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We Are All Drifters

The Continental Drifters were a band whose lineup alone would turn heads. Though members came and went over the decade or so of their existence, the personnel settled to include Peter Holsapple of the dB’s, Mark Walton of the Dream Syndicate, Vicki Peterson of the Bangles, Susan Cowsill of The Cowsills, and, most notably for Memphians, Robert Maché, the journeyman guitarist who played with Steve Wynn for years and now lives here, often seen playing with his wife Candace in Dan Montgomery’s band, or touring with Dayna Kurtz. Yet despite their collective pedigrees, they never quite “made it” in terms of sales or record deals, perhaps because all involved found the “supergroup” tag repulsive. That’s one of the few things they all could agree on, as is made clear in Sean Kelly’s new book, White Noise & Lightning: The Continental Drifters Story (Cool Dog Sound), which traces the group from before they coalesced until after they’d broken up. One strength of the book is that all living former members embraced this chance to speak freely and tell their story. And Holsapple is particularly blunt about the “supergroup” tag. 

“We were hell-bent on not seeming like this purported busman’s holiday,” he tells Kelly. “We were so irked by that description that it was this sort of ‘sometime supergroup.’ It was like, ‘Fuck. You really are just not getting it, are you? This is a band.’”

That latter point also comes through loud and clear, as Kelly delves into the complex, Fleetwood Mac-level entanglements between the members that, despite making relations fraught at times, also sealed the family-like bond between them. And that bond seems to have been, in retrospect, a key to the group’s sound, a brand of roots-infused alt-rock with a strong focus on harmonies and songwriting that might today be labeled “Americana” but had no such pigeonhole in the ’90s.

Indeed, the book deftly conjures up the spirit of that era in Los Angeles, where the group began. The respected session drummer and producer Carlo Nuccio, who appropriated the band’s moniker from a group of the same name he’d played with in his native New Orleans, was a focal point, sparked by his relocation to L.A. and his talent for gathering like-minded souls around him. Eventually, he and friends Mark Walton and Gary Eaton were rooming together in what they called the “Batch Pad” (at a time when native Memphian David Catching was also in their orbit), and, sharing similar tastes, formed a band that also included guitarist Ray Ganucheau and keyboardist Dan McGough. By 1991, the newly formed Continental Drifters had taken up a Tuesday night residence at Raji’s, which soon became a scene unto itself. 

That was a bit of a paradox at the time. As Greg Allen, who went on to found Omnivore Recordings with fellow Raji’s patron Cheryl Pawelski, tells Kelly, “There was no real scene in L.A. It’s not like it was the power-pop era or the new wave era or what have you. It was just a lot of whatever. The kind of void that the Drifters filled, especially with the shows happening every week — that was its own scene.”

The Raji’s residency nevertheless became legendary to those who participated, setting the aesthetic tone for all of the Drifters’ subsequent years: keeping things loose, inspired, and very much at the service of the songs more than any identifiable “sound” that could be marketed. The many rock veterans in and out of the band preferred to do as they pleased, rather than bow to the demands of a producer or label. Ultimately, as new members like Holsapple and Cowsill (eventually wed, then divorced), Peterson, or Maché joined the group, the group’s aesthetic, impervious to fickle fashion, carried on. This held true when they migrated piecemeal to New Orleans in the mid-’90s, destined to be as celebrated there as they had been in L.A. 

Kelly’s book weaves this web of relationships into a tale driven by his love of the music. Prospective readers should revisit the group’s records before diving into this meandering tale: They are what make the vagaries of friendship, dating, marriage, divorce, and substance abuse among the members so compelling. Moreover, it was by remaining staunchly eclectic that the band defined its place in (or not in) the music industry. Being outsiders who were nonetheless revered by their fans defined the lives of all involved, as they all rejected grandstanding musicianship in favor of playing to the songs. And that approach, whether in L.A. or New Orleans, is why their records (and friendships) have endured.

A new compilation from Omnivore Recordings, White Noise & Lightning: The Best Of Continental Drifters, can be purchased here. And a new tribute album, We Are All Drifters: A Tribute to the Continental Drifters, has been released as a companion to Sean Kelly’s book. Proceeds from the tribute album benefit The Wild Honey Foundation. 

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Jasper Joyner’s Pansy

Think of a pansy, the flower, pink or yellow, blue or deep purple, marked with sharply defined pigmentation or a soft blending of hues on the petals that fold over each other in layers.  

That’s how Jasper Joyner pictures their identity as a nonbinary transmasc writer. It’s masculine and feminine, soft yet hardy, layered. It’s why Joyner titled their memoir, Pansy: A Black American Memoir, which was released on October 22nd.

Of course, pansy has another connotation, used to derogatorily describe gay men. But Joyner says, “I thought of that. I’ve been calling myself a pansy for 15 years. That’s not why I chose it [as a title], but I’m trying to reclaim that word.”

Joyner, now 34, set out to write a memoir some four years ago after reading Zami: A New Spelling of My Name by Audre Lorde, who established a new genre called biomythography that combines history, biography, and myth into a narrative.

Joyner describes this style as a “mosaic” of “snapshots” of the author’s life. “I was really inspired to read more memoirs like it because it really made me start asking questions about myself,” they say. 

It was almost like an obsession. They went on to read memoirs by Black queer writers, by Black Southern writers. They read Alice Walker and read “how she talked about how important it is for Black Southern writers to tell their stories.”

Joyner has always considered themself a writer, ever since childhood. They’ve written a young adult novel, Juniper Leaves, anda chapbook, A Flamboyance. They’re currently the managing editor for Focus Mid-South magazine.

Yet never did they intend to write a memoir. “After reading [so many though],” they say, “it was like it makes sense for me to add my story to this mosaic of stories because I didn’t see a lot of stories like mine with my similar experiences. … It’s worth it to go ahead and try to tell my story, not because it’s unique, but because it’s a human story that I think makes sense to share.”

“I feel like,” they add, “my particular experience with transness shows you that it’s much muddier than a lot of the ways transness is defined now because, in my belief, I never transitioned. I’ve always been this person, and I think everyone is constantly becoming more of themselves. … We can all see ourselves in that nuance.”

Told in nonlinear episodic snapshots in the biomythographic style of Audrea Lorde, Joyner’s memoir explores their Memphis upbringing in the ’90s, their time at Vanderbilt, finding themself in New York City, and more. 

There are moments of intense vulnerability. “There’s a chapter in there where I talk about suicidal ideation that I almost wasn’t going to include, but transmasc folks in LGBTQ communities have the highest rate of suicidal ideation. You never really hear about it.”

But there are moments where Joyner holds back or leans into poetic truths and mythmaking. “I didn’t want this to be a story about a trans person who’s struggling. I wanted it to be a human story that people can relate to,” they say. “I didn’t want to accidentally exploit myself by focusing too much on any one of my identities.”

After all, this book was and is about more than themself. Joyner says that at only 34, many in the LGBTQ community would consider them a trans elder. “It’s a devastating fact, but at the same time, there are so many young trans folks who look at me and see, like, oh, you still exist. You’re still surviving, you’re thriving, and for a lot of young trans people, they don’t want to wait to see what that could look like.”

Joyner sees this firsthand in mentoring 20-something-year-olds in creative spaces and through the Sam & Devorah Foundation for Trans Youth. 

That’s why Joyner didn’t wait until they were older to write their memoir, but it’s also why they took so much care with it. The book went though eight or so drafts with several readers’ feedback — an approach they hadn’t taken before with their published work. “I write work like Pansy for them and also my younger self,” Joyner says. 

Jasper Joyner’s Pansy can be purchased at DeMoir Books & Things and other independent bookstores as well as online. Pansy was named one of BookLife’s Best of 2024 by Publishers Weekly.

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Blurb Books

To Read, or Not to Read: October 2024

As the weather chills out or warms back up this October, there’s never a better time to curl up with a book because it’s always a good time to curl up with a book. And therein lies the issue, because even if I know when it’s a good time to read (always), how am I to know what to read? Enter decision paralysis — unless, of course, you check out the ever-reliable recommendations by your local booksellers that they’ve so kindly suggested here. And we thank them for it. 

William by Mason Coile

The perfect single sitting horror story! There’s no slow ramp up to this book. The story immediately takes off with a lil sci-fi, a lil gore, a lil pulse-racing thriller, and an incredible ending! This is a book I wish I could read again for the first time! — Mandy Martin, Novel

The Husbands by Holly Gramazio

In a world where we have access to an endless sinkhole of content to consume, the peril of endless possibilities can be daunting. The Husbands explores these ideas in a brilliant, snappy and comical way. 

Lauren comes home one night to find her husband waiting for her. The only problem is she doesn’t actually have a husband. However, she does find that she has a magical attic that holds infinite husbands. When one husband goes up the attic stairs, he is replaced with another husband and a respective life to boot. Lauren is amazed by the endless options at her fingertips, as time passes she starts sending the husbands up for more and more trivial reasons. Why? Because she can! What could go wrong? Well, maybe a lot. This book had me laughing out loud while also contemplating the modern world in bold new ways. I highly recommend this novel for something as thought-provoking as it is also fresh, eccentric, relatable, daring, and juicy. — Lillian Khattab, Novel

Over the Influence: A Memoir by JoJo

The hit-singer of “Leave (Get Out)” has released her breathtakingly candid memoir. Signed to a major recording deal at just 12 years old, JoJo catapulted to the top of the pop- and R&B-infused charts in the mid-2000s and experienced her share of highs and lows. This memoir is perfect for any millennial or Gen-Zer interested in hearing her story. — Jeremee DeMoir, DeMoir Books & Things

Flamboyants: The Queer Harlem Renaissance I Wish I’d Known by George M Johnson

Flamboyants is a collection of 14 essays wherein Johnson reveals how American culture has been shaped by icons who are both Black and Queer — and whose stories deserve to be celebrated in their entirety. — Jeremee DeMoir, DeMoir Books & Things

Playground by Richard Powers

Richard Powers writes books that are both entertaining and important. He comes to bring us a sense of wonder. In Playground, he does for oceans what he did for forests in The Overstory. He takes four disparate lives and tells their stories, which tie together in a breathtaking and perfectly timed dance of science, humanity, and awe. He does what only the truest artists can do: He makes you see the world anew. — Corey Mesler, Burke’s Book Store

Horror recommendations for when you don’t know what to read or are just now getting into horror 

  1. “The Yellow Wallpaper” by Charlotte Perkins Gilman: a classic gothic short story about a woman going insane that will leave you uneasy: 
  2. The Hellbound Heart by Clive Barker: an early splatter punk with a demonic puzzle box and a classic horror adaptation to go along with it
  3. Let The Right One In by John Ajvide Lindqvist: a Swedish vampire novel about two young outcasts that will actually scare you 
  4. Blood on the Tracks by Shuzo Oshimi: a psychological manga about a son discovering the truth about his mother while spiraling downward: 
  5. Never read Stephen King? Read Misery, a story of an author being cared for by his number-one fan after a lethal car crash 
  6. Gyo by Junji Ito: a sci-fi manga about the discovery of a foul stench and fish slowly crawling out of the ocean: 
  7. The Doll House Murders by Betty Ren Wright: a young adult novel about a young girl discovering a dark family secret when dolls start moving around at night 
  8. I Have No Mouth & I Must Scream by Harlan Ellison: a short AI nightmare about the last nine people kept alive by an evil supercomputer named AM
  9. In the mood for a short story collection? Nightmare at 20,000 Feet or The Best of Richard Matheson
  10. Ring by Koji Suzuki: a disturbing ghost story about a father uncovering a cursed VHS tape while researching a series of unexplained deaths — Chloe Mesler, Burke’s Book Store

All books mentioned can be purchased at the respective bookstore locations or their websites as linked. For upcoming book events, including book clubs and author signings, visit the Flyer’s event calendar.

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Book Features Books

Mississippi Hippie

Our nation has a distinct literary tradition, which some dub the American bildungsroman, that delves into the provincial life of a protagonist in his or her youth, then reveals, layer by layer, the stages of learning and mind-opening encounters by which the narrator learns of the wider world, thereby transcending provincialism and achieving a kind of worldly wisdom. And such books, often loosely autobiographical, can, by way of setting the scene for the protagonist’s eventual escape, offer rich and nuanced portraits of the small-town milieu in which they were raised. Writings as disparate as Thomas Wolfe’s Look Homeward, Angel and Woody Guthrie’s Bound for Glory paint indelible portraits of daily existence in small towns.

Now, local author, filmmaker, musician, and photographer Willy Bearden has produced such a work about his hometown of Rolling Fork in his semi-fictionalized memoir, Mississippi Hippie: A Life in 49 Pieces. And, in its segmented, episodic telling, it reads like another great fragmented bildungsroman, Sherwood Anderson’s Winesburg, Ohio — but with a laconic Southern drawl.

Like Anderson’s masterpiece, Bearden’s memoir is, as he notes in the first sentence, “a work of literature.” And yet he’s committed to telling the story of his life. “Memory has its own story to tell,” he writes. “But I have done my best to make it tell a truthful story.” 

Bearden has an artist’s commitment to truth-telling, and, as becomes clear over the course of his youthful epiphanies, that unflinching honesty served him well in his quest for a life of some significance. As the Tennessee Williams quote beginning the book states, “No one is ever free until they tell the truth about themselves and the life into which they’ve been cast.”

For Bearden, that starts with a long, hard look at his father. This being a somewhat conversational read, though, it takes him a while to settle on the opening scene. First, he tells the reader of his curious habit, at the age of 11, of listing everyone he’d known who had died. It marks a vivid through-line to the book itself, written in his 70s, filling that same need. 

Then, skipping ahead in time, Bearden confronts the idea of “woke” culture, a descendant of the “hippie” culture that Bearden threw himself into as a teen in the ’60s. And, as he writes, “I am proud of my hippie roots,” yet the book makes clear that such pride comes after long years of confronting the very un-hippie culture of Rolling Fork. 

The book really gets started when, after such preambles, Bearden unearths a short story he wrote in 1984. His father has been returned to the home where Bearden, then 10, was being raised by his mother. “What until now had been the complacent, resigned look of an alcoholic had turned wild and frantic as if some demon inhabited his skinny 130-pound frame.” As the father is unceremoniously dumped into a bed, the stage is set for Bearden’s early years and the chaotic family life he endured.

But, as reflected upon by the author decades later, it’s a thoughtful portrait of such chaos. That’s true of any of the local characters young Bearden interacts with, as the stories skip back and forth in time, often hinting at Bearden’s development as a thinker and a questioner later in life. For, while he wasn’t a great student and didn’t really learn to read until after he was 10, he was doggedly curious and reflective. The folk songs his brother played him jolted him into imagining other values and life ways, and the growing counterculture of the ’60s only confirmed those humanistic values, even if he met some sketchy characters along the way. That in turn served him well as he ventured out into the world (hitchhiking widely from 1969-1976) and greeted all he met with a mixture of Sherwood Anderson’s keen observational eye and Woody Guthrie’s everyman approachability. 

That hopeful, clear-eyed, and even bawdy approach to the world rings out from every page of this book, and it’s still heard in Bearden’s current work as a historian, filmmaker, and raconteur. Knowing that Bearden became a key player in Memphis’ progressive community helps make sense of what he passed through to get there, from the unsavory drunks to the homespun wisdom of Rolling Fork’s working people. Seeing the poverty and racism of his hometown didn’t give him a permanent scowl. Rather, it only made him more determined to keep searching, just over the flat Delta horizon, for some kind of redemption. 

Burke’s Book Store will host a reading and book signing by Willy Bearden on Thursday, September 5, at 6 p.m.

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Blurb Books

Memphis Reads: August

This month your favorite booksellers are back with recommendations, so you can keep up with your summer reading. Check them out below.

Anything That Moves by Jamie Stewart

Jamie Stewart is the creative force behind the experimental pop group, Xiu Xiu. Anything That Moves is the exact kind of book fans of Stewart’s music would expect them to write. A bizarre and painfully vulnerable exploration of desire, identity, and a desperation for human connection. An open wound of a book. It follows Stewart’s exploration of sexuality and desire from early adolescence onward. Reading it almost feels transgressive, like reading someone’s diary. This semi-memoir is exhibited in the form of a series of vignettes and essays. Making it not only as vulnerable as a diary, but very much structured like one.  

The extreme intimacy of Stewart’s book also feels expansive. They invite us to reflect on our own desires and vulnerabilities. Stewart’s voice is unique, lyrical, surreal, and heartbreaking. Anything that moves is one of the most compelling books I’ve read in years, and the grossest book I’ve ever read cover to cover. An absolute gift to the world of contemporary literature. — Kole Oakes, Burke’s Book Store

Blood at the Root by LaDarrion Williams

Blood at the Root was a hot topic on BookTok (the reader-friendly side of TikTok). The debut novel from Southerner LaDarrion Williams features a young man who is coming into his magic and whose life is shrouded in mystery. With new powers and a checkered past, Malik is given an invitation to a magical HBCU (historical Black college and university) where he’ll hone his magic and find clues to put the pieces of his past together. Blood at the Root explores not only the roots and secrets that connect us in an unforgettable contemporary setting, but also introduces a new world of magic to fans of Harry Potter and other fantastical series. — Jeremee DeMoir, DeMoir Books & Things

Children of Anguish & Anarchy by Tomi Adeyemi

The third and final book in the Legacy of Orisha series, CAA returns us to Zelie’s journey! After all she’s done to return magic to Orisha, she’s facing a new and dangerous foe. However, she’s not alone. Joined by Amari, Tzain, and Inan, Zelie meets new companions who will help her fight to put an end to the war the new enemy is about to bring to the world. Written by NYT bestselling author Tomi Adeyemi, this final installment has been much anticipated and the team at DeMoir Books couldn’t wait to dive in once it was released in late June 2024! — Jeremee DeMoir, DeMoir Books & Things

In Ascension by Martin MacInnes

In Ascension, is an import from Scottish author Martin MacInnes, released in the U.S. this year. A literary fiction that blurs the lines between speculative and science fiction, it’s set in the immediate future with the climate crisis we face now as it will progress as predicted.

The story follows a marine biologist from the Netherlands, a land recovered from and ever-contesting against the water. She studies ancient microorganisms, archaea, and the origins of life. One theory is that these first life forms originated in hydrothermal vents, and so when a trench in the ocean is newly discovered, she joins the research expedition to map and measure it.

From the bottom of the deepest depths of our ocean and planet, to where life started, what it can survive, how the findings can be used, and where that can take us, this eco-fiction spans a larger than human scale. — Dianna Dalton, Novel

Maybe You Should Talk to Someone: A Therapist, Her Therapist, and Our Lives Revealed by Lori Gottlieb

An honest look into the world of therapy! This poignant story gives insight to how a therapist approaches their work while also showing what therapy can look like on the other side of the couch as the client.

You follow Gottlieb’s client’s through the lens of the therapist, learning what sort of intentional work one might do to help clients feel comfortable enough to trust the process and heal. Intermixed within chapters, you also get to experience Gottlieb’s journey as she goes through her own therapy after her personal life takes a dramatic hit. The perfect showcase that anyone can grow with therapy, even the therapists themselves! — Mandy Martin, Novel

Road Home by Rex Ogle

Once Rex’s father figures out Rex is gay, he is given an ultimatum: to become straight or get kicked out of the family.

This book shook me to my core. Rex is kicked out of his home by his parents, betrayed by the people who are supposed to love him the most. What follows is a life on the streets in New Orleans. As a gay teen experiencing homelessness, Rex constantly struggles for the basic needs of food, water, shelter, and sleep. The people he meets do not always have his best interests at heart and often cause more harm than good.

With no place to call home, no one to look out for him, no safety net, Rex barely gets by, and most of the time he hangs onto his dignity by a loose, fraying thread. This memoir is gut-wrenching and will break your heart. His future looks very bleak, and when it looks like he may not make it, a beacon of light emerges when he least expects it.

A true story of survival, Rex tells it all with honesty and grace.

Road Home is the third and last book in Rex Ogle’s memoir trilogy which also includes Free Lunch and Punching Bag. — Sheri Bancroft, Novel

There Is No Ethan: How Three Women Caught America’s Biggest Catfish by Anna Akbari 

There Is No Ethan is a dark and unsettling read. Set in the early days of social media, the protagonist’s toxic obsession and self-delusion are both captivating and repulsive. Akbari’s writing is unflinching and raw, making it hard to look away from the train wreck. A haunting and uncomfortable exploration of the human psyche, but not for the faint of heart. This book will linger long after the final page is turned. — Blake C. Helis, Burke’s Book Store 

All books mentioned can be purchased at the respective bookstore locations. For upcoming book events, including book clubs and author signings, visit the Flyer’s event calendar.

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Tara Stringfellow’s Magic Enuff

Tara Stringfellow (Photo: Josh Looney Photography)

Tara Stringfellow was born a poet. 

She realized this at the age of 3 when her father read her Edgar Allan Poe’s “The Raven” one night instead of a bedtime story. “I was instantly in love,” she says. “I thought it was the best thing I’d ever heard. It felt like almost like hip-hop, because it was a rap. It rhymed. … I asked him to read it again. I was so in love with it, and he did. I stopped him, and I said, ‘This is what I’m meant to do.’ I said, ‘I’m going to be a great American poet, like whoever this guy is’. And he said, ‘Okay, well then you’ll have to be three times as good because you’re Black, you’re a woman, and you were born into a country built to enslave you.’

“So I always knew that it would be a harder road for me as a Black American woman to get anything published, for anyone to even listen to me, let alone the biggest publishing house in the world. This country does not treat even Black little girls as if they’re worth much. I knew the road ahead of me would be a long and arduous one, and I might not make it.”

Yet she, arguably, has made it. Her debut novel Memphis, released in April of 2022, was a national bestseller and a Read With Jenna Book Club Pick. All the bookstores in Memphis carried her book. “Local businesses have made me who I am, put me on the map,” the writer says. “Women in Memphis found my book, especially Black women in Memphis. They have put me on a map.

“To break out into this industry has been a godsend,” Stringfellow adds. “I don’t think it’s just talent and hard work. This world does not give that many opportunities to unpublished people of color, so I’ve been very lucky. It’s nothing short of a miracle. I just wish there were more opportunities for writers and authors of color to be more widely read in this nation.”

This isn’t anything new, of course. Only 250 years ago Phillis Wheatley could not get her poetry published in the U.S., a fact upon which Stringfellow reflects after the June release her collection of poetry Magic Enuff (The Dial Press). “It’s a huge historical achievement, I think, for the literary canon,” she says. “I’m very humbled.” 

Poetry, after all, is some of the oldest literature we have — think of Homer, Sappho, Vergil. These are the works we’ve labeled as “classics.” “[Poetry] is, to me, the highest form of literary work,” Stringfellow says. “I think poetry is revolutionary. I think it has the ability to reshape nations. … In a novel, you have a whole chapter to get your point across — I’m not knocking novelists, and novels, I love them. I’m in the middle of a novel — but in a poem, you have not even a page to get your point across. You might only have a line or not even a whole word, a syllable.”

The verses might be fleeting, but their impacts are all the more striking, the smallest detail becoming a powerful source of imagery. In Magic Enuff, Stringfellow’s poems are deeply personal. “These were written from my experiences over the years. The narrative voice and the poetry is often just my voice. Some of these poems have taken a long, long time to come to light. This collection is my life’s work. My art speaks for herself, and she speaks loud and clear and proudly.”

There are vulnerable moments within the pages, moments where she talks about her dad leaving her mom and her own divorce from her ex-husband; there are haikus about love, poems about the bonds between women and living in the South. At its core, Stringfellow observes, the book is intrinsically and unashamedly political, even in the personal. “The simple act of a Black woman sitting down to write a sonnet is a political act,” Stringfellow says. “It’s a revolutionary act.”

Many poems, though, are explicitly political, like those dedicated to Breonna Taylor, Tyre Nichols, Trayvon Martin’s mother, and Gianna Floyd, all who were killed by or whose loved ones were killed by racially motivated police violence. 

“Until Black children aren’t being gunned down in America for simply ringing somebody’s doorbell; until Black children aren’t having the police being called on them by white women for just being outside, being loud, because all children are all loud; until we have basic civil rights in this country, my writing will always be political,” Stringfellow says. “It has to be. Nina Simone once said it’s the duty of the artists to reflect the times in which they find themselves. And unfortunately, I find myself in America in 2024 in some rather turbulent times.”

Yet Stringfellow also embraces the role of the writer as a bearer of hope. She notes how the other week, she saw a woman sitting at the Memphis Chess Club reading Memphis before Magic Enuff’s release. “It was so surreal to see my book out there [even two years later],” she says. “I hope the same happens with this poetry collection — that I see her, I see the cover, and a Black woman is reading her somewhere in Memphis. That is the ideal dream for me. That is the goal, to just bring a little bit of joy to Black women here in the South. Every book I write will be for the glory of Black Southern women.”

Indeed in her poem, “Hot Combs Catfish Crumbs and Bad Men,” she writes, “God can stay asleep/ these women in my life are magic enuff.” 

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Corey Mesler’s Two-fer

Corey Mesler (Photo: Jon W. Sparks)

Corey Mesler seems to have literary works in every stage of production. A list of his published works has 33 volumes of poetry and 21 prose books. He’s got other works accepted for publication but not yet printed. And he’s working on a novel now, which probably actually means he’s got several going on at various stages in the creative process. 

But let’s just focus on this week when he’s having a reading and book signing for two that are fresh off the presses. Vitamins for Ygdrasil and Other Poems is in the verse category and The World is Neither Stacked For You nor Against You: Selected Stories is the prose offering. (The event is at Burke’s Book Store July 25th from 5:30 p.m. to 7 p.m.).

So, no novel? We just have to be a bit patient — one is coming next year, but it’ll happen since Mesler says he now only writes poems or novels. “I’d rather be writing a novel than anything else in the world,” he says. “And poems I write in between on days that I don’t work on the novel. They just sort of come.” 

He’s not even that much into short stories these days, despite his new selected stories book. “I got a little tired of the form, and it takes such precision,” he allows. That’s why there are only a couple of new stories in the book; mostly it’s previously published but hard-to-find tales. But if you haven’t read ’em, they’re now in this neat package for your delectation. 

Despite Mesler’s current view of the short story form, he was encouraged to assemble the works by Steve Stern, the acclaimed author from Memphis. “He said, ‘You ought to take the strongest stories and put ’em together.’ And I said, ‘Okay, that’s a great idea. Will you do an introduction for them?’” That’s some literary horse-trading there.

There’s much to appreciate in the titles alone. Try these: “The Slim Harpo Blues,” “Any Day is a Good Day that Doesn’t Start with Killing a Rat with a Hammer,” “God and the Devil: The Exit Interview.” Irresistible. As Mesler says, “I love titling things. I love titling poems. In stories and in novels, I often will have a musician character so I can make up song titles.”

He’s also got the title mojo working in Vitamins for Ygdrasil: “Franny and Zooey Deschanel,” “World Full of Spooky,” “Learn to Love Your Narcotics.” The poems are not tied together thematically, which Mesler regrets a little bit. “My poetry collections always come when all of a sudden, I realized that I published a bunch of poems that I probably should gather. I wish I was one of those poets that worked thematically.”

The volume is not entirely random, though. There are several poems that refer to Ygdrasil, a giant oak in Mesler’s yard that provides acorns of inspiration. And there is inspiration there as well in the form of Richard Powers’ novel The Overstory. “I fell in love with his idea of the forest as a creature itself. Everything’s connected in a forest and it’s fascinating — the symbiosis that goes on in a forest. Trees talk to each other; they save each other. It’s all a design.”

So expect two volumes at Thursday’s event, thematically unconnected but both with content that is funny, profound, thoughtful, and very likely to make you stop and think. It’s also worth noting that the two books of literary art also have fascinating fine art on the covers. Vitamins for Ygdrasil has a splendid work of a tree (as you might imagine) by local artist Martha Kelly. And for The World is Neither Stacked, Mesler is using a work by noted illustrator Edward Carey that — like a good short story — will make you think. 

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Flyer Writer Toby Sells Wrote a Book!

Photo: Ansley Murphy

We, the writers of the Flyer, report the news, and sometimes we make the news. Case in point: Our reporter Toby Sells wrote a book. (Yay, Toby!) It’s called Haint Blues: Strange Tales From the American South (available on Amazon), and it’s about, well, strange tales from the South — UFO abductions, ghosts, Bigfoot, psychic horses, you get the gist. It’s the stuff that Sells just doesn’t stop talking about and now he’s written 20 chapters of it for anyone to read.

“I’ve been into unexplained and folklore stuff since I was in third grade,” he says in an official interview (not during an off-the-record office gossip session, for the record). “I won’t go into the whole story, but a friend of mine showed me the movie The Legend of Boggy Creek when I was at his house for a sleepover in third grade. I think I told you this before [Yes, Toby, you have]. That was my paranormal gateway drug. And I just started consuming every bit of media that I could find after that.”

Yes, that meant watching Unsolved Mysteries but that also meant digging into the archives and doing good old-fashioned research that eventually led him to creating the scripted podcast Haint Blues. “The show got, literally, dozens of listeners,” Sells says (brags?), adding that he recorded his last episode in 2020. “Those scripts kind of sat on the shelf for a little while, and then I was reading one day about average word length of books, and I was doing the math and thinking about how many scripts I had. Those were about 3,000 words each. And I thought, well, it’s getting pretty close. … I thought maybe that’s a way I could share these stories with people. And so I went back to the scripts and rewrote everything in a more nonfiction, prose style, but it still sounds really conversational and still sounds folksy. It’s really laid-back and Southern and comfortable.

“You know,” Sells continues, “all these stories, somewhere down the line, if they’re not just completely fabricated, involved real people at one point, and you want to treat that as respectfully as you can, and that’s what I tried to do. But I think what I really wanted to do is put these stories out as a collection of Southern culture. We all know about Southern food and Southern music, and what I hope I’ve done in the book is let everybody know that we have our own folklore traditions, too. … I think that stuff is as important to Southern culture as any other thing.”

This Friday, you can meet Sells at An Evening of Ghost Stories with Stephen Guenther, paranormal investigator and owner of Historical Haunts. They’ll both share paranormal stories and do a Q&A, and Sells will sign books after. “If you’re ready for an evening of spooky stuff, even before Halloween, come on out and join us, grab a beer,” Sells says.

An Evening of Ghost Stories, Memphis Made Brewing Co. (at the Ravine), Friday, July 26, 6 p.m.

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Book Features Books

The Ron Hall Chronicles

Ron Hall with his 1977 ticket stub. Elvis died before he could use it.(Photo: Shangri-La Projects)

There are record collectors, and then there are record collectors. Holding strong against the tides of time, which have rendered recorded music as weightless as a cloud, streaming past us like raindrops and just as ungraspable, Memphis is yet home to many mini-librarians. We curate our own collections of vinyl, tapes, and CDs, still attached to those miniature works of art and the ritual of listening that they require. Yet, among this haven of gatherers — raging, raging against the dying of the vinyl — there once walked among us the ur-collector, and the ultimate documentarian of the history behind his stacks of wax. 

His name was Ron Hall. There was no one more committed to the history and lore of local music than he, and no bigger fan of Memphis wrestling.

When Hall passed away in March at the age of 73, after suffering a major stroke two months earlier, the city lost not only a gifted private archivist but a gifted author. Shangri-La Projects, who published his entire oeuvre, posted this on social media as a response to his death:

“Ron was a savant in shining a light on what it meant to grow up in the middle of the post-war pop culture explosion in one of the most influential pop culture, music, and professional wrestling cities in the world. Ron’s three books, two CD compilations, documentary film, and Memphis music calendar solidified him into being one of the craziest chroniclers/fellow fanatic travelers of all that is wacky in Memphis’ creative cauldron of the ’50s/’60s/’70s/’80s.”

Here, then, is a recap of Hall’s important body of work.

Playing for a Piece of the Door: A History of Garage and Frat Bands in Memphis, 1960-1975

This was the book that started it all, and it remains a constant reference source for this writer and many others in Memphis. Tellingly, the introduction begins with Hall’s memories of actually performing with a band, when “the 13th Muse took the stage at a home for unwed mothers in the Oakhaven area of Memphis, Tennessee,” in late 1969. Though they only played the one show, Hall recounts, “I was doing what hundreds of other kids in Memphis wished they could do.”

That everyman spirit informs this look into the stories of over 500 local bands that cropped up in the title’s 15 year span. Some went on to stardom, others were only locally celebrated, and some weren’t even that. Yet all are cataloged with an inclusive, democratic zeal by Hall, who not only collected the sometimes obscure 45s that made these bands immortal but saw many of them performing in their prime. This lends crucial historical context to the groups. Take The Embers, for instance, “one of the top bands in the Jackson/Humboldt, Tennessee, area in the mid-to-late ’60s.” 

Starting in 1964, many (most?) of these groups were inspired by The Beatles. This is, after all, an undeniably partial collection of groups, centered on the largely white ensembles that sprung up in The Beatles’ wake. But Hall reaches back before the Fab Four’s heyday as well, as with his entry on The Monarchs, who, starting in 1959, were “one of the few surf bands in the area.” Hall fills out his archival research with interviews with some of the players, making this book a kind of oral history as well. “The Beatles killed us,” recalls Charles McAllister of the Monarchs.

And, as the book takes us into the ’70s, we see the post-Beatles groups flourish as well, with power pop and California rock-tinged groups like Big Star, Target, and Cargoe hitting their stride. In all, it’s one of the most important chronicles of how sounds morphed through a decade and a half of the city’s golden years at the top of the music industry.

The Memphis Garage Yearbook, 1960-1975

When Playing for a Piece of the Door came out in 2001, it sparked a new surge of demand for all that was obscure and garagey in Memphis music, and soon after Shangri-La Projects released two CDs compiling the best tracks from Hall’s and others’ vinyl collections. Concerts were held on the Shangri-La Records porch, featuring onetime ’60s artists like Jim Dickinson, B.B. Cunningham, and the Castels. Ultimately, a second book was released which covered much the same ground, but through a different lens. Put together like a high school yearbook, and relying more heavily on rare photographs and show bills collected by Hall, it’s a stunning visual accomplishment. The book being organized chronologically (rather than alphabetically, as the first book is) sheds a different light on the evolution of the groups and the various players who shuttled between them. And the live performance photos underscore that this book, as well as its predecessor, doubles as a chronicle of the era’s key venues as well as its bands.

Sputnik, Masked Men, and Midgets: The Early Days of Memphis Wrestling

Hall was not only fascinated with local music, as this 2009 volume made clear. If many, like me, first became aware of the connection between early pro wrestling in the city and rock-and-roll by reading Robert Gordon’s It Came from Memphis, Hall seems to have gotten it organically, from being a dedicated fan of the sport since his youth. Rare 45s by more sonically ambitious wrestlers like Jackie Fargo, Sputnik Monroe, and (of course) Jerry Lawler are featured in photographs and on the book’s accompanying CD. Moreover, Hall called on some key fellow collectors for the visuals here, namely Robert W. Dye Sr., a local amateur photographer; Jim Blake, owner of the record label that released Lawler’s musical ventures; and many others. The result is a galvanizing compendium of eye-gouging action shots, tough guy poses, screaming show bills, and detailed write-ups from Wrestling, King of Sports, a local wrestling rag from the era. Not long after this book appeared, Shangri-La Projects released the film Memphis Heat: The True Story of Memphis Wrasslin’, which relied heavily on this book by Hall, who also served as the film’s executive producer. 

Memphis Rocks: A Concert History, 1955-1985

While retaining much of Hall’s fascination with all things Memphis, this book expands the scope of his research, documenting more than local bands. In a photo-heavy format closer to Hall’s wrestling book than Playing for a Piece of the Door, it collects concert photos, ticket stubs, show bills, and print media ads for practically any major concert in the city over a 30-year span. This includes both national and local groups, with a focus on the former: the big concerts that music fans flocked to, now cherished in the memories of those who attended. Yet smaller shows make the cut as well, and this, like Hall’s other works of music history, serves as an important chronicle of now-forgotten venues. Contrary to the subtitle, for example, the book actually begins in 1954, devoting a page to every local live performance by a certain Elvis Presley that year. Many of them were at Eagle’s Nest. Who knew? 

It’s also a de facto celebration of the Mid-South Coliseum, charting the many stellar shows there over three decades, from James Brown in 1965 to The Beatles the next year to Iron Maiden in 1985. Resonating with any fan savoring the experience of such shows are the “Concert Memories” compiled by Hall, where local musicians and others recall the power of seeing pivotal performances in their lives. As such, this, like all of Hall’s painstaking works, is a compendium of not only Memphis music and Memphis memories, but key moments in the history of American culture as a whole. 

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Book Features Books

To Read, or Not to Read? (May 2024)

Books are and always will be the best part of summer. Assigned summer reading? No, never. But when you get to choose, ah, there’s the sweet spot … until you realize there are just too many books to read and not enough time. That’s why we put the question to Memphis’ booksellers to see what they’re recommending to help make those choices a little easier.

Memphis, Martin, and the Mountaintop by Alice Faye Duncan (Children)

A historical picture book for students by local award-winning author Alice Faye Duncan, Memphis, Martin, and the Mountaintop focuses on the 1968 sanitation strike that took place here in Memphis. — Jeremee DeMoir, DeMoir Books & Things

Blood at the Root by LaDarrion Williams (YA)

Blood at the Root is a new release that’s taking over TikTok and seems to be an instant book of interest. Its author says it is his version of “If Harry Potter was Black and went to an HBCU.” The book explores the supernatural and the roots and secrets that connect us in an unforgettable contemporary setting. This heart-pounding fantasy series opener is a rich tapestry of atmosphere, intrigue, and emotion. — Jeremee DeMoir

Black Shield Maiden by Willow Smith

The singer of “Whip My Hair” is back with new music and a book for fans of mythology, high fantasy, and historical fiction. The newly released title follows Yafeu, a defiant yet fiercely compassionate young warrior who is stolen from her home in the flourishing Ghanaian Empire and taken as a slave to a distant kingdom in the North. — Jeremee DeMoir

Shit Cassandra Saw by Gwen E. Kirby

A wild ride of 21 short stories from the unbridled imagination of writer Gwen E. Kirby. Anchored by bold female bad-assery, each story instantly demands the reader’s attention.

The whole journey of reading this collection is like a food processor. You are chopped, stirred, pulsed, and crushed. You are shaken up and down and all around and then at book’s end, you are left howling and wanting more.

Funny, tragic, unreal yet real simultaneously, crazy, and savory, every bit of this book is delicious. — Sheri Bancroft, Novel

Ripe by Sarah Rose Etter

dread (n,v): from the Old English drædan, to shrink from in apprehension or expectation; to fear very much.

One of the definitions used in the book. You don’t have to read horror to get dread. If you don’t have enough home made on your own, here it is store-bought. Etter captures that feeling when you have existential burnout in your work, but it turns your senses off enough to not be able to quit.

This chronicling of the Believers (a perfectly apt name) in the tech world is all too accurate. Having worked in corporate America (though not tech, science, or engineering, but tech-adjacent), this is exactly how it feels to be surrounded by the brand attire-wearing masses who are more company cult than culture. — Dianna Dalton, Novel

Two Minds: Poems by Callie Siskel

Callie Siskel doesn’t miss a beat. Her debut volume, Two Minds, masterfully weaves a thought-provoking exploration of the human psyche, while discreetly grieving her father’s early death. This pulchritudinous elegy delves into the intricate dance between creativity and criticism, and the delicate balance between self-expression and self-doubt. Siskel crafts a narrative that is both deeply personal and universally relatable. Two Minds is a triumph of storytelling, a testament to authenticity, and a shining example of the transformative potential of contemporary poetry. — Blake Helis, Burke’s Book Store

The Adventures of Huckleberry Finn / James / The Audacity

My summer reading assignment is to reread Mark Twain’s Adventures of Huckleberry Finn (not read since 7th grade) and then Percival Everett’s James, a retelling of Twain’s novel from Jim’s point of view. Currently I am reading The Audacity by Ryan Chapman, a comic novel about the implosion of an Elizabeth Holmes Theranos-type company. — Cheryl Mesler, Burke’s Book Store