Saturday, August 20, 2016

At the Thurber House, my dog sees a ghost...twice


I have to start this story the way I always do: by telling you right up front that I do not believe in ghosts. That said, this is a story about how I lived for a summer in the attic of a haunted house, where I experienced all kinds of ghostly occurrences - footsteps after dark, doors opening, taps running, couch cushions flying in the night.

I don't believe in ghosts, but I do believe in inexplicable occurrences, and surely the things that happened to Toby and me that summer of 1994 in Columbus, Ohio, can't all be explained away. (Although Doug thinks they can.)

Toby and I were living in an apartment in the attic of James Thurber's childhood home--a brick Victorian house on a quiet, tree-lined street--where I was the summer's writer-in-residence. The two floors below us were the James Thurber museum—a small gift shop, and then the rest of the house preserved just as it was when the Thurber family lived there in the early 1900s.

The first time the ghost made its presence known was on a Sunday afternoon just three days after we arrived. I was sitting at my computer, and Toby, who had been sleeping at my feet, awoke and wandered out of the room. Almost immediately, I heard him growl.

He was standing, frozen, in the middle of the apartment’s living room, growling at an empty chair. The white room was suffused with June sunlight. The pictures were straight on the walls, the couch tidy, the table bare except for a bouquet of flowers. There was no reason for him to be wary.

But there he stood, fixated on an empty chair - a plain wooden chair with a padded vinyl seat - baring his teeth and growling a low, rumbling growl. Clearly, he saw something I didn't see.

I tested the air but felt nothing - no ghostly presence, no eerie sensation, no chill from beyond the grave. Still, Toby's strange behavior was unnerving, and, to snap him out of it, I tossed a tennis ball down the hallway.

When I told this story to one of the house's staff members later, her eyes widened. At the Thurber House, they believe in the ghost. They've heard it walking around, and some of the previous visiting writers have heard it, too. A couple of them claim to have seen it - looking out the attic window, or sitting in a chair beside the bed.

The ghost had been quiet all winter, the staff woman told me, but it had been lively the summer before, opening cabinet doors, moving the clock radio every morning and appearing as a reflection in the glass of the framed prints on the walls. She spoke of the ghost as though it were unquestionably real.


These stories were entertaining, but they had a nasty way of coming back to me late at night. It's easy to dismiss things in the daytime, but it was a different matter after dark when the house was closed up and the staff had gone home and Toby and I were squirreled away in the attic, like Thurber's mad grandfather who lived up there 80 years before.

This was a summer of tremendous thunderstorms, and many midnights I was jolted awake by torrential rains and crashing thunder. I would lie in bed, my eyes wide open, listening to the rain drum down, and straining my ears for the ghost.

The Thurber House was built in 1873 and refurbished in 1984, when it was turned into a museum and writers' center. During the day, the house is busy; phones ring, staff members chat and visitors pop in and out of the rooms, plunking the keys of the typewriter Thurber used at the New Yorker and staring at the family photos on the walls. But at 5 p.m., the house empties. The other commercial buildings along the street also close, and after dark Toby and I were the only living souls on the entire block.

And it was usually after dark when I heard footsteps, treading one floor below.


The ghost is not Thurber's; as a matter of fact, Thurber heard footsteps, too, and wrote about them in his story "The Night the Ghost Got In."

Legend holds that the ghost is the original owner of the house, a businessman who received a phone call one day at work. "If you go home at a certain time," the caller told him, "you'll find your wife in bed with her lover."

The businessman did go home, and he paced in indecision around and around the dining room table. Finally, he bolted up the back stairs and burst through the bedroom door - and did, indeed, find his wife with her lover. Shortly after, in despair, the man killed himself.

By 1913, when the Thurbers moved in, the house was solidly haunted. Thurber and his brother heard footsteps tromping around the dining room table and running up the back stairs. Over the next 70 years, the house was sold a couple of times and then carved up into apartments, but the ghost remained. Sooner or later, everyone who lived there heard footsteps.

I heard them, too. Every night, when I shut off the lights and crawled into bed, I left on the air-conditioner so I wouldn't have to hear them, but I heard them quite often anyway. At first it was only occasionally, but for a stretch of about two weeks in July I heard them every night, walking briskly up and down the hallway one floor below.

One night I leashed up Toby and crept with him down the attic stairs to see if we could find the source of the noise. We peeked into the silent bedrooms and the cool white bathroom on the second floor and then, spooked by nothing more than the darkness, dashed back up the stairs to the attic apartment, where I had left all the lights burning and the TV blaring, and slammed the door.

Later that month, my sister Kristin and her husband drove out from California. During their stay, we kept finding odd things out of order - couch cushions tossed onto the living room floor when we had all been sleeping; faucets suddenly running for no reason; windows that had been shut and locked somehow opened wide to the muggy July afternoon.

One afternoon I walked past a bifold door that I never used - it led to air-conditioning ducts and not much else - and found it had opened, inexplicably, since I walked past minutes before. It was the kind of door you had to pull with a jerk to open, but I hadn't heard a thing.

All of those things - cushions, water, windows, doors - I could have dismissed, had it not been for the footsteps steadily tromp-tromp-tromping on the second floor midnight after midnight.

I began soliciting guests to keep me company, and in August, my friend Joey flew out from Minneapolis. She slept in the spare bedroom at the top of the attic stairs. But at breakfast the next morning she looked rumpled and unrested. She hadn't had much sleep. She'd awakened in the middle of the night because something was violently shaking her bed.


Toward the end of summer, Toby saw the ghost again.

It was evening, and the house had been shut up for the night - the shades drawn, the lights turned off, the doors securely locked. This was my favorite time to prowl the museum. With golden late-afternoon light through the windows, the house seemed
friendlier at this quiet time of day.

I wandered into little gift shop, and Toby meandered down the hall. And then, just as before, I heard him growl.

He was two rooms away, in the museum's front parlor, staring at a velvet couch beneath a leaded-glass window. The sun was setting, and the sky outside was a dark pink and gold.

Just as before, Toby was tense. And just as before, he growled, though this time with more certainty.

I tried to walk past him to see what was alarming him, but Toby wouldn't allow it. He moved in front of me, blocking the doorway, keeping me from the couch and whatever invisible thing was on it.

It was almost a full minute before he stopped. His snarls trailed off into silence, and then he walked hesitantly to the couch and sniffed it all over in puzzlement.

It was as though whatever had been there had disappeared.


I haven't come to any great conclusions about what happened in that house that summer. I talk about it pretty freely, but whenever I do I always preface my story with the statement, "I don't believe in ghosts," before going on to mention the ways I experienced the ghost. Somehow, that doesn't feel like a contradiction.

The interesting thing is, other people don't seem to find it a contradiction, either. Invariably, they say two things. The first is, "I have a ghost story, too." And the second, which follows quickly, is, "Of course, I don't really believe in ghosts."

And that may be the only lesson here - that all of us feel both a prickle of recognition and a nudge of reassurance at our friends' supernatural stories. It was comforting to know that I wasn't alone in my experiences; my guests (except for Doug) also heard the ghost that none of us really believed existed. That made me feel sane even as I lay awake, tense and listening, night after night.

Although I still don't know what, exactly, I really heard those evenings, and though I still don't know how those windows opened or why those faucets gushed or who or what shook Joey awake, I do know this: that a lot of what happened that summer will remain unexplained and impossible to understand. And that the things we cannot understand are always the things that trouble and interest us the most.

Wednesday, March 30, 2016

Elizabeth Strout's novels are suffused with the salty tang of Maine

Elizabeth Strout's novels are suffused with the salty tang of Maine  


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LEONARDO CENDARMO, DML -
Elizabeth Strout



A writer can find her voice in all kinds of ways: Elizabeth Strout found hers through stand-up comedy.
She was still a young writer, had published some short fiction but not yet a novel, and was feeling “really, really stuck with my writing,” she said. “I could feel that something was not happening.”
What she needed, she decided, was some sort of intense pressure that would force her to dig deeper, be more honest. So she signed up for a comedy class.
Strout had always been curious about what succeeds and what fails in the intimate, judgmental environment of a comedy club.
“To me, it seemed to come down to whether or not what the comic said was true,” she said. “I wondered what would happen if I put myself in that kind of pressure-cooker situation. What would come out of my mouth?”

For the class’s final exam, she performed at a club in New York. “I ended up making jokes about myself for being such an uptight Puritan-like person from New England. And I thought, ‘Oh, that’s what I am. How funny. I didn’t know it!’ ”
Her comedy gig was a hit — “They asked if I wanted to audition and come back for a regular spot on Tuesday nights.” (She declined.)
More important, the comedy did the trick. Strout settled down and wrote her first novel, the bestselling “Amy and Isabelle,” about an uptight Puritan-like person from New England.
A transplanted Mainer
Strout grew up with one brother in small towns in Maine and New Hampshire. Her parents were Mainers from generations back — plain-spoken, independent and proud, perhaps instantly recognizable to anyone who has read her Pulitzer Prize-winning novel, “Olive Kitteridge.”
“You weren’t supposed to just sit around and talk, which I love to do. I was the family embarrassment.”
Strout left Maine after graduating from Bates College in Lewiston, spent a year at Oxford, graduated with a law degree from Syracuse University and then settled down in New York City. “I was always drawn to cities, ever since I found out about them,” she said. “I just thought, ‘Oh, wow, look at all these people!’ ”
For 30 years, she has lived in New York, and at first she thought she had mostly left Maine behind. So it came as something of a surprise when she realized that Maine was what she needed to write about. She and her husband — whom she met in New York, but who is also from Maine — keep a little apartment in Brunswick, Maine, where Strout sometimes goes to write. The apartment is tiny, so she rents a writing room above the town bookstore.
“It took me a while as a writer to realize I’m actually a very white woman from Maine. It’s my culture, what I’m familiar with and have the most complicated feelings about.”
Olive is, of course, an uptight Puritan-like person from New England. (“Blunt, flawed and fascinating,” the Pulitzer committee said.) She marches through the book, the main character of some chapters, a peripheral presence in others. But she steals every scene she’s in.
The form of the book — linked short stories — was deliberate, and unusual for a Pulitzer winner. “I learned very early on that the story is the form,” Strout said. “How you tell the story is the story. Fighting to find the form is one of the largest jobs there is, for me.
“With Olive, I understood that this had to be sort of episodic. Her nature is loud and large. It had to be told in blasts."
Her new novel, “The Burgess Boys,” which is just out in paperback, is more of a traditional narrative. “It’s denser,” Strout said. “It’s not episodic. It holds many years in it — it’s holding half a century of three lives, and a few other lives as well.”
“The Burgess Boys” examines the relationships of three siblings who grew up in a small town in Maine — two brothers who have fled for New York and a sister who has stayed behind. Their lives have been haunted by a childhood accident, when their father left the idling car to fetch the mail and the car rolled over him and killed him.
The book is about guilt and family relationships, but it is also about change and ignorance. The small Maine town where the Burgess family lived has seen an influx of Somali immigrants, and the plot is set in motion when the Burgess sister’s son throws a pig’s head into a mosque during Ramadan. (This anecdote was based on a real event in Lewiston, Maine.)
Strout spent years reading about Somali history and culture before beginning the book. “I read and read and read — probably about seven years. I read about its history and its civil war and then read a tremendous amount about the camps in Kenya. As time went by, I knew of someone in Maine who worked very closely with the Somali culture here, and he allowed me access to some of their lives.”
Strout will meet with members of the Somali community at 4 p.m. April 12 at the African Development Center in Minneapolis, and will be in conversation with author Sarah Stonich at Common Good Books in St. Paul at 4 p.m. April 13. The poster from the Somali event describes the book as “a treasure — a book in which Somalis are treated with and depicted with dignity.”
“The Burgess Boys,” first published in 2013, was widely praised. The New York Times said Strout handles storytelling “with grace, intelligence and low-key humor.” The Star Tribune mentioned the “nuanced tension in the novel,” as well as its “beautiful and detailed writing.”
Strout had already begun work on the book when she won the Pulitzer. “You know, funny thing, that old Pulitzer,” Strout said. “I’m really glad I won it, because it gave me a larger readership. Otherwise, I don’t feel like it’s changed my life at all. People asked me, ‘Aren’t you scared to write another book?’ but I’m scared to write a book every time I do it.”


Authors of "GI Brides" tell the stories of the Englishwomen who came to America after the war

New book tells the true stories of four English women who moved to America after WWII with their GI husbands. 

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"GI Brides: The Wartime Girls Who Crossed the Atlantic For Love," by Duncan Barrett and Nuala Calvi
So what happened next?
During World War II, tens of thousands of young English women fell in love with American G.I.s. These intrepid women had survived the Blitz, bicycled through rubbled streets to jobs as welders and secretaries, endured rationing and food shortages, hidden in the Underground during bombing raids.
And now that the war was over, they were getting married and leaving everything behind — friends, family, home and homeland — for the glitter of America.
What did they find there?
In their new book, “GI Brides: The Wartime Girls Who Crossed the Atlantic for Love,” Duncan Barrett and Nuala Calvi tell the stories of four of these women.
Barrett and Calvi — and two of their subjects, Rae Zurovcik and Lyn Patrino — will speak on Saturday at the Merriam Park Library in St. Paul. Calvi’s grandmother, Margaret Boyle, was a war bride, and it was her story that prompted this book.

Q: Your book has been an international bestseller; what do you think is behind its strong reader interest?
Barrett: I think that everyone can relate to the power of young love, and the sacrifices we make for it.
In Britain, there is a lot of nostalgia for the “friendly invasion” of GIs during World War II, and people who were children during the war still recall the American soldiers who would stop in the street to give them chocolate and chewing gum.
I think for those that remember the women who disappeared into the arms of the Americans, there’s a fascination in knowing what happened to them next.

Q: How did you find the 60 women that you interviewed? How did you decide on the four that you profiled?
Calvi: When we started the book, we already knew we were going to tell my grandmother’s story, and we needed to find others that were equally dramatic and meaningful.
We spent three months in 2012 traveling around the U.S. in a little Fiat 500, interviewing war brides wherever we could find them — we covered 13,000 miles and visited 38 states.
We finally narrowed it down to the three other key stories in the book: Lyn, Sylvia and Rae. All of them faced great challenges adapting to life in America, but in their different ways they all found the strength to pull through.

Q: I was struck by the combination of strength and naiveté in these women — strength that allowed them to survive the war and navigate these incredibly difficult marriages, but a naiveté that might have helped land them in those marriages in the first place. Were there other commonalities that you noticed among these women?
Barrett: That’s definitely the case — and even the women we interviewed who turned out to have long and happy marriages always told us that it was more down to luck than judgment.
They had spent so little time with their husbands before they married them, and had never seen them in their home environments — the daughter of one war bride described it to us as “a crapshoot.” And yet, remarkably, the divorce rate among the GI brides was lower than for the general population.
Calvi: There were certainly common themes that emerged from our 60-plus interviews: homesickness, feeling that everyone was staring at them, having to deal with difficult in-laws.
Obviously some women had an easier time than others, but nearly all of them described a moment — usually about three months in — when the reality of their decision really hit them. One woman was riding a bus to the shops when she had a sudden epiphany — this was no holiday, but the rest of her life.

Q: Many of the men in the book seem damaged — either by the war, or by other problems (drinking, gambling). Were any of these women bitter about ending up in a relationship that wasn’t what had been first promised?
Barrett: I think a lot of brides felt that their husbands had not been honest with them before they married — in England, far away from family and their hometowns, the GIs could to a certain extent reinvent themselves. One woman’s husband told her he was “in oil,” but turned out to be a gas-station attendant!
To the English girls, they all seemed smart (their uniforms were much more stylish than the British equivalent) and rich (they earned up to five times the rates of the British Army). Part of the adjustment was getting used to who their husbands really were out of uniform.
Some women, of course, felt lied to, but for most it was more a process of getting to know the other person away from the distorting, heady atmosphere of wartime.

Q: Nuala, one of these war brides — the one with perhaps the most tragic life — was your grandmother. Did that make interviewing her more difficult, or easier? And how did your family react?
Calvi: It was definitely the hardest interview to do, because I felt personally affected by the stories my grandmother was telling me. Some of the things that happened to her were quite upsetting.
I hadn’t realized how alone she had felt as a young woman, and I wished I could reach out to her younger self and be there for her. When she died I made a promise to her that I would write her story one day, and the rest of the family was supportive of me keeping that promise.

Q: After doing so much research, were there conclusions that you drew about romance during a time of war?
Barrett: It was a time of heightened emotions, when women knew that not only were their husbands in mortal danger fighting on the beaches in Normandy, but they themselves could be wiped out at any moment by a German bomb.
Perhaps that atmosphere encouraged people to rush headlong into marriage — after all, you didn’t know whether you would still be here tomorrow. And it was also a very romantic era — the cinemas were filled with sentimental films with happily-ever-after endings, and many of them featured handsome American actors.
Before the war, most of the GI brides had never seen an American before — and I think some of them really did feel that they were marrying Hollywood movie stars.

Q: Did any of these women express regrets that they had followed their hearts?
Calvi: One of the women in the book stuck with her husband until the day he died, despite being unhappy, as she felt she had made a promise that she had to keep. But she admits that if she had her time again she would not have followed her heart. When she dies she wants her ashes to be taken back to England, which she still considers “home.”