I'm strolling my way through Ann Patchett's latest "These Precious Days", pausing at this or that immutable truth, or inviting idea, or gazing fondly at some of our shared landscapes. The Deep South is one of those landscapes, and while I spent three of my four high school years there, and then eight of my post-middle age, that storied and story-telling culture is firmly but ineffably implanted in the middle of my bones. It does that, the Gothic South: it sneaks in there, implants itself, and never leaves, like one's elderly maiden aunt.
Patchett's husband Karl VanDevender was born and raised in Meridian, Mississippi, and I can vaguely remember spending endless and lazy, indulgent summer days at the local country club swimming pool with either him or maybe it was his brother. He could execute complicated dives, I recall, and he was of course Netherlander blond, getting blonder, increasingly tinted with chlorine green over the summer months, like me. We were never part of the same crowd, but the name was odd enough in that part of the country that it, and its bearers, stick in my memory.
Just seeing Patchett write a scene set in Meridian jerks me back to an adolescence fraught, as are everybody's, with drama and longing and rage and appalling risk-taking. I imagined myself a rebel in the land of The Rebel: it was, and continues to be upside down, inside out, and horribly lonely. For a world of Rebels, there was remarkably little room for a singular rebel, and I was barely tolerated, but always the subject of fascination -- maybe like an albino rhino in a zoo. I am sure I scared the living daylights out of the gentler Rebels, while I intrigued the more socially and intellectually curious of them. The nigger-knocking, red-neck underclass just watched me from a distance; they left me alone (except for one brief interlude where I dated one of their second-tier leaders, probably just to get my father's attention -- as I am wont to say, I think I'm still grounded for it).