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FROM
WHENCE HE CAME
and
Short Stories
Marion
Bolick Perutelli
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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 centurywhen 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 cells 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
. . . Ill 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 Godwhose 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 cant help but go over again and again the events which
followed the death of my nephew Spencer. Murrays 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 Murrays 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 Jordans love. I draw comfort too
from having shared such a large part of Murrays 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
Hendrixwith whom I had hoped to share the remainder of my
lifeto 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 Matts 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 Mattbefore circumstances could bring me to this
sorry end. . . .
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Marion
Bolick Perutelli
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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
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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 questionsand 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 Byrons 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 Florences 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 butlers 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, hed 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 butlers pantry. He went through the dining
room into the foyer and passed Uncle Byrons 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,
theyd 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 butlers 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 wasnt in trouble, he hated Aunt Florences
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. Braddockeven
in thought she addressed her husband formallyinsisted 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 purposeeven God'swhich
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, shed 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 headtraits 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, maam. 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 Davids 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.
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