What we didn’t see

Even before this trip, I’ve seen a lot of Arkansas. I’ve visited the Clinton Library, and the vaccine microchip hadn’t yet told me to. I went to Fayetteville as a teenager and as an adult I’ve seen the Arkansas Delta and Washington and Hot Springs. In January we went to the new museum in Bentonville, Crystal Bridges. My parents took us camping for a week at the Albert Pike Campground, to me a magical place with sparkling clear water where we swam in the heat of the day in the river, and that in 2010 was washed away by flood waters. Sixteen campers were killed. It’s never re-opened.

I have seen the Buffalo River, the first designated National Wild and Scenic River, but only from a car from a bridge. I’ve intended to canoe the Buffalo for 30 years. I still haven’t. I should have gone there to catch my fish. I didn’t. I guess I still need to go back to Arkansas.

Where We Went

Other than fishing, we stopped at the Dulcimer Shoppe in Mountain View Arkansas (“Folk Music Capital of the World”). I bought a jar of wild elderberry jelly, since that seemed suitably folksy, but Kris wanted a dulcimer. Did you know that in addition to your index and middle fingers, you use your thumb to fret a dulcimer? I didn’t, so I both learned something and got us out of the shop without a dulcimer. Success! It was a nice shop, and Kris really was sold on dulcimers. The jelly is good too, whatever elderberries may be.

This trip we went out of our way to see Little Rock Central High School. Everyone knows the photo of Elizabeth Eckford walking into Central High: the dignity and vulnerability of Miss Eckford, the rage of the white students . . . In person what’s striking about Central is its size, it’s big, and also its neighborhood. In 1957 when Eisenhower enforced integration there were three high schools in Little Rock . One of the schools, Horace Mann, was black, two others, Central and Hall, were white. One of the white schools, Hall, was generally affluent, which is why integration was slated for working-class Central.

The Central neighborhood hasn’t improved since the 50s. It’s still the same small houses, now 70 years longer in the tooth. It has slipped below working class, or maybe the working class has slipped below what it had achieved in the 50s. The school itself is handsome. Its neighborhood is rough.

Derek Chauvin’s trial for George Floyd’s murder started this week, so racially charged photographs are in the forefront, but there was another Arkansas event this week that brought Miss Eckford to mind. The Arkansas Legislature overrode a gubernatorial veto of a bill forbidding transgender youth from receiving therapy, puberty blockers and hormones, that would aid transition. Many won’t notice the legislation, but it is, well, central, and certainly central to the transgender youth and their families. The proponents’ reasoning is that minors are too young to make gender decisions, and the opponents’ reasoning is that those decisions are best left to the youth, their parents, and their doctors, not the state legislature. I don’t know why anybody would be dubious about the decisions of a state legislature. The Arkansas legislature must be at least as qualified as the Texas.

Playlist

I liked the music we listened to driving around Arkansas. We listened to a lot of Lucinda Williams because, while she was born in St. Charles, she attended the University of Arkansas. I first heard her name on Houston’s nonprofit Pacifica radio station, when the DJ said she had a crush on Lucinda Williams. I’ve listened a lot to Ms. Williams since. I always thought that if I could choose someone famous to sit by on an airplane–this is my personal version of who you’d like at your dinner party–Lucinda Williams would be high on the list. I finally saw her on stage a dozen years ago, and she appeared to be just what I should have thought: a little tough, a little road-weary, a little wild. I don’t share that DJ’s crush, but I would like to talk to Ms. Williams for an hour.

Is there a better road song (or a better song about living in the country) than Car Wheels on a Gravel Road?

Levon Helm was from Arkansas. That lets in all sorts of great music, including the troubling The Night They Drove Old Dixie Down, which is a song I like in part because it is troubling. It is arguably about white loss with no connection to slavery, and is often heard as a South’s arising anthem. Ta-Nehisi Coates apparently wrote of the song that it was another song of the “blues of Pharaoh,” but it’s hard for me to equate Virgil Kane with Pharaoh, and it seems one of the points of the song that Pharaoh is Pharaoh and everybody else isn’t. Kane, the narrator, doesn’t mourn Dixie’s defeat, Kane suffers it; hunger, poverty, the death of a brother, and there’s no pride, no blame, only desperate endurance. As the lyrics say, you can’t raise a Kane back up when he’s in defeat. As difficult to interpret as it may be, it remains one of the great antiwar songs, and Kane could have been black or white–it wouldn’t change the song’s bleak message. Whatever happens to Pharaoh he’s still Pharaoh. The rest of us are going to be Virgil Kane.

There’s a common misinterpretation of the lyrics that explains some of the ambivalence of the song. There’s a line where Virgil’s wife calls to him: “Virgil, quick, come see,/There goes Robert E. Lee . . . “, the general. At least that’s the way the lyrics are as often as not misinterpreted. The lyrics are “the Robert E. Lee . . . “, the steamboat, which is apparently clear in the live version but a bit muddled in the original. I like the steamboat better, both as a matter of history–Robert E. Lee was never in Tennessee and the steamboat was on the Mississippi –and because the steamboat had its own fame and tragedy. It’s the sort of steamboat on which Pharaoh would ply the Nile, while Virgil Kane watched from the shoreline.

In addition to The Band and Lucinda Williams, there’s also Al Green, Johnnie Cash, Lefty Frizzell, Roy Buchanan, Iris Dement, Conway Twitty, and blues musicians from the Delta: Robert Lockwood, Jimmy Witherspoon, Son Seals. If you ignore Black Oak Arkansas, Arkansas has a pretty good lineup.

Glen Campbell is also from Arkansas, which justifies Galveston and Wichita Lineman, but not Rhinestone Cowboy. Nothing justifies Rhinestone Cowboy.

Guitar

I took the old Kohno. Four years ago when we last fished in Arkansas, I sat on a balcony above the Little Red and tried to play Duarte’s transcription of Pavane pour une infante défunte. The lady on the next cabin balcony asked what I was playing–which either meant I was playing the piece well enough to be nearly recognizable or I played it badly enough that it was unrecognizable. I like to think that the name of the song–Pavane for a Dead Princess in English (though a more literal translation would be Dance that a long-dead princess might have danced)–was on the tip of her tongue, and she just couldn’t quite think of it.

This year I was still trying to play Pavane pour une infante défunte, so for me Ravel will always have a weird connection to Arkansas. I don’t know that Ravel ever went there, and I still can’t play the Pavane. I’m pretty sure there were no steamboats named The Maurice Ravel.