Yankee Deserters in a Confederate World
Fanning herself with a Micky Mouse cap, 12-year-old Misty panted, “We really did it!”
“Told ya we could,” the one year older and so much wiser Joshua said. “Now, we just gotta clean up those headstones.”
Younger than them both and therefore without much say, I groaned but complied as we lugged the wagon to the fort hidden in our neighbor Jim Gentry’s tobacco barn. All summer we’d tried cleaning up the remnants of the Polk graveyard: the enchanted world we’d stumbled upon while exploring the 365 acres of farmland we called stomping grounds. After asking Jim Gentry about it, he told us the graveyard and farm had once belonged to Ezekiel Polk, none other than President James K. Polk’s grandfather. In addition to this, during the Civil War when a Yankee deserter attempted to loot the Polk’s white plantation home, Ekekiel had shot him on the steps with his Revolutionary War musket, and the soldier tumbled down, dying in a puddle of his own blood.
Jim Gentry, current master of that white plantation home, showed us the scarlet stain on the wooden landing outside the bedroom he shared with his wife, Lydia. Joshua, Misty, and I tried to act interested in this piece of visible history, but inside we were secretly appalled our Yankee parents had taken us to live in an angry Confederate world; for now we knew who’d been buried beneath the single, unmarked gravestone, and why it had not been intricately carved like the rest. And although he’d been both a deserter and a looter, we felt the loss of his Northern blood in this Southern soil as keenly as if it had been our own.
In the fort a week later, we crowded around the wobbly table and drew diagrams of the graveyard as it was and as it would be once our work was completed: the hallowed ground threaded with trails; a gold fish pond framed with smooth river stones; blossoms bursting from behind freshly scoured graves; and at the front and center, a new gravestone for the murdered Yankee soldier.
For hours on end, we hacked into the brambles with Dad’s machete and the kitchen knives Joshua had “borrowed” from home. We toted the heaps of foliage to the back of the plot and hurled them over the barbed wire fence. Once the trails were honed, we gathered the headstones and gently placed them into the wagon as if they weren’t already broken. In the fort, we set them one at a time on the tabletop, took out our old toothbrushes and some Dial liquid soap, and scrubbed and scrubbed until our hands and brushes were coated in green slime. Once they were cleaned as much as possible, we took them back and propped the Polk family stones in a circle, but the soldier’s blank stone we placed on the other side of the graveyard, beneath the sprawling branches of a maple tree.
It only took a month for the weeds to reclaim the graveyard, but years until my family’s dreams for the 365 acres of plush farmland they wanted to turn into a community were destroyed.
A few weeks before we were forced from our home on Jim Gentry’s land, I visited this garden of cultural prejudices and violent death. I knelt before the single, unmarked gravestone and clawed at the weeds attempting to curl around its base. I traced my fingertips over the smooth surface and felt I had failed this nameless soldier somehow; that I had allowed him to be taken into the earth once again, forgotten by all those who surely loved him, despite his desertion, and had longed for his return.
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Melissa Crytzer Fry
Once again, a wonderful tale! Lovely prose, Jolina. I hope this scene, or something like it, makes it into your WIP! Must know more about your family's plans to turn the area into a community and how it was destroyed.
Jolina Petersheim
Thank you, Melissa!
This story is an excerpt from my first novel, SEGREGATION AT SPRINGCREEK, but after its completion I realized that my experience on the camp was still so close to my heart, that it was difficult to separate myself enough from the facts in order to tell the story as a cohesive whole. There are other excerpts from S at S on the blog: “Breaking El Shaddai;” “The Slave Quarters; “Death of Mardi Gras;” “That Azalea Summer”….Who knows? Perhaps one of these days the story of my experiences on Springcreek (name has been changed) will be told again, but even if it isn't, I still learned so much while writing that story–so much about who I am and where I've come from.
Melissa Crytzer Fry
I will definitely read your other excerpts. I can understand that something that personal would be difficult to separate from in your fiction. So did you pursue publishing for Segregation at Springcreek, or did you decide midway that you needed to step back? There are a lot of lessons to be learned on the first novel (I know this from experience). I hope the current one is going well for you.
Jolina Petersheim
Well, Melissa…writing Segregation at Springcreek was a hard lesson learned. I wrote the entire thing (edited down to 123,000K) and sent it out to my former creative writing professor. She gently informed me that it wasn't ready for publication, and when I sat back and reread it, I knew she was absolutely right. I am definitely glad I wrote it, but decided with my next WIP — though still basing it on my own experiences while living in a slave quarters on a tobacco “plantation” — to not construct it in a fact-by-fact form.