Surrender at Appomattox

 Through my association with Kappa Alpha Order, I’ve been given or otherwise accumulated five portraits of Robert E. Lee.  As per KA tradition, they are all post-war portraits of Lee.  One was immediately post-war.  

I haven’t displayed them for years.  They sat quietly in a closet, wrapped in butcher paper.  After what seemed like one hundred KA Conventions and spending two years raising money for a massive renovation of the Alpha Mu house, I felt like, whatever I owed KA, I had given.  I appreciated Dick Wilson and Doug Stone's effort and time invested in KA, but I didn’t want to do that.  I felt like there were other things to come in my life.

Many of my peers focused on the Confederate part of Lee’s life.  There were Confederate flags and Confederate uniforms everywhere.  In the South, having a relative who served in the war was considered a badge of honor.  I have a grandfather who served in the Mississippi Regiment.  My brother has his musket.  

The boys who created KA saw things differently.  They served under Lee in the four years before.  Like Lee, they were officially considered traitors in the eyes of the United States Government.  Lincoln had spoken of a pardon for Lee, but an assassin's bullet stopped that.  

Having followed Lee into battle, these boys didn’t know what to do with their lives.  Most of Virginia was destroyed, and what wasn’t ruined by fire was devastated by the massive economic depression that followed the war.  Lee taking the job as president of Washington College gave them some direction in life.  They would pick back up the studies they left behind when the war started.  

What these boys wanted was not to glamorize or memorialize the war.  They wanted to be citizens again and rebuild their ruined homes, and they saw Lee’s guidance as the best path to do that.   They didn’t want to be Confederates again; they wanted to be Americans.

Lee surrendered his commission because he felt that Virginia was in danger.  He was right.  Union troops marched over every inch of Virginia.  He’d only ever been a military man, and now he couldn’t do that.  The offer of a job at Washington College would be similar to the position he performed at West Point.  He was very grateful for the opportunity.

The Confederate War was a fool’s errand.  We lost nearly everything in it.  At Appomattox, Lee had many advisings not to surrender.  His men wept when they saw him riding off on his horse, Traveler, to meet Grant.  

Lee knew that surrender would save lives no matter how horrific Grant’s terms might be.  The Confederate cause was lost, not that it ever had much chance.  Grant was gracious and generous.  The men left the meeting with respect for each other and respect for their men.

As Lee left the courthouse to return to his men, the Union soldiers lowered their hats as he passed.  There were no photographs of the event, but an artist named Alfred Waud captured some of the events with gesture sketches.  

One of these sketches, the one of Lee riding Traveler away from the courthouse, with the Union soldiers doffing their hats, was given to me by my cousin Robert Wingate.  I framed it and hung it in my home for many years.

In my new home, I think I’ll store all the other portraits of Lee, even the ones of Lee and Traveler, but hang this one.  Surrendering was probably the most important of all the things Lee tried to do for his homeland.  

I know many people who try to cling to our four years in the Confederacy as if that were our culture.  It is not.  It did, however, leave devastating scars on the South.  Wounds that only began to heal when Lee surrendered at Appomattox.  

Willkommen! Bienvenue! Welcome!

In 1929, Christopher Isherwood traveled to Berlin on the advice of his childhood friend W.H. Auden, the poet.  Like Auden, and many men his age, Isherwood developed an interest in economic justice and social reform.  He saw Berlin as a way to explore social and economic ideas that weren't allowed anywhere else in the world.  

The years between the wars saw an explosion of philosophy and art in Berlin.  Its influence is still felt in the worlds of film, theater, painting, and music.  It was the birthplace of German Expressionism.  Berlin saw a great opening of the strata between class, culture, and sexuality.  It was here that Isherwood discovered his own latent bisexuality.

In Berlin, Isherwood met a young English communist writer named Jean Ross.  Ross was a very serious writer on topics of economic justice and feminism.  She was a communist until she realized the communists weren't any more accepting of her feminist ideas than English capitalists, and she left the party to go out on her own.  

Isherwood spent most of his days and nights in a basement bar called "The Cozy Corner," where he sometimes dated one of the busboys and where Ross would sometimes sing for extra money.  It was Ross's singing that inspired Isherwood to create a character in his semi-autobiographical novel that became known as "Goodbye To Berlin," where Jean Ross became Sally Bowles.  

Jean Ross The Real Sally Bowles

Ross didn't care for Isherwood's portrayal of her, calling Bowles "silly" and "inconsequential."  She was also not happy with Isherwood's portrayal of her abortion.  Isherwood's publicist felt "Goodbye Berlin" had potential as a novel and sought out a letter from Ross, absolving them of any liability in the novel.  She reluctantly signed it.

John Van Druten saw potential in adapting the novel for the stage.  After securing the rights, he worked with Isherwood to write "I Am A Camera," based on "Goodbye to Berlin," with Julie Harris as Sally Bowles.   In 1955, "I Am a Camera" was produced as a film, starring Shelly Winters as Sally Bowles.

In 1965, Hal Prince saw the filmed version with Winters and thought maybe it would work as a musical since Bowles was a singer, and so much of the action took place in the Kit Kat Club.  He brought in John Kander for music and Fred Ebb for lyrics.  A team Prince would work with again.  

A young Julie Andrews was offered the role of Sally Bowles, a part she wanted to play, but her management team rejected it because of the "immoral nature" of the play.  Jill Hayworth accepted the role of Sally and Burt Convey as Cliff.  

Prince changed the play considerably from "I Am A Camera."  The antisemitic landlady became a more likable second lead, in love with a Jewish fruit seller.   Their doomed love affair becomes almost the heart of the play.

A very young Joel Gray was hired as the Emcee.  Originally, this character wasn't much of a character.  He introduced the songs, and that's about it.  Without much help from the script or his director, Gray struggled for ways to understand his character.  

Ultimately, he decided that the Emcee could be something of a Greek Chorus, reminding the characters of the realities they faced, and not necessarily being on their side.  Despite being married, with a child, Gray knew he was a gay man, and so did his wife.  Together, they developed makeup and mannerisms that bring out an androgynous, almost brutal character.  Prince, Kander, and Ebb all saw and encouraged Gray in what he was doing with the role and expanded his part to the point now where the Emcee is really the star of the show, more than Sally or Cliff. 

With choreography by the famous Bob Fossee, Cabaret opened at the Broadhurst Theater in New York in 1966.  Criticized for its "immoral content," the play wasn't a huge success financially, but it attracted a great deal of artistic attention.  The West End production fared better and attracted Judi Dench as Sally, considered by many to be the best portrayal of the role yet.

Bob Fosse wanted very much to direct for film.  His earlier effort, "Sweet Charity," didn't do well, but he used all his Broadway contacts to get the rights to "Cabaret" and funding for a shoot in Berlin.  Considering the subplot about Schneider and Schultz as sentimental, he reduced their role in the story considerably and focused more on Cliff, Sally, and von Heune.  

Fossee introduced a very young Liza Minnelli as Sally Bowles, who saw her part as much more cheerful than any of the previous incarnations.  Fossee's interpretation of the story was a big hit, and several of the songs rose on the pop music charts.  What was considered scandalous a few years before was "progressive" and "intellectual" in the seventies.

"Cabaret" works because you know what's coming.  Even though none of it is shown, you know that all of these characters will either have to escape Berlin or die in the very near future.  The original ending of the play leaves the audience looking at themselves in a twisted and distorted mirror.  It made the point, but in the 1993 London revival, with Alan Cumming, they make the point even stronger, with each character reviving bits of their theme song, and in the very last moment, the Emcee, standing by himself where he takes off his coat revealing a concentration camp uniform, with a yellow star and a pink triangle.  Known for his facial expressions, Cumming leaves the audience with a fierce accusatory stare.  

Sometimes, I see in today's world what I saw in the Berlin Stories.  Surely this can't happen again.

Monkeys at the Zoo

I've always had an affinity for primates.  Because I learned how to make websites early, I became weirdly famous for writing about King Kong.  It wasn't just movie monkeys, though; I also loved real-world primates.

When I was little, the chimpanzee exhibit at the Jackson Zoo was slightly upstream from the Monkey Island exhibit.  The water exhibits at the Jackson Zoo were built so that fresh water from the sea lion exhibit flowed into the alligator exhibit, then poured into the Monkey Island exhibit, then into the first and second duck ponds, where it then flowed into the sewer, pretty full of animal poop.

The chimpanzee exhibit was roughly fifteen feet by fifteen feet, with a concrete floor, a tile roof, steel bars, and a covered area behind it where the animals slept.  This was pretty standard for the forties when it was built.  The emphasis was on containing the animals and keeping the exhibit clean.  Like most exhibits in the Zoo, cleaning mainly happened by a high-pressure fire hose--the kind you saw in the riots in Selma.

By the time I was old enough to know anything, we had two chimps, Roy and Venus.  Roy was an unusually large animal, one hundred and eighty pounds, close to a record for a chimpanzee in activity.  He was famous for two things.  First, he smoked cigarettes like a human being and would demand them from the Zoo's guests.  Roy was like half the guys at the KA house in college after they'd had a beer or two when they saw somebody with cigarettes.

Roy and Venus 1968

The other way Roy was like a fraternity boy that he was famous for was that he could throw his own poo with distance and accuracy that could easily qualify him for the Millsaps baseball team.  Guests who annoyed him (or didn't give him cigarettes) would sometimes take one on the back of the head with enough force to make them stumble.  

Sometime in the seventies, the city decided they were no longer interested in West Jackson.  They built an industrial park where Missco and McCarty-Holeman moved and developed the interchange where Ellis Avenue went under I-220, but that was it.  By 1975, West Jackson was in steep decline, including the Zoo.  Everything that mattered in Jackson happened in the North East and the South West.  

It had been ten years since Mayor Thompson shut down the city pools, including the giant one in Livingston Park.  As the city grew away from West Jackson, despite the many beautiful things there, the city government, who ran the Zoo, became less and less interested in it.  Decay and attrition began to set in.

The city hired Jim Swigert as the director, who worked with local architects to develop a master plan, starting with a petting zoo, but failed to fund most of his ideas.  The city gave lip service to building the Zoo but with little money.

A group of Jackson residents who loved animals and loved the Zoo formed Friends of the Jackson Zoo.  a volunteer organization that helped maintain the landscaping at the Zoo and raised money to upgrade old exhibits and build new ones.

Members of the friends had an idea.  Maybe they could privatize it since the city wasn't very interested in the Zoo anymore.  A private organization focused on maintaining the Zoo could do a better job of running the Zoo than the city could.  The idea intrigued the Mayor and the Council.  The city would make a yearly contribution to the Zoo but wouldn't pay their employees or involve themselves in the day-to-day operation of the Zoo.

The Jackson Zoological Parks board was created to lease the Zoo from the city for one dollar, and they would take over all operations, saving the city a considerable amount of money and effort.   

Needing a director, the JZP board interviewed several people but hired a woman named Barbara Barrett.  She was an energetic redhead of remarkable charm and beauty who somehow had remained unmarried (although that wouldn't last).  Barbara had a natural affinity for running Zoos.  One of her first tasks was raising money to realize the planned African Rainforest exhibit, which included moving our growing chimpanzee troup to a naturalized island with a waterfall and a moat.

With all this new growth at the Zoo, I became very interested in it.  Still working for my father, my office was just around the corner.  Having seen my face so often, Barbara asked me to be on the Friends of the Jackson Zoo board, even though I was only twenty-three.  A move that meant I would be at the Zoo even more.

Our little chimp troupe was getting a lot of attention.  Jackson, the first chimp born at the Jackson Zoo, broke his back during an epileptic fit.  He was rushed to the veterinary hospital at Mississippi State University for emergency surgery, which was successful.   While I was very proud of our work to help Jackson, I always felt bad for him until his body hair grew over the surgical scars.

In a new, larger exhibit, the AZP sent us enough chimpanzees to make two troops, who took turns in the exhibit.  Keepers were slowly acclimating the two groups together, as ordered by AZP, and it was going well until one morning, the main group, headed by Darwin, a massive, white-bearded animal, was in the exhibit, and Jo-Jo's smaller group was allowed on.  

Normally, fights for dominance among chimpanzees aren't fatal.  Jo-Jo had been mistreated before he came to Jackson; that's one of the reasons they sent him here.  Early one morning, Jo-Jo attacked Darwin from behind, breaking his jaw and flinging his body into the moat.  Darwin drowned in the moat water and his own vomit.  The keepers were right there, but it all happened so fast that they could do nothing.  

I arrived two hours later, not knowing anything was wrong.  Not finding Barbara in her office, I was told where to go.  The staff was responding as if one of their own had been killed.  It was a mortifying shock.   Our keepers had reservations about merging the groups; now, there was no choice.  There was only one dominant male left.  

About a year later, one of our females named Belle had a baby in May, named Maybelle.  With most of the group in the public exhibit, the keepers allowed me to go into the night cages and see the baby.  The trick I learned with chimps was that if you dipped your shoulders down so that you were not taller than them, they weren't as threatened by you.  Jackson, who was also inside, hooted loudly until I stooped down.  Approaching her cage, Belle carried her baby to the front of the cage, where I could see it.  She showed me her baby, even pointing to it.  People question how close chimpanzee intelligence is to human intelligence.  In my experience, it's very, very close.

Most of my life was pretty miserable in those years.  My job was sucking the life out of me, and I was involved with a woman in another city, who I would find out was not entirely faithful despite the enormous amount of effort she required from me.

The Zoo was my respite, safe space, and my one beautiful thing.  My friends from the friends of Jackson Zoo were remarkable artists and architects, and more.  It was the only place on earth where I felt like I fit in.  

One day I'll write about the end of the JZP board and returning the Zoo back to the city.  We have some remarkable people working there, but unless we can figure out a way to inject life back into West Jackson, I wonder if we can do much with the Zoo.  I would favor saving West Jackson, even if the Zoo wasn't there.  There are many remarkable things in West Jackson; we just seem to lack the resolve as a people to save it, and city leadership doesn't seem to have any answers.  

Even now, when I dream of happy things, many of them are at our Zoo.  I don't really have any answers, but I have many, many memories.

Miss Eudora's Typewriter

If you visit Eudora Welty's house and museum, you can see some of her typewriters.  How a writer writes is very important, especially for writers of her generation.  Through his business connections, her father could procure quite good typewriters for her for most of her life, both new and secondhand.  

When Miss Eudora was writing, there were only three places in Jackson where one could purchase typing paper or legal pads.  The Office Supply Company was down the street from her father's office, so I've always amused myself that some of her novels began life as a box of blank typing paper sitting on a shelf in my uncle's store.  I even confirmed once that Mr. Welty had an account, although what he purchased was long since lost to history.

Eudora Welty was most likely taught to type in high school.  Most women in her generation were, in case they'd have to get a job one day, and typing or teaching was about the only jobs available to most girls.  Businesses needed typists too.  Every letter, every statement, and every invoice had to be hand typed in the days before computers.  One of the reasons banks and insurance companies had such large buildings was to house secretarial pools of typing women.

Faulkner had a typewriter but didn't write with it.  He preferred writing longhand so he could see and feel the shape of his words.  There weren't many things in Faulkner's life that he treated with love and care, but his words were among them.

When I was a younger man, I traveled to Hollywood in the summers hoping to live there someday.  I even gave it a shot a couple of times, but living outside of Mississippi never took hold.  In those summers, I made friends with Forrest J Ackerman, the previous editor of Famous Monsters of Filmland magazine and the inventor of Vampirella.  

Uncle Forry's life was in the waning years.  He'd lost his wife.  It'd been many years since his magazine shut down.  When he was a magazine editor, Forry was a literary agent for hopeful science fiction writers.  His most notorious client was L Ron Hubbard, who wrote very sort of standard Sci-Fi for the fifties.  His books were light on science but heavy on post-war social commentary.  Most were pretty bad.  Forry did not represent Hubbard's book Dianetics, which was an effort to replace psychology, which became Hubbard's obsession and, ultimately, a religious cult.  

One day, Forry introduced me to a man at lunch, saying, "This is Ray Bradbury.  He writes sometimes."  

Ackerman and Bradbury had been childhood friends and were considered co-founders of the Los Angeles Science Fiction Forum.  Ackerman had been Bradbury's agent, but after Fahrenheit 451, his publisher demanded Bradbury get a more well-placed agent. Ackerman didn't seem to take offense, and they remained the closest of friends until their very last days.  

 As a young writer, Bradbury didn't have a typewriter of his own.  In the basement of the library, you could put coins in a machine and get an hour's worth of electricity on one of their electric typewriters.  Descending with a box of his own paper, Bradbury wrote all of Fahrenheit 451 this way, spending time between pages and looking at the books in the library for inspiration.

Compared to his other novels, there wasn't very much science in Fahrenheit 451, but he hit on cultural memes that resonated deeply in American culture, especially counterculture.  After Fahrenheit 451, he was able to afford his own typewriter, an IBM selectric.  He'd have other typewriters along the way, but he favored the selectric.  Stephen King suggested a word processor for him, which Bradbury got, but never really produced anything of note on it.

Ray Bradbury was who I wanted to be.  His advice for young writers was to produce one thousand words a day.  In his method of writing, that's slightly less than three pages.  You're not really a writer if you don't write.  I've been producing between a thousand and two thousand words a day for forty-five years now.  At first on my mother's portable typewriter, then later on, different forms of computer word processors.  I've only allowed anyone to see what I write for the last two years.  That's another story.

The way that Welty, Faulkner, and Bradbury wrote was like making multiple interactions of a carving, making changes and improvements between them, and ultimately only showing the world the final copy.  It's a pretty tedious way to write.  You end up typing or writing over the same sentence several times.  With word processing, there's just one draft that you're constantly massaging and improving.  

It's possible that the multiple draft method of writing produces a better result.  Typing the same sentence over and over again can make you either commit to it or change it.  Most people don't do it.  It's time-consuming, and it keeps you from the more interesting part of making new sentences.  

I really don't know what my writing will produce.  I'd like to think I can produce seven or eight books in the next ten years.  I have pretty good writing discipline and can sometimes write things that produce emotion; what remains to be seen is if I can bring all these pieces together into something larger.  I love Ray Bradbury, but I've been to his office, and he's not a very organized person.   I don't think I can do what he did, but I think I can match his output, maybe even exceed it for a while.

View Our Eudora Welty Collection