party: The Blues, Rock & Soul in Music’s Hometown is a collection of essays about Memphis artists and producers who  you believed best convey the spirit of Memphis. What exactly is a rent party?

When I was studying the Harlem Renaissance about 40 years ago, I learned about rent parties, where people who couldn’t make the rent would throw a party, charge admission, sell booze, and get by another month. I loved the idea of friends helping friends by having fun together. And it occurred to me then, way back, that “Rent Party” would be a great name for a collection of stories. The work is already done, you’re throwing a few stories together to get a book deal. But it turned out, when I had the opportunity, I took it much further, interconnecting the stories with new text, digging up old unpublishable pieces, and generally putting in a full book’s effort. The result, Memphis Rent Party, is a lot of fun–like a rent party should be, but it was a lot more work than I anticipated.

And by “unpublishable” I mean, for example, I wrote a piece about the mother of jazz greats Phineas and Calvin Newborn. It’s hard enough to get a piece of either of them published, but on their mom? No way. So, I wrote that for myself, put it in a drawer, and moved on. I dug it out for this, because I could finally get it out.

How did you choose these particular stories?

I didn’t set out with a particular goal, but one formed as I got into the material. I saw a unifying theme, a sense of individuality that is epitomized by Sam Phillips and by what Sam sought.
Elvis would have been singing Perry Como-style ballads and become a forgotten minor entertainer if it hadn’t been for Sam. Sam affirmed for him that the wild streak in him, the uniquely Elvis part of Elvis, was OK to reveal, was something to pursue.

That’s the spirit that unifies the book. These are individuals who have created their own characters, forged new paths. These are not followers, they’re people cutting their own path–and very often, that path becomes a major highway that lots of people follow.

What was it that attracted you to this music at a young age–music that was so unlike your growing up years, at a time when you described your teenage self as a “rebellious outsider” and as a “seeker.”

Robert Gordon

Robert Gordon

This music hit harder and deeper than anything I’d ever heard. It didn’t say, “I’m hear to rock you.” It didn’t say, “Let’s be entertained.” Though all music is just a combination of notes, the delivery of this music felt different. It had history, meaning, and heft. I wanted to understand it in a way that Molly Hachet, Kiss, and later, Boston–pop groups of the time–offered no deeper meanings.

One of your earliest (if not your first) face-to-face encounters with a music legend was with Furry Lewis, a solo blues artist from Memphis who was “about 80 years old,” when he opened for a Rolling Stones concert in Memphis in 1975. What “bonded” you with Furry almost immediately?

I think the bond was me to Furry, and Furry–initially, anyway–saw me as just another curious person knocking on his door and shelling out a couple bucks. But he did soon recognize me, because I returned often. His duplex was a place different from anyplace I knew, and being there, being with him, observing his environment and his friends–it all posed many questions to me, made me curious, opened up avenues to explore.

You began your writing career in the mid-80s when you began feeding now-defunct magazines stories about musical talents that weren’t first tier stars, but those who offered listeners “something different.” You say that theirs was a “shadow influence.” Describe what that means.

The most clear sense of shadow influence is that many pop hits were built on, of simply copies of, previous blues, soul, or other songs. The Stones cut Robert Johnson songs, and Fred McDowell and the Rev. Robert Wilkins. The Stones were influenced by artists that many of their fans would never realize. All of pop music was. That day in 1975, when I heard Furry open for the Stones, he was immediately more interesting than they were. Nowhere near as huge–in sound, popularity, onslaught, or in any way–but imbued with more than the Stones could hope for. That was in part because he was a living relic of a previous time, but also because I think fewer notes say way more than many notes. In music, in cinema, in writing, it’s about the space, the air, the room you leave, nor the room you take up.

In the book’s preface, you predict that 100 years from now, the music of these marginalized artists “will still be popularly unpopular–will still be hip.” Explain why you believe that.

History has shown it to be. Popular music doesn’t remain popular. It catches a sense of time, then moves on. The Romantics or the Cars scream “1980s,” but they don’t have much power other than that now. They evoke a time. These marginalized artists also evoke a time, but more than that, they tell a story. A personal story, a universal story, a news story of the day–their songs and lives and art.

OK, I’m interrupting myself, because here’s the key: individuality. The credo of godhead Sam Phillips. “Give me something different.” Pop artists capture their times, sound like anyone in those times could. These more marginalized artist sound only like themselves. Individuality lives on, popularity fades with the times.

What is the book about the overall message of Memphis Rent Party?

It’s about flouting the trends to become a unique individual. It’s the Sam Phillips mindset applied to people Sam never encountered. He encountered Howlin’ Wolf and B.B. King and Jerry Lee and Johnny Cash and Elvis, and for all of them, he shifted them away from their pop dreams to finding their own artist.

By expressing themselves, these people created new paths, new styles, new trends. And the same is true about the people in the book. They’re all sui generis–they created their own thing. Sam once said, Nashville has a follower’s mentality. That’s why he stayed in Memphis.

An accompanying LP will be released by Fat Possum Records, with the artists on the soundtrack among those featured in the book. What kind of music will the soundtrack have?

This soundtrack, like the Memphis and Mississippi artists it covers, is all over the place. There’s blues, jazz, country, rock and roll. There’s everything but gospel, but there’s definitely the gospel of rock and roll.

Do you have potential projects that you want readers to know about?

I work on a lot of projects at once. In this kind of work, you have to. I’m hoping to announce a new feature doc, music-oriented, real soon. I’ve got several feature docs in the works. I’m shooting in North Carolina for two weeks in April for the second half of a documentary with a UK artist, Bill Drummond. We shot the first half in Kolkata, India. He’ll do his thing in the two places and, I think, the different reactions he gets will reveal a lot about the world we live in today.

Robert Gordon will be at Lemuria on Monday, March 26, at 5:00 p.m. to sign and read from Memphis Rent Party.

Robert Gordon recalls vintage rock, blues scene in ‘Memphis Rent Party’

By Jim Ewing. Special to the Clarion-Ledger Sunday print edition (March 11)

For a deep dive into vintage rock ‘n’ roll and blues legends of the Memphis scene, music journalist Robert Gordon offers a mother lode of insights and information in his latest book.

memphis rent partyTitled Memphis Rent Party: The Blues, Rock & Soul in Music’s Hometown, Gordon’s book offers a collection of essays, interviews, liner notes and observations covering nearly four decades of his work.

In addition to depicting the work of singers, producers, blues and rock stars that made the Memphis music scene distinct from its rival Nashville, New York, Los Angeles, and Motown music hubs, Gordon delves into the thoughts and motivations of its native artists, as well as local characters.

The result is an eclectic foray into matters large and small, including the wisdom of Elvis, the real life of Robert Johnson, and the philosophy behind making the music happen from the artists themselves.

For example, Gordon reports legendary music producer and Sun Records owner Sam Phillips helped Elvis differentiate from the pack in his early career. Elvis was trying to be a “lame-ass Perry Como imitator he thought he was” at the studio and did some impromptu riffs “to reinvigorate his sidemen when his recording session was flagging.”

Phillips overheard the off-the-cuff music and convinced Elvis to “try to find a place to start and try it again”—this time, with the tape going.

The rest, as they say, is history.

Some of the observations are profound, such as musician and record producer Jim Dickinson explaining his motivation to record music.

“It is literally the fear of extinction; it’s the wish to record the unretainable nature of the moment,” he said. “Time is going away from us and the art wish is that desire to retain the moment. By recording and playing back, you have made time into space; you have captured the moment…. The event has a soul: It is the essence of the event that you record, and the whole idea of immortality is right there.”

Gordon’s personal history is intriguing in itself. He came to write about the blues in the 1980s. He was a 14-year-old middle-class kid from Memphis who found epiphany at hearing bluesman Furry Lewis at a Rolling Stones concert.

“Furry’s playing was unlike anything I could have anticipated. His rhythms were slow, his songs full of space, his notes floated in the air. His music invited us listeners instead of dazzling us with its size and force … (it) let me feel the wrinkles on the hands wrapped around the guitar neck, the texture of the strings; he let me hear the human being.”

In other words, he was hooked.

Gordon cut his teeth on the old print media, such as Music and Sound Output, Request, Pulse, Option, Creem, Spin, Details—magazines and fanzines that no longer exist, he notes, “whose remnants are dusty, crumbling pages in landfills hither and yon.”

Now the magazines are gone “and so are most of these artists, but the art continues to thrive.”

Jim Ewing, a former writer and editor at the Clarion Ledger, is the author of seven books including his latest, Redefining Manhood: A Guide for Men and Those Who Love Them.

Robert Gordon will be at Lemuria on Monday, March 26, at 5:00 p.m. to sign and read from Memphis Rent Party.

Author Q & A with Michael Farris Smith

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (March 18)

Oxford resident Michael Farris Smith has come out swinging with his latest fictional work, The Fighter (Little, Brown), treating readers to a rough-and-tumble saga of good intentions gone wrong for a main character whose already hard life has suddenly fallen onto even harder times.

Smith’s previous novels, which have appeared on Best of the Year lists with EsquireSouthern LivingBook Riot, and many others, include Desperation RoadRivers, and The Hands of Strangers.

He has been awarded the Mississippi Author Award for Fiction and the Transatlantic Review Award for Fiction, and his essays have appeared in the New York TimesThe Bitter SouthernerWriter’s Bone, and more.

The wide appeal of Smith’s work has seen Desperation Road longlisted for the UK’s Gold Dagger Award for Best Novel, and it is now a finalist for France’s Grand Prix des Lectrices de Elle, a French literary prize awarded by readers of Elle magazine.

International promos for Smith’s books have recently taken him to Australia, and, after a whirlwind Mississippi tour March 20-26 for the release of The Fighter (with stops in Oxford, Greenwood, Jackson, Pass Christian, McComb, and Columbus), Smith will head to France in early April.

Michael Farris Smith

Michael Farris Smith

“It’s busy, but very interesting to see my work being so well-received both at home and in other countries,” he said.

The son of a Baptist minister and a graduate of Mississippi State University, Smith began writing while at the Center for Writers at the University of Southern Mississippi. His family relocated to Oxford from Columbus last summer.

The Fighter is your fourth novel, and it touches readers with the same eloquent writing style as your previous works, even as it again introduces us to characters who find themselves in desperate situations, facing heartbreak, brokenness, and regret–wand who are longing for a second chance. In other words, real people facing tough problems, whose hopes have worn thin. When you are developing characters and plots, where do you think these moving stories and characters come from?

I’m not sure. I guess it’s just a culmination of what I see, of what I know is out there. I wish there was no such thing as heartbreak and brokenness, but there is.

I also know I only want to write about characters who are at the end of the rope, fighting to survive emotionally, or physically, or spiritually, and maybe all of the above. I learned that from Barry Hannah and Larry Brown. The stories I write are the stories that challenge me on an emotional level and when I fell those emotions rise in me, I know I’m going in the right direction.

As the main character in The Fighter, Jack Boucher (pronounced Boo-shay) has lived a hard life–he never knew his parents, grew up in foster homes and owed what good times he had to a woman who took him in at age 12 and devoted her life to keeping him on the right track. But when the story begins with his attempts to set things straight as a worn-out fighter, gambler, and drug addict in his early 40s, things quickly unravel and his intentions are suddenly sidetracked–but why is it that we just can’t help but like this man?

fighterYou win the prize for my favorite question about The Fighter so far. Maybe it’s because we are all fighters. We all have made mistakes, we have hurt people who love us, we have done things we regret and knew we were going to regret it as we were doing it, and we all fight to try and fix what we’ve done after we’ve broken it.

Jack was dealt a tough hand, and then as time wore on, he helped to dig the hole deeper and deeper. But I understand Jack. And I think it’s possible I feel more emotionally attached to him than any character I’ve written, and I don’t even know if I can put my finger on it as to why.

Jack’s last foster mother, Maryann-who became his permanent parent and the only person he believed ever loved and understood him, was his anchor, no matter how bad things were in his life. Why was it so important to him that he honor her by saving her family home and property from foreclosure?

Everybody hits rock bottom. Sometimes we recognize it. Sometimes we don’t. I think after all Jack has been through, all he’s suffered, all he’s brought on himself, he maybe finally realizes only one thing truly matters. Which we have a tendency to do when our lives break down.

For all his brokenness, Jack has his share of homegrown wisdom, a set of principles to which he has clung, and even a tenderness when it came right down to it. In the violent world in which he lived, it was fear that motivated him to live, and hope and forgiveness that often guided his dark moods. In what ways did Annette, another main character, come to see this in Jack?

I feel like Annette is a kindred spirit, and I do agree about the tenderness. She’s lost, like him. And searching, like him. But I think what separates Annette is that while Jack knows what he’s after in this moment, Annette really doesn’t. But that doesn’t keep her from looking, and she lives by her “church of coincidence” theology to keep driving her forward. She’s dedicated to it, to the signs that seem to be leading her. To what, she doesn’t know.

But she attaches this tangible thing to her own questions about who she is and what she’s doing, and she has a tremendous amount of faith. Blind faith. Which is truly the only kind. So, she is able to notice another like herself. So many of us look for signs, little hints of recognition to encourage us to keep us going through hard times. And Annette’s eyes are always wide open to such things.

Explain the symbolic message of the appearance of a hawk at different times throughout Jack’s life.

I can’t really explain a symbol, because it means one thing to me, but will mean something different to everyone else. I will say that when the hawk appeared in the sky in the opening, it just appeared and wasn’t planned. But I knew once I was finished with the passage that the hawk would find itself in the story again.

Some Native American cultures believed the hawk was responsible for transporting the soul from one world to the next, and I love that. The natural simplicity of our spirits being gathered by such beautiful creatures and carried away. I don’t know why it showed up, but I was happy to see it when it appeared in the sky above Jack. So was he.

What is next on the horizon in your writing? Have you ever considered writing a sequel to any of your books?

I was hoping to finish a new novel manuscript before the release of The Fighter, and I was able to do that. I love the story and very much enjoyed the quiet of the last few months, going to those characters each day and living in their world. And I think what it has in common with the others is that you can have a very different conversation about it. Something I’m proud of with each of my novels.

As far as sequels, it’s strange because I expected to be asked that about Rivers, but I’ve also been asked that question about Desperation Road more than I anticipated. And some readers make pretty good points about why there should be another part. But I don’t know. The ideas has a way of choosing you, and not the other way around.

Michael Farris Smith will be Lemuria on Thursday, March 22, at 5:00 p.m. to sign and read from The Fighter, which is one of Lemuria’s two March 2018 selections for our First Editions Club for Fiction.

Tiffany Quay Tyson’s ‘The Past is Never’ delivers mesmerizing Southern Gothic

By Susan O’Bryan. Special to the Clarion-Ledger Sunday print edition (March 18)

Is the past ever dead? Can it be put behind you, and if so, how far back in the past can you leave something? Can the present—and future—be affected by a past you didn’t even realize existed?

past is neverThose are the questions readers will be asking themselves after the final page is turned in The Past is Never, the latest novel by Tiffany Quay Tyson. The author first left her mark in Southern fiction with Three Rivers, a finalist in the Mississippi Institute of Arts and Letters Award for Fiction. With The Past is Never, Tyson uses her native Southern voice to tell a story of family dysfunctions, historic myths, and courage to look behind the past.

Sixteen-year-old Willett and his two younger sisters, Roberta Lynn “Bert” and Pansy, live in fictional White Horse, Mississippi. It’s 1976, and there’s not much for entertainment in the small town. Fun is something they make for themselves. They can’t help but be drawn to an old rock quarry and its cool swimming hole waters.

When their dad is home, which isn’t often, he warns them to stay away from the cursed Devil’s place. He tells them frightening stories about how the quarry was built, the lives it has claimed, and haunted woods that protects it.

Dad’s away, Mama is busy, and it’s hot outside. There’s no keeping the siblings from the quarry. The three walk there together. Only two leave.

The disappearance of six-year-old Pansy changes life as they knew it for the entire family. Pansy, the unexpected “miracle child” born with four teeth, coarse black hair, a blotchy tan and a large purple birthmark on her thigh. Pansy, the feisty, the spoiled, the charmed … the gone.

So begins the unsettling future of Willett and Bert, neither who can let go of what happened that day. There’s more than enough self-blame, accusations, and heartbreak to go around as their dad stays away and their mom dies of a broken heart and a cigarette habit.

In turn, Willett and Bert leave home, not only to find themselves but also search for clues about their family’s past. Reports of their dad’s lonely death in Florida takes the brother and sister to the Everglades where they learn the past becomes the present, which leads to the future. As William Faulkner said, “The past is never dead. It’s not even past.” To say more might spoil the thrill for readers.

Those three elements–past, present and future–are at the heart of The Past is Never. Readers will learn about Fern, Granny Clem, Earl and a host of others. About the creatures beyond the trees who long to give voice to the past. Tyson ties them together through alternating voices as she explores family lines, tragedies and curses.

“Those eyes you feel watching you are the eyes of your family,” Bert tells her niece seven years after Pansy disappears. “They mean you no harm.”

The author’s skillful storytelling reaches a high mark with this novel. Nothing is as it first appears in this dark, complex story that draws upon inner strength, extended family ties and personal determination. As with her first novel, Tyson has an award winner on her hands.

Susan O’Bryan is a former Clarion Ledger and Clinton News editor and writer with more than 30 years of journalistic experience. She now is the web content coordinator at the University of Mississippi Medical Center.

Tiffany Quay Tyson will be at Lemuria on Wednesday, March 21, at 5:00 p.m. to sign and read from The Past is Never.

Author Q & A with Jonathan Miles

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (March 4)

Jonathan Miles

Jonathan Miles

A former Oxford resident and author of two acclaimed novels, Jonathan Miles returns with his latest tale, Anatomy of a Miracle, an ambitious story of an Army veteran who comes back to his hometown of Biloxi a paraplegic–until his world is turned upside down one day when he inexplicably stands up from his wheelchair and walks.

An Ohio native who wound up in Oxford as a teenager, Miles began his career as a journalist for the Oxford Eagle newspaper and later became a columnist for the New York Times. His novels include Dear American Airlines and Want Not, and he also authored a book on fish and game cooking, The Wild Chef.

Miels said he “spent years living in a tiny cabin in the woods near Abbeville until I married a Coast girl–she’s a Ladner, so the Coastiest of Coast girls–and got civilized.”

He and his family now live in rural New Jersey, “a little up from Princeton,” he said, adding, “my wife and children spend much of the summers in Mississippi, and this seems to have immunized my kids from acquiring New Jersey accents.”

Tell me what brought you to live in Oxford in the first place, and when.

Short answer: blues, 1989. The longer one: I came to Oxford as a blues-obsessed 18-year-old, having stumbled upon Living Blues magazine in a record shop and noting it was published by Ole Miss.

But after a few years of guitars and harmonicas another stumble happened: I wandered into a writing class (at the University of Mississippi) taught by Barry Hannah and frankly got my ears blown back. Barry resurrected a childhood ambition to write, and soon after, Larry Brown took me under his wing and kept me there until his death. At the time, I didn’t realize I was getting an education from Larry, because most of the time we were laughing and cutting up, but in retrospect I’d put all those years spent riding backroads and talking books and writing up against any Ivy League MFA program.

One of the things I’m most proud of in life is that Larry’s daughter Leanne named a son Larry Miles. That little boy has no choice but to become a novelist.

Anatomy of a Miracle tells the story of a paralyzed Biloxi Army veteran’s miraculous recovery, and the many ways this event changes his life forever. What inspired the story?

anatomy of a miracleIt began with a simple what-if question: What if a miraculous-seeming event happened today, in America? An event that defied all explanation? What would it look like–in the press, on social media? What kinds of cultural fault lines would it cause to rumble? And what effects–aside from the physical recovery–would this event have on the lives of those it touched? It was a spiral of questions.

Main character Cameron Harris’s story of healing spawns many side plots, including the tireless pursuit of his doctor to find out how this could be medically possible; the effect his healing has on the convenience store at whose front sidewalk Cameron realizes he can suddenly rise from his wheelchair and walk; a Vatican investigation of whether this event qualifies as a miracle; and the back story on what really happened in Afghanistan that left him paralyzed. Was it difficult working with so many characters and subplots?

I wanted to depict the effects of Cameron’s recovery as broadly as possible–to map the reverberations as they went shaking through the local community, the country, and in some ways, the world. In real life, I knew, Cameron’s story would be claimed by many different people, tweaking and twisting it to fit their own desires and worldviews, and part of Cameron’s struggle in the novel is to reclaim that story–with all its complexities–for himself.

As for any difficulty with writing it that way: very little, to be honest, I felt like I had this buffet of intriguing characters, from the convenience store owners to the Roman investigator to the VA physician who’s the uneasy daughter of a fabulizing Delta novelist. I just grazed on this buffet of characters and storylines.

Cameron’s sister Tonya is a strong force in his life, after his parents died and he suffered life-changing injuries in Afghanistan. She’s an interesting character who regularly adds humor to the story. Please tell me about her.

Tayna Harris is, to my way of thinking, one of the strongest people in the book. When Cameron recovers, it’s after four years in her care; and you could argue that, because of the way she parented him after their father abandoned them and their mother died, she’s really been his lifelong caretaker. Aside from jobs at Dollar General and Waffle House, taking care of her little brother has been her primary occupation–which means that Cameron’s recovery upturns her life just as radically as it upturns his. But she deals with life differently than Cameron does. He mulls. She cracks jokes. She meets life’s absurdities on their level.

A question that runs throughout the story is Cameron’s longing to know why such an extraordinary miracle happened to him. It’s interesting that Cameron’s healing changes his life to such an extent that he finally confesses to his sister that he doesn’t know who he is anymore. In what ways did he find that to be true?

For Cameron, the mystery of his physical recovery is compounded by the mystery of why it happened to him. He didn’t explicitly ask for it, through prayer or other means; he didn’t strive toward it by taking care of his own physical and mental well-being–for instance, he filled most days with beer drinking and video games–and, deep down, he doesn’t even think he deserved it.

What his recovery ultimately forces is a very hard look in the mirror, provoked in part by so many other people digging into his life to determine for themselves why Cameron was on the receiving end of a possible miracle. Cameron is a mystery to them as well as to himself, and part of his quest to understands his recovery is finally coming to grips with who he is.

The fact that Cameron and his sister Tanya were offered–and accepted–an opportunity to star in a reality show, Miracle Man, about their lives since Cameron’s healing, was an interesting subplot, but his feelings about that project seemed to change quickly after he heard of the shooting death of his neighbor’s grandson. How did that alter his attitude about that show?

It struck me early on that, in the wake of press attention to the recovery, of course reality-television would come calling. In our current media climate, that’s as certain as the sun rising. Reality-television is also, of course, not anything like reality; it’s as scripted as a novel.

Cameron is willing to go along with the lie until seeing himself through his neighbor’s eyes in the wake of a pointless tragedy, and viewing his senseless fortune as the flip side to that senseless misfortune. As well, Cameron buckles under the responsibilities of his new life at that moment: the neighbor had asked him to pray for her grandson, and he’d let her down. He realizes he can no longer stand being a vessel for faith, either onscreen or off. It breaks him, and ultimately causes all hell to snap loose.

Anatomy of a Miracle is your third book. Do you have other projects on the horizon?

This was my first fiction set in Mississippi, after one novel set in New York and the other set in a terminal at Chicago O’Hare airport. There’s another novel in the works, and the characters have already landed in Mississippi for a while–this time the 1930s Delta.

Sometimes being a novelist is like being a travel agent. You book travel for your characters with promises of a time they won’t forget. Though being a novelist is better because you get to come along with them.

Jonathan Miles will be at Lemuria on Tuesday, March 20, to sign and read from Anatomy of a Miracle. This book was chosen as one of our two March 2018 selections for Lemuria’s First Editions Club for Fiction.

The Spectacular Perils of Grace: ‘Anatomy of a Miracle’ by Jonathan Miles

by Andrew Hedglin

“The secret to a happy ending,” Patterson Hood of the Drive-By Truckers once sang, “is knowing when to roll the credits.”

Cameron Harris was a one-time high-school football phenom in Biloxi who lost his mother in a car accident, and then nearly lost his home to Hurricane Katrina. He enlisted in the Army, only to be paralyzed by an improvised explosive device in Afghanistan. In what can only be described as a miracle, he suddenly regains the ability to walk four years later. The Catholic church begins an investigation to certify this as an official miracle and a reality television show is soon set to premiere about Cameron’s new life.

anatomy of a miracleAny feature journalist or newspaper reporter worth his or her salt would stop the narrative right there. But he novelist Jonathan Miles, in his new faux documentary Anatomy of a Miracle, knows this story is just beginning.

Cameron’s miracle sets into motion a chain of outwardly expanding satellites struggling to make sense of this cosmic anomaly, to figure out what it could mean to live in a world where miracles might be real. First, there is Cameron’s 91 year-old black neighbor Eulalie Dooley who needs him to pray for her grandson. Then it spreads to Lê Quynh and Hat, the financially-strapped Vietnamese immigrants who own the convenience store wherein Cameron gets healed and who stand to benefit from the resulting publicity. Next, to Dr. Janice Lorimar-Cuevas, Cameron’s rational, skeptical VA doctor who is on the emotional run from her fabulist Delta father. On to Scott T. Griffin, the Southern mythos-obsessed reality television producer who knows a great story when he sees one. And further, to Euclide Abbsscia, the bemused Vatican investigator who is hired to find out the circumstances that surround Cameron’s miracle and his past. The ripples go ever onward and over Cameron and his devoted older sister and caretaker, Tanya.

If that sounds like a lot of names to keep up with, don’t worry. Miles fastidiously constructs all the characters in this community of Cameron. They all have complex histories and motivations. Characterization and setting are perhaps this finely crafted novel’s forte.

Cameron has always had a private, repressed personality, so the spotlight only begins to settle on him when his status as a spiritual celebrity is interrupted by a very public bar fight captured by the TV cameras. Cameron then is forced to reckon with his biggest secret that will threaten not only his own reputation, but the faith of many others looking to him.

Anatomy of a Miracle is a fantastic story that continually managed to surprise me. Just as I thought I had figured out what type of book I was reading, the story shifted to encompass something else. It always returned to Cameron as its axis, though. I would recommend this book especially to fans of The Nix by Nathan Hill.

I think the image I’ll keep coming back to, as its most lasting impression, is toward the very end, when Cameron visits his local parish priest Father Ace. Cameron is trying to negotiate a truce between himself and the church (and, symbolically, the public) that had drawn him in close as a sign of God’s work, then spat him back out as imperfect. Although unsuccessful, Cameron at least manages to draw a truce between himself and his very nature, defiantly and finally proclaiming his wholeness:

He wheeled around and faced the open church door, the flooded veins of his neck surging. “I’m not living in a state of grace?” he said aloud, unconsciously shifting from foot to foot in a defiant shuffle-step every one of his lower body’s nerves thrumming and twitching his voice climbing from a choke to a shout. “I’m not? I’m not?”

Jonathan Miles will be Lemuria on Tuesday, March 20, at 5:00 to sign and read from Anatomy of a Miracle. Anatomy of a Miracle is one of Lemuria’s two March 2018 selections for its First Editions Club for Fiction.

‘The Fighter’ is a fascinating new novel from Michael Farris Smith

By Matthew Guinn. Special to the Clarion-Ledger Sunday print edition (March 11)

“Do anything but bore me,” the late novelist Harry Crews once said in an interview.

“Tie me up and beat me with a motorcycle chain if you must, but don’t bore me.”

Mississippi writer Michael Farris Smith apparently shares that sentiment. Crews’ statement could be the mantra of The Fighter.

fighterThe Fighter opens with a harrowing scene of high-speed DUI and pretty much never lets up from there. It’s the tale of a washed-up, alcohol- and pill-addicted cage fighter prepping for what will be his very last fight—either for good or ill. The stakes are life-or-death—no quarter asked or given. It is a brutal subculture of the South we know, but a fascinating one.

Jack, the titular fighter, should have turned out better. Though orphaned as a toddler, he was raised lovingly in Clarksdale by a devoted foster mother, Maryann (one of the most endearing characters in recent Southern fiction). And yet, as though driven by some kind of genetic predisposition, the teenaged Jack learns and loves the art of bare-knuckle boxing. Soon he is crisscrossing the Southeast for one underworld matchup after another. He climbs to the top of the heap.

But Jack’s champion status comes at a steep cost. He numbs the years of blows and undiagnosed concussions with painkillers and booze. The combined effect is a general amnesia that renders him vulnerable to the cunning. Add in his history of fixing or ‘throwing’ fights for gambling profit, and Jack becomes a walking disaster, a veritable tornado over himself. It is difficult to tell which came first—his pill or gambling addiction. Regardless, each feeds the other.

Enter Big Momma Sweet. In the world of The Fighter, predators are as common as the buzzards that dot the Delta sky, and Big Momma is the queen of them all. From her camp outside Clarksdale, she presides over an empire of fighting, gambling, drugs, and prostitution. Jack is her biggest debtor. His only prospect for settling up with her is one last prize fight—one he is woefully unprepared to fight, perhaps not even to survive.

And then there is a carnival that alights on Clarksdale: a touring regional fair full of convicts, gypsies, and a tattooed lady who just might prove to be Jack’s redemption.
If this synopsis sounds chaotic, frenetic, and over-the-top, then it is accurate. By conventional thinking, there is too much going on in The Fighter’s 256 pages for the short novel to bear. It should not work.

But it does. Smith’s narrative manages to stay just ahead of disintegration, and does so with style, lush prose, and storytelling assurance. Though its protagonist is a disaster, The Fighter is a triumph. It confirms Smith’s status as one of our foremost authors in the Rough South, Grit Lit tradition established by Crews, Larry Brown, Tom Franklin, William Gay, and the towering Cormac McCarthy.

The Fighter is Smith’s third novel in just five years, following 2017’s Desperation Road and 2013’s Rivers. That body of work has established Smith’s aesthetic: a naturalistic South of people living tough lives on the margins, where grace comes hard but the sad stories play out beautifully. All of Smith’s people are on one road or another toward an uncertain future. It will be a harrowing thrill to follow him farther down that road, with his characters just a single step—make that a half-step—ahead of destruction.

Novelist Matthew Guinn is the author of The Resurrectionist and The Scribe. He is associate professor of creative writing at Belhaven University.

Michael Farris Smith will be Lemuria on Thursday, March 22, at 5:00 p.m. to sign and read from The Fighter, which is one of Lemuria’s two March 2018 selections for our First Editions Club for Fiction.

Author Q & A with Malcolm White

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (March 11)

While Malcolm White describes Hal & Mal’s as “a place where art is made, music plays, and folks gather to share community, and celebrate t he very best of Mississippi’s creative spirit,” a good friend puts it another way, calling it simply “the most talked-about upscale honky-tonk in all of Mississippi.”

artful evolutionWhite’s salute to the more than three decades of success at the iconic establishment he and big brother Hal opened in 1985 is The Artful Evolution of Hal & Mal’s–a 130-page tribute filled with brief, but loaded, character essays of milestones, food profiles, character sketches, ghost stories, musical acts, and an inside look at the chaotic debut of the now-legendary Hal’s St. Paddy’s Day Parade–along with many, many glimpses of heartfelt family history.

The stories are brought to life in the University Press of Mississippi publication with distinctive watercolors rendered by Jackson native Ginger Williams Cook, who said her mission was to create “a sense of place and connection” to the restaurant’s and family’s “storied past and present.” Describing Cook as a “stunning artist,” White said her contributions to the book “made it the artful project that it is.”

Opening in what Robert St. John describes in the book’s foreword as “a B-location on South Commerce Street inside an old warehouse next to the railroad tracks,” the eatery and arts galleria has thrived, earning itself a spot in the elite category of what St. John calls Jackson’s “classic” restaurants.

It was the childhoods on the Gulf coast, combined with years of working in iconic kitchens in New Orleans, that would bring White and brother Hal to a shared dream of opening their own place someday. That “someday” has become nearly 35 years of family and friends serving up not onky regional food favorites with “a nod toward the Gulf of Mexico,” but a healthy helping of live blues, jazz, and rock music, sprinkled throughout with original works of art.

Malcolm White

Malcolm White

White, now on his second stint as executive director of the Mississippi Arts Commission (with a turn at leading the state’s Tourism Division in between), is involved with South Arts, the Mississippi Blues and Country Music Trails and Downtown Jackson Partners.

“I have lived a long and abundant life,” he said, pointing out that he has “managed to amass almost 13 years in the public arena to bookend my 30-plus years in the private sector.”

His previous book, Little Stories: A Collection of Mississippi Photos, was published in 2015.

Tell me about the condition the 1927 warehouse was in when you and Hal leased the property in 1985, and why you chose that unlikely location as the site of the restaurant you had dreamed of opening together.

The building was 95 percent abandoned and dysfunctional. There was no plumbing; it had ancient electrical capacity and was in deplorable condition. It was technically unoccupiable and cost us close to $500,000, in 1980s dollars, over the first couple of years to get it up to code.

We chose downtown Jackson because we believed in Mississippi, our home, and the predication that all centers of population revitalize, and it’s only a question of when, not if. Hal and I used to joke about if we would live to see the vision we had come to pass. I’m still hopeful.

You mention in The Artful Evolution of Hal & Mal’s that “59 percent of hospitality businesses fail within three years of their founding.” What has been the secret to Hal & Mal’s success?

I point out in the introduction of the book that our business philosophy was to include art, culture, and story in the plan and not make it an afterthought; and that we adhered to the sacred axiom that the more money you give, the more you make. And finally, we have always sought inclusion and looked for ways to serve others along the way, like Jeff Good, Robert St. John, Myrlie Evers, and William Winter.

Your book highlights memories of key events, people, and circumstances that have made up the restaurant’s success. Why was it important for you to document the journey of both your family life alongside that of the restaurant that is now an institution in downtown Jackson? 

Because the two are inseparable. Our family is the business, and the business tells much of our family story. We actually think we are more than a downtown Jackson institution, we fell we represent a regional, as well as an American enterprise story.

It’s interesting that you’ve been blessed with not only culinary skills, but a love of art and community, a strong entrepreneurial spirit, and the gift of writing. How would you say all of these skills have come to shape your vision for–and the success of–Hal & Mal’s?

The vision for Hal & Mal’s, like the book itself, was shaped over many years of pondering and preparing. Hal and I started talking about this dream when we were in our 20s and didn’t even live in Jackson. We even bought a building in downtown Hattiesburg, the Walnut Street Pharmacy, in the very early 1980s, with the idea of locating there. But fate put us a little further north after I accepted a job in 1979 to come to Jackson. Further, I started collectin ghte Hal & Mal’s decor, furniture and decorations back in the mid-1970s while living and working in both Hattiesburg and New Orleans.

Sadly, your partner and brother Hal White died in 2013, suddenly but only shortly leaving the future of the restaurant in question. Explain what happened that soon made it evident that Hal & Mal’s would survive and continue to thrive.

When Hal died in 2013, I was uncertain that we could or would carry on, but our staff and family rallied and insisted we continue. I had just accepted the job as tourism director and had made a decision that I could no longer work the hours and endure the physical demands of the restaurant and late-night music scene. But here we are, 33 years later, still serving our aunt’s gumbo and Hal’s magical soup concoctions.

You say in the book that Hal & Mal’s is, in some ways, “not just a bar and restaurant, we’re a creative outpost in downtown Jackson,” and it’s obvious that art and music have played important roles in the restaurant’s success. Could you elaborate?

Providing a place for community to gather and break bread is biblical, and paramount to the success of great places. When food and drink, arts and culture are presented side by side in a public house, community is sustained and encouraged. Hal & Mal’s is perhaps the first example of what the creative economy and creative placemaking is all about in Jackson and in Mississippi.

Certainly, there are other examples of this, but in the book and in the programming and continuation of the business, we demonstrate the “how” of such an enterprise and proposition. In many ways, we have shown by example how communities revitalize, sustain, and prosper. If that sounds boastful, then so be it.

At the end of the book you tell readers, “No one knows what the future may hold”–but what would you like to see for Hal & Mal’s going forward? How could it continue to evolve?

We will continue as long as we are able to make a small profit, add to the quality of life and see improvements in our community. We hope to purchase the building in the next few months–after 35 years of paying rent to the state–and begin a renovation of the property.

Since the Hal’s St. Paddy’s Parade and Festival is such a big event and is right around the corner (Saturday), would you also comment on how it has contributed to the evolution of Hal & Mal’s?

Sure. Most people think, mistakenly, that Hal & I started the parade together and that Hal & Mal’s was there in the beginning. Not so. I started the parade–thus the original name, “Mal’s”–in 1983 when I was booking music, producing events, and starting my own company, Malcolm White Productions. I designed the first parade to start at CS’s and end at George Street in a “pub crawl” format. However, as it began to unfold I evolved into thinking more of a traditional parade going downtown, starting at CS’s and ending at George Street.

CS’s dropped out after the first year and George Street, where I worked from 1979 to 1983, became the beginning and ending location. Later, I moved it to the Mississippi State Fairgrounds and finally to Hal & Mal’s in 1986, where it is based today. Hal didn’t join the fun until 1984–though he was living and working in Columbus–when we started the O’Tux Society, our first marching krewe. Hal then moved to Jackson in 1985 when we started Hal & Mal’s.

The parade is an important annual event for both Hal & Mal’s and the city of Jackson as well as teh state. It has an economic impact of $10 million annually on the local economy and enjoys a national reputation as one of the largest and most original St. Paddy’s parades in the country. It is generally associated with Hal & Mal’s and that helps with our brand and our iamge of a place where people meet for arts and culture, and fun and festive occasions.

Malcolm White and Ginger Williams Cook will be at Lemuria on Wednesday, March 14, at 5:00 to sign copies of The Artful Evolution of Hal & Mal’s.

Alice McDermott to speak at Eudora Welty House

By Jeanne Luckett. Special to the Clarion-Ledger Sunday print edition (March 4)

Alice McDermott

Alice McDermott

National Book Award-winning novelist Alice McDermott will deliver the fourth annual Bettye Jolly Lecture at 4:00 p.m. Thursday (March 8) on the lawn at the Eudora Welty House and Garden, 1119 Pinehurst Street in Jackson.

McDermott’s eight novel, The Ninth Hour (Farrar, Straus, & Giroux), is a finalist for the 2017 National Book Critics Circle Award for fiction. Time magazine, the Wall Street Journal, and the Library Journal named it among 2017’s top 10 books of fiction.

ninth hourThe book begins with the story of a pregnant widow of a suicide victim whose newborn daughter is raised by the nuns of the Little Nursing Sisters of the Sick Poor. The movingly complex, lovingly crafted story of a family continues through another generation.

Heller McAlpin of National Public Radio contends that McDermott “has made the insular world of New York’s Irish Catholic immigrants in the first half of the 20th century her own.” Mary Gordon of the New York Times notes that although McDermott is “known and admired for her portrayal of Irish-American family life, she has now extended her range and deepened it.”

McDermott grew up on Long Island, the daughter of first-generation Irish American parents, and attended Catholic all-girls school. She loved books and began writing at an early age, completing a novel at age 11.

Determined to pursue a writing career and teach English, she attended State University of New York, Oswego, where she was a student of Suzanne Marrs before Marrs, professor emerita of English at Millsaps College, moved to Jackson.

At Oswego, one of her professors assured her that she was a writer. She completed her M.A. in writing at the University of New Hampshire in 1978 and sold her first short story that year. She says that getting that encouragement changed her life and made her want to teach, “just to have the opportunity to do the same.”

She has melded her writing career with teaching and today is the Richard A. Macksey Professor of the Humanitites at Johns Hopkins University.

McDermott cites Welty as a role model during her formative years. “Welty was, in many ways, the first living woman writer I encountered, a literary figure as formidable and esteemed as any of her male contemporaries,” she notes. “This was delightful to me because her work was so good and wide-ranging.”

Sponsored by the Eudora Welty Foundation and the Millsaps College English Department’s Visiting Writers Series, the program is free and open to the public. Following the lecture, a book sale and signing and a reception will be held in the Welty Education and Visitors Center next door. In the event of inclement weather, the lecture and reception will be held in Room 215 of the Millsaps College Gertrude C. Ford Academic Complex.

The lecture honors the late Bettye Jolly, a longtime docent at the Eudora Welty House and leading member of a book club that grew out of a seminar at Millsaps taught by Welty scholar Marrs. The book club founded the endowed lecture to encourage reading, and it is supported through designated gifts to the Welty Foundation.

McDermott is one of the nation’s most celebrated authors. She received the National Book Award in 1998 for Charming BillyAfter This, At Weddings and Wakes, and That Night were finalists for the Pulitzer Prize. Her literary awards include the Whiting Writers Award, the Carrington Award for Literary Excellence, and F. Scott Fitzgerald Award for American Literature.

Jeanne Luckett is a communications consultant to the Eudora Welty Foundation.

Author Q & A with Radley Balko and Tucker Carrington

Interview by Jana Hoops. Special to the Clarion-Ledger Sunday print edition (February 25)

Nationally known reporter/blogger Radley Balko and the University of Mississippi School of Law’s Tucker Carrington, who is the founding director of the George C. Cochran Innocence Project, have devoted their careers to investigating and helping to overturn wrongful convictions for inmates who have been unjustly imprisoned in this country.

cadaver kingTheir new book, The Cadaver King and the Country Dentist: A True Story of Injustice in the American South, exposes their findings of how “institutional racism and junk forensic science” and the actions of Dr. Steven Hayne of Brandon and dentist Michael West of Hattiesburg teamed up to bring many false convictions against Mississippi defendants for nearly two decades. They highlight the cases of Kennedy Brewer and Levon Brooks, who spent a combined 30 years in jail for murders they didn’t commit, before being exonerated in 2008.

The book makes the case that Mississippi’s criminal justice system deserves serious scrutiny and investigation itself if it is to fairly and accurately dispense justice and spare innocent lives.

Radley Balko

Radley Balko

Balko, a longtime opinion journalist (now for the Washington Post) and an investigative reporter, writes and edits The Watch, an opinion blog that covers civil liberties and the criminal justice system. He is also the author of the widely acclaimed Rise of the Warrior Cop: The Militarization of America’s Police Forces.

Carrington is the founding director of the George C. Cochran Innocence Project and Clinic at the University of Mississippi School of Law. Its mission is to identify, investigate, and litigate actual claims of innocence by Mississippi prisoners, as well as advocate for systemic criminal justice reform.

Tucker Carrington

Tucker Carrington

Prior to coming to Ole Miss, Carrington was an E. Barrett Prettyman fellow at Georgetown Law Center, a trial and supervising attorney at the Public Defender Service for the District of Columbia, and a visiting clinical professor at Georgetown.

He writes frequently about criminal justice issues, including wrongful convictions and legal ethics. His work has appeared in The Pennsylvania Journal of Law and Social ChangeThe Ohio State Journal of Criminal Law, and the Mississippi Journal of Law.

How and why did you two come to collaborate on writing this book?

Balko: One of us called the other–we can’t remember which way that went–shortly after I had an op-ed on Haybe published in the Wall Street Journal. Tucker had just started work at the Mississippi Innocence Project in Oxford and was a little overwhelmed at what he had already seen. Over the years, we discussed these cases often as he litigated some of them and I wrote about some of them. As two of only a handful of people at the time who knew the full extent of what was going on, I think we commiserated a bit. Eventually we realized that a book was really the only way to tell this story with the thoroughness and attention to detail it deserved. By that time, we had both immersed in this stuff for nearly 10 years, so it just sort of made sense to write it together.

Carrington: We met shortly after I moved to Mississippi in 2007. It just so happened that Radley was working on the Corey Maye story (involving the 2001 shooting of Maye, a Prentiss police officer) and called me at my new office at the law school. I think he just wanted to reach out and make contact. From there our paths crossed in one way or another–in the main because he got interested in forensic science issue in the courts–and my practice began to feature exactly those types of cases. We each had ideas about recounting this decades-long episode–and we each slugged away at it separately: Radley in multiple pieces over the years, me through some law review pieces and litigating cases. Ultimately, we decided to join forces for a book.

The Cadaver King and the Country Dentist recounts the stories of how Brooksville, Mississippi, residents Kennedy Brewer and Levon Brooks were falsely accused of murders and served a combined 30 years in prison until their release was navigated with the help of the Innocence Project. Their convictions had come largely due to policies that allowed Dr. Steven Hayne of Brandon and Dr. Michael West, a dentist from Hattiesburg, to become wealthy through a corrupt legal system. Please explain how their “partnership” developed and came to make such scenarios like this possible for so many years.

Carrington: Their partnership developed because the infrastructure and incentives were in place for it to develop. They–and others–just happened to be in the right place at the right time. Had they not, someone else would’ve filled the vacuum–maybe not in precisely the same way, but similarly, as has occurred in other jurisdictions.

Instead of a independent, salaried, fully funded medical examiner office, Mississippi mostly went without one for two decades. That was combined with an anachronistic coroner system, an effort on state and federal levels to crack down on a perceived increase in violent crime and an embrace of the death penalty, as well as a spate of new and novel forensic disciplines that gained acceptance without significant scientific inquiry and rigor.

Finally, reviewing courts found themselves constrained by cynical legislative “fixes” to the “endless” appellate process, especially for those sentenced to death. The ultimate result was a recipe and perfect storm for what came to pass in Mississippi that we recount in the book.

What are the national implications for this book? While it makes the case that “poverty and structural racism” accounted for much of Mississippi’s abuse of a system that relied on autopsies and local coroners’ reports to get away with racial injustice, Mississippi has not stood alone in such discrimination.

Balko: The problems of dubious forensics, structural racism, and the coroner system of death investigation are definitely not unique to Mississippi. And even Hayne and West occasionally testified in other states, particularly Louisiana.

I think the main difference is one of scale. For example, we note in the book that in the 1990s, Texas medical examiner Ralph Erdmann was doing an annual number of autopsies in rural counties across the state that legal experts at the time called astonishing. It became a national scandal, and Erdmann became a poster case for forensics gone amok. Erdmann was doing about 400 autopsies per year. For most of his career, Hayne did at least 1,200. Some years he topped 1,500. He admitted that at least one year, he did more than 2,000. He had a hand in 70 to 80 percent of the homicide cases in the state for nearly 20 years.

The other big differences is that in most other states, once the malfeasance was discovered, there was some effort to assess the damage done and review the cases that may have been affected. Some of those efforts were more thorough than others. But in Mississippi, state officials have refused to conduct any such review of Hayne and West cases.

Tell me about the important role that the “junk science” of bad forensics has played in the outcomes of so many jury decisions in America. It seems that this problem has, to some degree, been a constant in our country’s criminal justice process. Why is that?

Balko: It really comes down to the fundamental differences between law and science. We want to use science in the courtroom, because at times it can help us discover the truth. But science is an ongoing process. Theories can and are tweaked, revised, or even shown to be wrong. The law–and by extension our courts system–values certainty and precedent. We still haven’t quite figured out how to reconcile these differences. So, for example, we’ve delegated the important job of keeping bad or fake science out of the courtroom to judges. But judges of course are trained in legal reasoning, not in scientific analysis. So, they haven’t been very good at it.

This tension between law and science for a long time alienated much of the scientific community from the criminal justice system, creating space for fields like bite mark matching, hair fiber analysis, tool mark analysis, and others to assist police and prosecutors in solving crimes and winning convictions. These fields have the veneer of science, but were never subjected to the rigorous testing and review of the scientific method.

It wasn’t until the rise of DNA testing–which was developed in scientific labs–that we began to see that these fields weren’t nearly as accurate and foolproof as their practitioners claimed. Over the last decade or so, the scientific community has shown more interest in criminal justice and has begun subjecting some of these fields to real scientific testing. They’re finding that many of these disciplines have little to no grounding in science at all. But because our courts tend to put a premium on finality and precedent, it has been really difficult to get them to apply the lessons we’ve learned from DNA testing–that these fields aren’t scientifically reliable–to a much larger pool of cases where DNA isn’t a factor.

In his foreword to your book, author John Grisham, who serves on the board of directors of the Innocence Project in New York, laments that actual wrong conviction estimates range from 2 percen to 10 percent of the millions of cases tried each year–amounting to staggering numbers that can never be accurately determined. He said getting these people out of prison is “virtually impossible.” What do you say?

Carrington: He’s correct. In the vast majority of these types of cases, evidence that could lead to an exoneration never existed–because, for example, DNA was not collected  and/or present to begin with–the cases are old, witnesses have disappeared, forgotten their accounts, died, and so on. Also, most cases in the criminal justice system plea. And as a result, there can be very little in the way of a record, including an investigative record that would lead to new evidence of innocence.

What do you hope this book will accomplish?

Balko: Mississippi needs to conduct a thorough review of every case in which Hayne or West testified. They need to look not only for cases in which one of them gave scientifically dubious testimony, but any case in which their testimony may have nudged a jury one way or the other. Because forensic pathology can be subjective, even testimony that was within the realm of acceptable science could contribute to a wrongful conviction. Preferably, the review should be conducted by an outside entity, and should include input from forensic pathologists and scientists, not just judges and lawyers.

I’d also hope the book can serve as a warning to be skeptical of claims from forensic disciplines untested by science, particularly emerging disciplines. The courts have been far too quick to embrace new fields of “expertise,” and far too slow to correct the damage done when science later shows those fields to be fraudulent.

Carrington: I’d simply add that we also hope the books ets out what can happen when the wrong incentives are offered up in the criminal justice system. We can learn from this going forward. Or we can continue to ignore and risk finding ourselves in this predicament again at some point in the future.

Radley Balko and Tucker Carrington will be at Lemuria on Thursday, March 1, at 5:00 to sign and read from The Cadaver King and the Country Dentist. This book is a 2018 selection for our First Editions Club for Nonfiction.

Page 12 of 15

Powered by WordPress & Theme by Anders Norén