FROM WHENCE HE CAME
and
Short Stories

Marion Bolick Perutelli

FROM WHENCE HE CAME, by Marion Bolick Perutelli, is a novella. Loosely based on a rumor the author's father related to her about the white daughter of an affluent Memphis cotton broker who gave birth to a child fathered by an African-American lover at the beginning of the twentieth century—when a white Southern society did not tolerate mixed-race relationships. Once again the author captures the passion and vivid historical detail that bring her characters to life. Epitomizing the sentiment, love knows no bounds . . .

PROLOGUE


Fall, 1938
Nashville, Tennessee

Jordan, my love, died on a Tuesday. Murray, my son, was born on a Tuesday. I killed my nephew, Spencer Trent Clayborne, on a Tuesday. Now, I, Adrianna Randall, languish in a cell on death row, recalling the events that led to my being here.

Tomorrow, I go to the electric chair. Ironically, yet appropriately, I shall die on a Tuesday. But I shall depart this world secure in the knowledge that Murray is safe, for I am the last person to know from whence he came.

Some kind of blower pops on now and again with a loud clackety-clack. I suppose its purpose is to ventilate my six-by-eight-foot cell. It also helps scatter the stench of the cell’s repugnant commode. My accommodation, lit by a dangling, fly-specked bulb, is comparable to the Memphis facility from which I have just come.

The train trip to Nashville has exhausted me, making me grateful for the dirty cot butted against one wall. As I lie down, I try to suppress my on-going cough.

As far as I know, I am the only woman on death row. My cell lies at the farthest end of a long corridor which apparently separates me from incarcerated men.

The rattle of breakfast trays reaches me from their end of the corridor. I gag as the smell of institution-prepared food wafts my way, making me grateful that the police matron and I ate breakfast aboard the Nashville train. She unlocked my handcuffs before going to the diner, saying, "I'm trusting you not to do anything foolish."

I remember smiling at the absurdity of a fifty-five-year-old woman, suffering the final stages of pulmonary tuberculosis, doing anything foolish.

I turn and face the grimy wall next to my cot. The wall is covered with graffiti, reminding me of an article I once read about a centuries-old artist who had scratched on a wall someplace: Let something of me survive.

Scrawled amid names and past execution dates are sentiments which depict a wide range of human frailties: She got what was coming to her . . . I’ll see you in hell . . . I aint sorry about nothing . . . Forgive me Mama . . .

There are caricatures of a judge banging his gavel, a man throttling a woman, a hanging victim dangling from a scaffold.

An unsigned, time-worn poem covers most of the wall, a poem which might have been written by me, except for the author's obvious belief in God—whose presence I did not seek in life, and whose presence I do not seek now, for my solace lies in the knowledge that when I die tomorrow, the secret of Murray's mixed race dies with me.

Somehow, I take comfort in reading what remains of the faded poem.

                            I've traveled on this road of life
                  . . . . . . . . . . . . . . . . . .
                                    And now I'm getting close to home;
                    It's just around the bend,
                  . . . . . . . . . . . . . . . . . .
    I can rest a while,
                          And muse a bit before I walk
                      The last long fleeting mile.
                  . . . . . . . . . . . . . . . . . .
I have no fear,
                  Now that it's all behind,
                  . . . . . . . . . . . . . . . . . .
                                        The shadows now are almost spent;

                  . . . . . . . . . . . . . . . . . .
                    I know my soul shall pass
                          From day to darkest night,
                                    And then by faith 'twill pass again
                  To God's eternal light.

As I squirm on this lumpy, sour-smelling cot, trying not to cough, I ask myself how I could have lived my life differently. I loved Jordan. He loved me. We came together as lovers are wont to do. Our sin being we defied the dictates of society. We both suffered for it: he, in the way he died; I, in everything that came afterward.

Lying here, I can’t help but go over again and again the events which followed the death of my nephew Spencer. Murray’s quiet support during my incarceration and court appearances leaves me with a warm feeling. He even escorted the police matron and me to the Nashville train, ignoring the volley of popping flash bulbs, to kiss me goodbye.

I knew I destroyed Murray’s political career when I faced Spencer and pulled the trigger, but better to destroy his career than allowing Spencer to destroy him.

As the morning drags on, I regret the sorrow I caused Murray over the loss of Spencer, whom he truly loved. I also regret the shame I have caused him. I hope in time he will find it in his heart to forgive both transgressions.

I have another regret, a selfish one this time. I regret I never married. Yet, I draw comfort from Jordan’s love. I draw comfort too from having shared such a large part of Murray’s life, however vicariously. My love for him sustains me now, although I have been denied that which I yearn for most: hearing him call me "Mama."

From someplace up the long corridor, the smell of lunch drifts toward me, and I am glad the morning has moved on. The clatter of dishes grows louder as a worker wheels his serving cart toward my end of the corridor and slips a tray under my cell door.

From out of nowhere, an enormous roach appears to pause on the sketched judge's gavel. It twitches its feelers, observing me with impudence. I lie still, respecting its right to be here. If size is any judge, it is a long-term resident, while I am but temporary.

It moves on down to the food tray. I raise up on one elbow to watch it investigate the fried potatoes and the turnip greens, before settling for the hamburger meat.

My gaze wanders from the insect to the catsup, red as blood, splattered onto the potatoes. Staring at it, I am transported back in time to the tubercular sanatorium at Saranac Lake, New York, to Matt Hendrix—with whom I had hoped to share the remainder of my life—to the last time I saw him. We had come to the dining room for lunch, our voices rising above the clatter of food carts. Matt did not look well, although he smiled when our table mates tried to stomp a roach which ran beneath the table.

It was then that a brutal, body-wracking cough seized him. I threw my arms about him as blood gushed from his mouth and nose, splattering me, our food, and the white uniforms of the aides who wrestled him from my clinging embrace.

The way Matt died brought me face-to-face with the fact that I too was susceptible to hemorrhaging. For weeks afterward, I had only to close my eyes to see myself gushing blood, see myself being rushed off to the infirmary so my heart could finish pumping my life away.

Even now, I miss Matt’s easygoing laughter and brand of humor, which poked fun at the world and most things in it, particularly the direness of our situation.

Today, I think how much better things might have turned out had I died along with Matt—before circumstances could bring me to this sorry end. . . .

ORDER THE BOOK: Cold Tree Press, Amazon, Barnes and Noble, Books-A-Million

Marion Bolick Perutelli

MARION BOLICK PERUTELLI is a native Tennessean, born and reared in Memphis. She has had numerous short stories and essays published in anthologies. Her essays have appeared in several newspapers.


Perutelli studied English at the University of Tennessee-Memphis, and creative writing with Southern authors Lee Smith, Jesse Hill Ford, Richard Speight, and Connie Jordan Green at universities in Middle and East Tennessee.

Marion Perutelli and Peter Honsberger of Cold Tree Press at the
Southern Festival of Books
with her novel The Mud Daubers

THE MUD DAUBERS, by Marion Bolick Perutelli, is a historical novel of 146,000 words. The time is 1837-1865. The story takes place outside Memphis, in Shelby County, Tennessee, and is about social injustice toward a man, who as a boy is labeled a foundling, and his quest for dignity and respect. It is about flatboating and steamboating on the Mississippi River. It is about love, religious bigotry, plantations, slavery, cotton, and the War Between the States.

THE MUD DAUBERS


Chapter One

Tanglewood Plantation
Fall, 1837


“Clara, what's a bastard?”

Her flour-coated hands froze in the bread dough she kneaded. “What'd you say, boy?”

David's gaze was fixed on the spice cake he had smelled from the backyard. “Kent called me that. Is it bad? He made it sound bad, so I hit him, just as hard as I could.”

“Good God, boy! Can't you keep outa trouble jest one day?”

He jumped as she whirled to face her kitchen helpers. “Don't stand there gawking! Git them 'taters peeled.”

Taking advantage of her distraction, David flicked a dirty finger through the cake's burnt sugar icing, and as he sucked it clean, his eyes rolled heavenward.

Only after Clara turned back to him did he realize his question had upset her. To him, Clara was not just a slave, she was a friend who answered questions which were puzzling to an eight-year-old, questions no one else had time for. Besides that, she was the best cook in the whole world.

“Sometime I think you make Miss Florence mad on purpose,” she said. “Why can't you git along with Kent the way you do with Susan?”

“But you haven't told me what a bastard is,” he said, climbing up on the tall stool beside her worktable.

She glanced at her helpers like she wished they were someplace else, then leaned toward him to whisper, “It's a chile that don't always carry his papa's name.”

Her answer surprised him. It made him think about when he was six and had asked his uncle, “Why must I call you Uncle Byron? Why can't I call you Father, like Kent and Susan do?”

“I'll explain when you're older,” his uncle had said. “In the meantime, you will go on using my name.”

Last year, when he was seven, he had asked his uncle, “Why must I use your name? Don't I have one of my own?”

His uncle had left the room without answering.

Clara's words brought back those questions—and others. Where were his parents? Why wasn't he living with them instead of here at Tanglewood with Uncle Byron and Aunt Florence? Was he different in some way? Was that why Kent had called him a bastard?

He would find Uncle Byron and ask those questions, even if his uncle did become impatient with what Aunt Florence called “unnecessary inquisitiveness.”

He hopped off the stool and started from the kitchen just as Clara's husband Shad came in. Shad was also Uncle Byron’s body servant and the butler.

“There you are, boy! Miss Florence wants to see you in her parlor.” Shad shook his head. “Lordy, just look at you! Best wash your face and hands 'fore she see you and wipe the mud off them shoes. You know how upset she git when you track her floors.”

“But I've got to talk to Uncle Byron.”

“He's gone to town.”

Dern it!”

“Best watch your mouth too.”

“Does Aunt Florence look mad?”

“Mad 'nuff so that vein's sticking out on her neck. If I was you, I'd scat!”

David stepped out of the kitchen onto the brick walkway, which separated the kitchen from the house. He paused there to search for the big red rooster, which had a habit of flying at him to rake him with cruel spurs.

“What's wrong, Clara, honey?” he heard Shad say.

“To start with, that no-count yard boy let my oven git cool, so I was late fixing lunch for Miss Florence’s guests. And you know how upset she can git. But that ain't the worst of it. David come in here wanting to know what a bastard was.”

Gawd'almighty!”

David forgot about the rooster.

“I'm scared, Shad. He said Kent called him that.”

“But where would Kent hear such a thing?”

“Where else, 'cept from servants talking outa turn.”

David followed the covered walkway to the butler’s entrance, wondering what Clara had meant about being scared. She usually sent him on his way with some kind of treat, like a johnnycake fresh off the griddle or a piece of still-warm bread sticky with sorghum. Today, he’d had his mouth all set for a piece of that spice cake.

David climbed the steps to the rear veranda and entered the door leading to the butler’s pantry. He went through the dining room into the foyer and passed Uncle Byron’s study to reach the stairs, where he paused. Aunt Florence sent for him only when he had done something wrong. He knew what he had done wrong this time.

He spread his dirty hands and studied them. If he washed them, they’d only get dirty again. He realized that was the kind of thinking which kept him in trouble. But since he was already in trouble . . .

He turned about to head for the parlor. “Oh!” He had tracked mud out into the foyer. He must have trailed mud through the butler’s panty and the dining room, too.

David went up the foyer and paused before the closed parlor door. He knew without being told why the house was so quiet. The servants always tiptoed when Aunt Florence got upset. As he stood there, the only sound he heard was the grandfather clock ticking across the wide foyer.

Even when he wasn’t in trouble, he hated Aunt Florence’s parlor. Why would anybody want a rug too nice to walk on? Or chairs too nice to sit on? Or figurines too fragile to play with? He hated the way she would shake her finger in his face and say, “If you so much as touch one of my porcelain figurines or my crystal lamps . . .” Or “If I find mud tracked on the rug . . .” Or “If I find fingerprints on one table top . . .”

It made him want to slip in there and blow his hot breath on the table tops to fog them up so he could print his name on them. It made him want to muddy the rug and plop down on the chairs to play with those figurines.

David was hoping Aunt Florence still had guests, guests who would stay and stay, so by the time they went home she would have forgotten what she was mad about. Besides, she was nicer to him in front of guests.

David put an ear to the parlor door and held his breath. All he heard was the creak of her rocker. She rocked fast that way when she was angry. He bit his lip to still its tremble, wondering how she would punish him this time.

Rigid with dread, he curled his hands into fists and took a deep breath which squared his shoulders and made him feel bigger. Only then did he knock to enter her parlor.
He found her alone. Now she didn't have to be nice to him.

*****

After eight humiliating years, Florence was unable to endure this child's presence without anger. It was degrading the way Mr. Braddock—even in thought she addressed her husband formally—insisted David remain here with their own two children, when to her his very existence was a stigma against decency.

Mama had once said, “God directs people's lives with a purpose.” But Florence questioned any purpose—even God's—which burdened her with a living reminder of her husband's betrayal.

After spawning this loathsome child with his French harlot, Mr. Braddock tried to pass him off as a foundling, saying, “I found him abandoned in my carriage in New Orleans.” But an inflection in his voice told her he lied. Her slightest doubt concerning the dark, newborn infant vanished when he added, “We'll call him David.”

Your middle name?”

He had stridden from the room without answering.

Later, when the boy's resemblance to his mother could no longer go unrecognized, Mr. Braddock had admitted the truth to Florence. Of course, he never publicly admitted David was his child. Neither had he confirmed or denied the empty deception that the boy was a foundling. Most people tactfully accepted the lie, but Florence still felt the smirks of those who had met David's mother when she was a houseguest at Tanglewood.

At lunch today, Florence had entertained three guests: her closest friend, Vada Stuart; her sister-in-law, Nadine Cameron; and her neighbor, Barbara Alexander.

For that occasion, Florence had worn a new gray dress which lent depth to her eyes, eyes Mama called "Cameron gray," since they were the same gray as Florence's father's, and his father's before him.

Florence had already been irritated because lunch would be served late. Then her maid Lena had bungled a new hairstyle, which called for a part down the middle all the way to the nape. Both sides were then braided and wound in circles over the ears. Florence had such thin hair she ended up looking ridiculous. After ordering Lena from the room, she’d hidden the mess under a matron's cap.

Despite her upset, she managed to receive her guests with the air of a dignified matron. But her dignity had been sorely tried in the midst of lunch when nine-year-old Kent burst into the dining room with his lip bleeding and his clothing smeared with mud.

“David hit me!”

“Oh!” She said, mortified that her lack of control over David should be brought to the attention of her guests.

“He was muddying the well,” Kent said, “and when I tried to stop him, he knocked me down.”

Florence, shaking with anger, dabbed the blood from Kent's lip, wiped his runny nose, and dried his tears. She then summoned Lena to take him upstairs.

She had been still fuming when she bade her guests farewell and sent Shad in search of David.

She frowned at him now, disconcerted as always by his unwavering gaze and the proud tilt of his head—traits he had inherited from her. He was dark like her too, dark as the sin which had borne him.

“Don't come into my parlor looking like this again! Your clothing is wet and soiled, and you've tracked mud all over the rug.”

“Yes, ma'am.”

“Is it true you knocked Kent down when he tried to stop you from muddying the well?”

“I . . . yes, ma’am. It's true that I did knock him down.”

“Your conduct is inexcusable! Miss Vada called you a barbarian. But for some reason, Miss Nadine and Miss Barbara defended you.” She rocked faster. “As far as I'm concerned, you are a willful, uncivilized, incorrigible—”

“Bastard?”

For one awful moment, she feared she would faint. Then anger took hold. She jerked him so close her spittle sprayed his face. “You filthy child. Where did you hear that word?”

“Kent called me that.”

“You're lying! How could Kent?—” Her grip tightened on his arm, making him squirm. “You will go to your room, where you will remain for the rest of the day. If you take one step from there, I'll lay a switch across your back. And there will be no dinner for you. Is that understood?”

“Yes, ma'am.”

His dark eyes literally snapped with resentment. No, not resentment, hatred.

How dare he hate her! And how dare he utter that vile word!

She shoved him from her with such violence, she sent him sprawling. Somehow it made her feel better.

As he ran from the room, she told herself surely after this Mr. Braddock would agree to send him to a Catholic boarding school in New Orleans, where he belonged.

Her rocker was still now, her hands loose in her lap. She felt drained, exhausted. How could he hate her? Out of Christian charity, she made sure he had advantages any foundling would envy. He had proper nourishment, nice clothing, a tutor, and a room of his own on the attic level with the house servants. She had placed him there as an infant so his wet nurse could attend him in the night. At least that had been her excuse.

Florence was puzzled over the way David’s hatred had affected her. Why had it made her feel so . . . so vulnerable? And why was she conscious of a tiny suggestion of guilt . . . when she had nothing to feel guilty about?

*****

THE MUD DAUBERS, published by Cold Tree Press, Nashville, Tennessee, a print-on-demand publisher.

AVAILABLE AT: coldtreepress.com, amazon.com, booksamillion.com, barnesandnoble.com, and by order at most retail bookstores.