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Oct 27, 2006

Sidney Thompson’s “The Chameleon”

Some of the stories in Sideshow are really violent; some are sexually explicit; some are both. I will confess, prude that I am, that I do not gravitate to sex and violence in my reading tastes. This is a beautifully written and disturbing book but it’s not my taste. Still, prudery aside, it can be easier to write about a “freak,” about someone who belongs in a sideshow, if you give her incestuous desires or an extensive knife collection. The freaks who interest me more are the less obtrusive ones. Like the chameleon of this story.

Shattered by his wife’s departure, Arnold spends weekends in bus depots, striking up conversations with strangers. He’s got five depots in a regular rotation—from home base in Memphis to St. Louis, Little Rock, Jackson, and then Memphis again. Having caught the bus in Memphis, and remembering vividly the plastic chairs bolted together, the cigarette smoke, the bay of five or six buses, I loved this story all the more for my being able to conjure the spot. The sorry, lonely location comes as a surprise—when you first arrive it doesn’t feel as disconnected as it is. Like so many bus stations, it is not a long walk from downtown, but just far enough to discourage you from wandering, lest your bus come early. So there you are, stuck, five blocks from anything you might want to do, wondering if it’s worth complaining that the JuicyFruit gum you just bought is stuck in the vending machine.

What’s so poignant in “The Chameleon” is the dramatization of intense loneliness and fear: Arnold has developed a system worthy of a Beckett protagonist. He carries a duffel bag full of props to make starting the conversation easier—campaign buttons, a “solid black mourner’s tie,” and an arm sling, “which he always wore for meeting elderly women.”

A great short story makes its own world and leaves us wanting more even as we are satisfied. This one does just that. We only get a few of Arnold’s rules (no talking to couples, no talking to anyone who is reading or writing), but they’re enough to evoke a whole world of rules designed—futilely, pathetically—to guard against future hurt.

LBC Podcast #1: Sidney Thompson

Lbcthompson_1 Nominator: Jeff Bryant

Nominee: Sidney Thompson

Subjects Discussed: Faulkner vs. R.E.M., Southern fiction, how music influences fiction, observing unusual behavior, Thompson's musical background, family as a starting point, taboos, the happy medium between shock value and playing it safe, stereotypes, believability, escaping into fiction, misfits and loners, connecting with despicable characters, morality in fiction, racial assumptions at the Atlantic Monthly, presenting racial conflict in fiction, and thoughts on the Southern fiction/blue-state fiction divide.

Backup Link: (MP3)

(A co-production of the LBC, Pinky's Paperhaus, and The Bat Segundo Show.)

Sideshow's Sideshow: "The Romanticist and the Classicist"

Imagine that you're the fiction editor of a well-respected magazine, a publication that has devoted untold pages to some of the biggest names in the writing business.  One day you're digging through the submissions and you stumble upon one that catches your eye.   Maybe it's the title.  Perhaps it's the first paragraph.  Whatever it is, you decide to give it your full attention.  What you've found is an interesting story narrated by a young African American.  On the most basic level, it's about the revenge of a cuckolded husband, a plot you've seen a million and two times.  So what's the twist to this one?  Well, to start, the narrator isn't your typical teenager.  He can quote the Classics like no one's business.  His father makes sure of that, spitting out lines from Virgil and Aeschylus and making the boy finish the sentence or quizzing him on the origin or some other detail related to the quote.  And we're not talking a northern prep schooler here.  This is a rural family, Southern, probably poor.  So what does this have to do with the cuckolded father?  Well, the man has decided to use this act of revenge, what will end up being the murder of a lifelong friend, as a lesson for the boy, another brick in his Classical foundation.  He has the boy tag along to the friend's house where they find him "in his recliner in front of the television watching wrestling and eating a can of pork and beans."  Before long, the father and son go through this somewhat hilarious routine, an absurd Abbott and Costello, where they go back and forth quoting and referencing the Classics, basically confusing the hell out of this poor guy who just wanted to watch his wrestling.  Maybe that's why it reminds you a little of a scene from a Quentin Tarantino movie.  Or maybe it's the way they ultimately kill him.  First the father decides to take out the poor guy's appendages, shooting him in the arms and legs, an act of torture forcing the man to admit his transgression.  But in the end, it's the son, angered by the man's repeated attempts to invoke the name of the Lord, who grabs the gun and, after quoting Keats--"Truth is beauty"--shoots the man in the head.  What really gets you is the fact that the father doesn't seem upset by the act, but he's rather miffed that the boy would utter a quote from a Romantic.  Didn't the boy learn anything?

So you like the story with its interesting take on a fairly common plot.  In fact, you like it enough to publish it in your venerable magazine.  However, there's one nagging question, one that needs to be put to rest before you're willing to put this one in a future issue.  See, one of the more disturbing parts of this story is the use of the n word.  There it is, first page, used several times by the father who is trying to make the boy understand that what they are about to do "does not make us niggers."  As the fiction editor of a well-respected publication with a vast, mostly educated and often liberal readership, you know that that word is a powder keg waiting to go off, and when it does, it'll probably take you with it.  So what do you do?  The story deserves to be published, that much is established, but only under one condition.  See, you probably don't hang with many black folks but you do know that they tend to use the word quite a bit.  After all, you've heard the rap music.  So if this writer is an African American, well, then it's a go, the writer's race being a potential "Get out of PC jail free" card.  Now, how do you find out if he's black?  He doesn't say so in his cover letter, but he did say that he went to the University of Arkansas, and damn if you don't know a professor there.  A simple phone call, a question, and holy mother of Mark Twain, this writer isn't black.  He's a white Southerner.

What do you do?

You reject the story, right?

Wouldn't you?

Well, that's what The Atlantic did.  Or something like that anyway.

Oct 26, 2006

Author Interview - Sidney Thompson

The following is an interview with Sidney Thompson, author of the short story collection, Sideshow (2006, River City Publishing).  He lives in Alabama with his wife, Jennifer Paddock.

Dan:

Hello, Sidney.  Thank you very much for taking some time out of your busy schedule to answer some questions.

Sidney:

Happy to, Dan.  Thanks for your interest.

Dan:

When exactly do you remember getting the reading and writing bug.

Sidney:

I first became obsessed with writing the summer after my sophomore year in high school.  My brother gave me a collection of poetry by Richard Brautigan for my birthday, and I remember it was quite an epiphany for me to learn that verses didn't have to end in rhymes.  I thought, that I can do.

Dan:

You received your MFA from University of Arkansas - Fayetteville.  Who did you study under while there?

Sidney:

I studied primarily under Donald Hays, Bill Harrison, and Jim Whitehead, a trio of great teachers.

Dan:

Sideshow has ten stories in it, how many of them did you write while you were in your MFA program?

Sidney:

Six of these ten were my thesis, but two of those six were first written while I was an undergraduate at the University of Mississippi, studying under Barry Hannah, who was actually the first person to graduate from Arkansas' MFA program.  Essentially, and thankfully, I went where Barry told me to go.

Dan:

How did you end up with your collection being published by River City Publishing?

Continue reading "Author Interview - Sidney Thompson" »

Oct 24, 2006

From the Author

Hi, I'm Sidney Thompson, the author of Sideshow. First, I'm grateful to be a Litblog Co-op finalist, so thank you, everyone, for nominating my collection (Jeff Bryant), voting for it, reading it, and giving it (so far) such high praise. Happy stuff.

Now, for today, as if I'm not grateful, I'm asking for more. As the day's guest blogger, I'm inviting any and all questions and comments about Sideshow as a whole, or the stories in particular. I'm always fascinated by readers' reactions to my work. Often I get the sense that people are hesitant to admit their reactions. (I've come to that conclusion based primarily on the queerly vague, sometimes highly positive, rejection notices I've received over the years from countless magazines and literary journals). It's obvious, I suppose, that I'm making an effort in each story to be, at some level, sensational, to elicit the reader's emotions, but my goal might be less obvious: to encourage an honest self-examination as to why the reader responded with laughter or with shock or with embarrassment, etc., and for him or her to consider what this says behaviorally or philosophically about his or her assumptions, or biases, or about our human state in general.

My father disowned me for writing one of the stories in this collection. What will your reaction be?

Oct 23, 2006

Sidney Thompson short story: The Man Who Never Dies

"The Man Who Never Dies" is the kickoff short story in Sidney Thompson's collection, "Sideshow", and it's also the apparent source of the book's title.  Life is definitely a parade of carnival characters in Sidney Thompson's world, and in this warm but comic story the hero has to deal with one particularly tough character: a show-off father whose oppressive personality and over-enthusiasm for sports soured this narrator from a young age.  But he's now a relatively happy and centered FedEx worker, husband and father, and when he takes his family to a town carnival and visits the eponymous tent of freaks, a haphazard array of life metaphors fill his senses: an eternally old man (the "man who never dies") who remembers the narrator's father, an alligator woman whose uniqueness is rooted in skin disease, an enticing "world's smallest horse" that simply isn't there at all, disappointing the narrator's sweet daughter.  It's a very satisfying story, especially at the end when the quietly-suffering narrator finally takes his anger out on an unwitting ball game operator in a very human way.  Great start for an excellent collection of stories ...

The Floater

"Larry Havard had spent almost every free weekend of his life hunting in the South Mississippi woods of his home county, but for almost a month now, at age thirty-three, he hadn't had the heart to kill one thing.  Not after his house caught fire and he lost the best bird dogs he'd ever owned or heard of, two full-blooded retrievers, to smoke inhalation."

So begins The Floater, one of the stories from Sidney Thompson's story collection.  With these two sentences, Thompson pretty much completely sets his readers up for what will follow over the next 17 pages or so.  Reading that first paragraph we know who we're going to be reading about, Larry Havard, and we know what his biggest problem is, his sudden inability to kill, and what caused this problem, the horrible death of his two dogs.

As we get later into the story we find out more, of course.  We find out just how important King-Size and Copperhead, the two deceased dogs, were to Larry.  We find out that his ex-wife has left him, while those dogs remained faithful.  Meanwhile, Thompson puts the plot into motion.  Larry, hoping to get by this sudden inability to kill (and it's just killing he's suddenly troubled with ("He could still clean meat and knife it up, but just couldn't bring himself to kill it."), goes looking for a replacement dog or two.  Not being flush, Larry goes looking at the pound where he finds "...was what the dog catcher had promised.  Nippers, lungers, and broken dogs withmange or missing parts."

The only dog that really grabs his attention is a quivering poodle.  He is warned that the dog has heartworm and was only brought in to be put down.  After trying to leave, Larry goes back in and takes the dog.  Hoping for a win/win situation, Larry plans on giving the dog a good final day, and maybe just find it within himself to kill again.  It is this decision that leads him down a path of more decisions and actions.

The title of the story refers to Larry's abilities in the area of hanging sheetrock, a floater is one who can make everything in that process seamless, eliminating problems from the house not being perfectly square, getting everything set so that when painted the appearance is a smooth one, no nails showing, etc.  It's a nice bit of irony on Thompson's part considering nearly every other aspect of Larry's life.

The Floater, brutal as it seems at times, comes across as something that could have come from the sad background of a real person.  Thompson gives Larry just enough of everything, hope, despair, sadness, and pain to make his effort and plight through the story more than just a little bit interesting.

Short Stories

I have to admit, a little bias, or at least a bit of natural leaning, slipped into my head with this round of titles, even before I had cracked the spine of any of the trio of books we read this round.  It had nothing to do with those nominating the titles - I think all three have fantastic litblogs and wonderful taste.  Nothing to do with the appearances of the books - I've long ago learned to try to not judge a book by its cover, hard as that may be at times.  It wasn't even because of the publisher - fond as I am of the folks at Coffee House Press and the work they do.  It was due to a single word that one can find on the cover of Sidney Thompson's Sideshow.  That word is stories.

Much as I enjoy getting sucked deep into a well-written novel, I absolutely love short stories.  Story collections typically generate about half of my annual list of titles read.  Combine that with the large number I treat myself to via literary journals and I probably am fortunate enough to read between 400 and 500 per year.

I love the precision with which a short story writer (well, a good one) much select his/her words, and structure his/her sentences and paragraphs.  I enjoy the fact that I'm picking up something to read that I know I can finish in less than 15 or 20 minutes.  When truly done well, I'm amazed at the author's abilities to create a well-developed character and scenario, add a touch of foreshadowing, move the plot forward, and come to a conclusion that might even surprise me a bit, and all within 20 to 40 pages or so.

Where novels bring their own special treats to the reader, one of the amazing things to me about stories is that precision factor.  An author can really at most only have one little bit of sloppiness in a short story - a little too much description, a bit of a jump in character development that seems a bit quick to the reader - before the story is lost.  At least that is what I expect when I sit down with a story.

And, as the bulk of the nominees for LBC consideration to date have been novels, seeing the word "Stories" on the cover of Sideshow was pretty exciting news.  In the following days, various LBC members will be taking individual looks at over half of the stories from Sideshow, so I implore you to come back frequently to read these takes.  We'll also see Sidney Thompson here tomorrow, guest blogging, so come on by and ask him some questions, or comment upon his work.  We should end the week Thursday and Friday with an email interview of Thompson and then a podcast interview as well.

Oct 17, 2006

Sideshow by Sidney Thompson

Sideshow At the time I was asked to nominate a book for the Autumn Read This! selection, I had five pretty good titles on my short list of possible nominees and a few more set aside to read that looked promising.  I didn't think it would be a problem to narrow it to one, but then something happened.  Just a few days before the nomination was due and with my mind made up on a book to offer up as my choice, I happened across a review in Paste Magazine of a collection of short stories by a Southern writer that I'd never heard of, put out by a Southern publishing house that was completely new to me.  In the review, Sidney Thompson's Sideshow was said to be "the South seen more through the prism of R.E.M. than William Faulkner. " Those of you familiar with my blog, Syntax of Things, know that I'm a sucker for things Southern, especially when it comes to writing (as well as music and food and baseball), so I had little choice but to get my hands on this collection.  The folks at River City were nice enough to rush me a review copy at which time I was further intrigued by the blurbs on the cover from the likes of favorites Barry Hannah and George Singleton. That's how within a few days this book went from unknown, to top of my "To Be Read" list, to nominee for the Autumn Read This! selection. 

Now I'm supposed to justify my nomination and tell all of you the virtues of this book in hopes that you'll grab a copy for yourself, which I certainly hope you do. And there's plenty in this book to talk about.  For instance, there is something different about these stories, something a little off.  Most of them are definitely "Southern" but Southern with a twist.  And that's something that instantly attracted me to this collection.  Thompson doesn't exactly shy away from Southern stereotypes and themes.  We encounter racism, incest, animal (and human) cruelty, football. But not in the way you would expect. In Sideshow, Thompson seems at his best when he takes these most Southern of themes and, as R.E.M. would say, turns them inside out, the result being something even more gothic or dark or sinister than they would have been otherwise. And it's always risky to mess around with some of these, especially when a large chunk of your audience will more than likely be Southern.  Realizing this, I think maybe it is that daring, unflinching honesty, the fact that in no way does this writer care what you or your cousin from Opp, Alabama, thinks, that ultimately led to my decision to nominate this book.  That and the fact that I felt this collection deserves exposure outside of the limited coverage it seemed to be getting in the South.

There's certainly much more here to discuss, including an interesting bit of controversy surrounding one of the stories, but I'll save that for next week's discussion.  For now, here's an excerpt from "The Floater," about a man's somewhat deranged attempt to regain his sense of identity:

So while the deer T-bone thawed in a sink of hot water, Larry went through the house switching the lights on in every room so that he could re-examine the past month's work and consider what remained ahead of him.  After he gutted the house of all its wood paneling, carpeting, and melted ceiling tiles and linoleum, replaced the necessary studs, rafters, and floorboards, and painted Kilz over all remaining smoke-damaged wood, he had rewired the house, insulated it, and put in new windows, then done for himself what he did nearly every day at work for others.  He'd hung the sheetrock, a task he'd finished only last night.  Tomorrow he'd begin the floating, his specialty.

The process involved hiding all uncomely aspects of the sheetrock beneath layers of tape and mud, so that what remained for the painter were level lines from corner to every corner, even if the house wasn't square.  He didn't exactly understand the name.  All he could figure was that the person who'd come up with it must have noticed, as he had, that if you sink yourself to the bottom of Brushy Creek, you'll see there's enough silt and sand in the water to make whatever and whoever floating above appear too vague to be visible.

Sometimes people in the community would try hanging their own sheetrock, but nobody but a floater had better float it.  Not unless they wanted rows of nail heads showing through on the walls like shirt buttons.  But if they wanted their rooms to appear seamless and whole, as though one single wall folded into a box, or if they needed enough sheetrock mud troweled at the top and bottom to make a bowed wall appear plumb, then Larry was the man.  And the stage of floating he liked best--even more than troweling over a nasty gash--was gently sanding the sheetrock, once it had dried, to a smooth finish with his sandstone, the size of a brick, and watching fine white dust cloud up under the brushing of his stone and fall like snow, and there'd be banks of it everywhere, along every wall.  Real snow had fallen in George County only a few times in his life, but even on those occasions it never completely covered up anything.

What had been salvaged from the fire and not ruined by the smoke and water was being stored in a friend's vacant barn, so the only furniture in the house consisted of what his cousin, the supply sergeant at the national guard armory, had loaned him: a field table and a cot, both set up in the kitchen out of the way of the work.  He wasn't ready yet to sleep in the bedroom anyway.  He still found himself shaking his head and gazing in dismay at the blackened pine floor where his bed had been.  Where he'd flipped back the mattress and box springs and discovered his dogs still trying side by side, it seemed, to hide from the fire.  He'd lifted their limp heads, touched their pallid tongues, then with the edge of his boot, had scraped their feces to the wall.

After the divorce, he'd started letting the dogs live inside, and his folks were afraid he was losing his mind.  His mama had even sent for the preacher to visit him.  But he was merely protecting his remaining assets, Larry had done his best to explain to his family and to the preacher.  But to his buddies who feared those prize bird dogs would become spoiled, he told another story: just trying to run the smell of his ex-wife clean from the house.