In 1985, I was teaching at Centenary College of Louisiana when I came across a passage describing a group of French colonists who had traveled up the Red River in 1848 to found a commune near what is now Denton, Texas. The idea of communists among the Comanches piqued my interest, and ever since then I have been studying utopian movements of the 19th Century.
That interest, combined with my love of fiction writing and my Ozarks heritage, led to the idea of imagining a utopian settlement in the Missouri Ozarks in the years leading up to the Civil War. What would it be like? Whom would it attract? Could they succeed?
In April 2012, Blank Slate Press published the results of those musings as Slant of Light, and that book was followed in 2014 by This Old World. I hope you enjoy them! Stay tuned for further updates. The third book, The Language of Trees, is a continuation of that story twenty years later, as the utopians enter their second generation and the country changes around them.
"Daybreak" is the name of the fictional community I created, and it was originally the working title of the first novel in what I hope will be a significant series of interrelated novels set in the Ozarks. Those of you who have an interest in utopian settlements know that they often have names (Fruitlands, Brook Farm, etc.) that are, shall we say, a bit more optimistic than the actual living conditions. Here's a brief passage from Slant of Light to whet your interest:
Charlotte hated the feeling of walking around in the dead man’s room, only days after she had seen him die. All the little things – the bedsheets, the razor and mug, the stack of worn books by his bedside, the reading glasses – seemed shabby and inadequate to the man she knew. The room seemed as impersonal as the cell of a monk, but at the same time she could feel George’s presence in everything.
“Well?” Harp called.
Turner looked under the bed, between the mattresses. Nothing. He checked the wardrobe for a false bottom. He worked his way around the walls, looking for flaps in the wallpaper or hollow spots behind furniture.
“Not yet,” he called back.
They looked for loose floorboards, flaps in the chairs, hidden shelves in the ceiling. Finally they emerged, unsuccessful, into the front room.
“No luck, huh?” Harp said. “Don’t surprise me. The old man was a crafty sort. Didn’t give you a hint or nothing?”
Neither of them answered. They were looking around the room. “I’d be surprised if he hid it anywhere else in the house,” Harp said. “Too much chance for any old somebody to find it.”
Turner took the poker from the mantel and stirred the fireplace ashes. “Here,” he said. “There’s a loose stone.”
Charlotte and Harp watched as Turner pushed the coals to the back with the fireplace shovel. Sure enough, the stone directly beneath the andirons wiggled in its bed; there was no mortar around it. Turner pried it up with the poker.
Under the stone was a heavy metal plate.
“Son of a bitch,” Harp said. “I’ve spit tobacco on that rock many a time.”
Turner flipped up the plate with the poker, revealing a square hole, its sides trimmed, and a bound metal box at the bottom.
“I take it that’s not yours?” he said to Harp.
“Hell, no,” Harp said. “I keep my money up in my cave.”
“If you don’t mind, I’d like to have our third director present when we open it,” Turner said. “So we all agree on what we see.”
“Suit yourself,” said Harp.
Turner stepped onto the front porch and waved to Cabot, who was sitting on the Turners’ doorstep holding the account book. He walked over.
The box had a clasp but no lock. Turner balanced it on the porch railing, made sure all four of them could see, and opened it.
Copyright 2011-2017 Steve Wiegenstein. All rights reserved.