Then Like the Blind Man: Orbie’s Story Spotlight!!

Title: Then Like the Blind Man: Orbie’s Story
Author: Freddie Owens
Publisher: Blind Sight Publications
Pages: 332
Language: English
Genre: Historical Fiction/Coming of Age
Format: Paperback & eBook

Purchase at AMAZON

A storm is brewing in the all-but-forgotten backcountry of Kentucky. And, for young Orbie Ray, the swirling heavens may just have the power to tear open his family’s darkest secrets. Then Like The Blind Man: Orbie’s Story is the enthralling debut novel by Freddie Owens, which tells the story of a spirited wunderkind in the segregated South of the 1950s and the forces he must overcome to restore order in his world. Rich in authentic vernacular and evocative of a time and place long past, this absorbing work of magical realism offered up with a Southern twist will engage readers who relish the Southern literary canon, or any tale well told.

Nine-year-old Orbie already has his cross to bear. After the sudden death of his father, his mother Ruby has off and married his father’s coworker and friend Victor, a slick-talking man with a snake tattoo. Since the marriage, Orbie, his sister Missy, and his mother haven’t had a peaceful moment with the heavy-drinking, fitful new man of the house. Orbie hates his stepfather more than he can stand; this fact lands him at his grandparents’ place in Harlan’s Crossroads, Kentucky, when Victor decides to move the family to Florida without including him. In his new surroundings, Orbie finds little to distract him from Granpaw’s ornery ways and constant teasing jokes about snakes.

As Orbie grudgingly adjusts to life with his doting Granny and carping Granpaw, who are a bit too keen on their black neighbors for Orbie’s taste, not to mention their Pentecostal congregation of snake handlers, he finds his world views changing, particularly when it comes to matters of race, religion, and the true cause of his father’s death. He befriends a boy named Willis, who shares his love of art, but not his skin color. And, when Orbie crosses paths with the black Choctaw preacher, Moses Mashbone, he learns of a power that could expose and defeat his enemies, but can’t be used for revenge. When a storm of unusual magnitude descends, he happens upon the solution to a paradox that is both magical and ordinary. The question is, will it be enough?

Equal parts Hamlet and Huckleberry Finn, it’s a tale that’s both rich in meaning, timely in its social relevance, and rollicking with boyhood adventure. The novel mines crucial contemporary issues, as well as the universality of the human experience while also casting a beguiling light on boyhood dreams and fears. It’s a well-spun, nuanced work of fiction that is certain to resonate with lovers of literary fiction, particularly in the grand Southern tradition of storytelling.

How A Hero Makes a Villain and A Villain, A Hero

A funny thing happened on the way to the completion of my first novel, Then Like The Blind Man: Orbie's Story. On a daily basis I found myself entering or trying to enter the skin of a nine-year-old boy, trying to see the world of the novel entirely from his point of view. I suppose I should thank the 'Novel Muse' for giving me such an opportunity.

In the midst of writing the novel I became aware of how dependent the world is on one's point of view and how one's point of view is in turn dependent on the world. This to me was fascinating. I wrote the story (as suggested above) in first person and from the protagonist, Orbie Ray's point of view. In it Orbie comes to suspect Victor Denalsky, the novel's villain, of having murdered his father. The reader sees Victor but only through Orbie's eyes. Everything about Victor therefore is a function of how Orbie sees him, and Orbie's description of Victor is in turn heavily influenced by Victor's behavior. Victor tries to manipulate Orbie's point of view, cajoles and challenges it, at times violently, but in the end Orbie's view prevails, though profoundly transformed. This, of course, is as it should be since all of Victor's characteristics, including his motivations, are rendered either in Orbie's voice or by innuendo.  

Now, Victor Denalsky is not your typical villain. He is extremely complex, confusedly so, yet he seems somewhat cardboard-like in the beginning, almost stereotypical (intentionally so). I think this is because Orbie's viewpoint is still rudimentary; he sees things in black and white nine-year-old terms, a parallel I suppose to the racist attitudes he displays early on. Victor is seen by Orbie to have some good qualities, he's a war hero, he's been in battles, he's very good looking and has what seems to be a very friendly relationship with Orbie's father, Jessie, and his mother, Ruby. An ominous quality enters all this however after Orbie's father is killed in an accident at the steel mill and Victor moves in on his family and vulnerable mother, bringing with him the smell of toilet shit and beer and dead cigars.

Victor becomes the bad guy; the hated stepfather in Orbie's eyes and everything enters hell from there on in until Orbie's sensibilities are awakened in Kentucky. He has certain experiences there with his maverick grandparents, with the black community of Pentecostal snake handlers and with the Choctaw shaman, Moses Mashbone. He finds he can’t maintain his prejudices in an environment of humor and vibrant fellow feeling. Even his tightly nursed hatred of Victor begins to unravel. As his world (in spite of everything) becomes sweeter, happier, it becomes also more and more perplexing, posing questions worthy perhaps only of the nine-year-old wunderkind, paradoxical questions like, "If you wanted to destroy something, why would you want to save it too?" As Victor becomes increasingly monstrous, increasingly alcoholic, increasingly violent, we see also that he becomes oddly repentant, has himself been spiritually wounded, becoming worthy of a deep though uninvited sympathy. This all takes place in Orbie's point of view, of course, which in turn is subject to the influence of the world of Kentucky and Harlan's Crossroads, which again is subject to Orbie's point of view. Like I said, fascinating.

A poet and fiction writer, my work has been published in Poet Lore, Crystal Clear and Cloudy, and Flying Colors Anthology. I am a past attendee of Pikes Peak Writer’s Conferences and the Association of Writers and Writing Programs, and a member of Lighthouse Writer’s Workshop in Denver, Colorado. In addition, I am/was a licensed professional counselor and psychotherapist, who for many years counseled perpetrators of domestic violence and sex offenders, and provided psychotherapy for individuals, groups and families. I hold a master’s degree in contemplative psychotherapy from Naropa University in Boulder, Colorado.
I was born in Kentucky but soon after my parents moved to Detroit. Detroit was where I grew up. As a kid I visited relatives in Kentucky, once for a six-week period, which included a stay with my grandparents. In the novel’s acknowledgements I did assert the usual disclaimers having to do with the fact that Then Like The Blind Man was and is a work of fiction, i.e., a made up story whose characters and situations are fictional in nature (and used fictionally) no matter how reminiscent of characters and situations in real life. That’s a matter for legal departments, however, and has little to do with subterranean processes giving kaleidoscopic-like rise to hints and semblances from memory’s storehouse, some of which I selected and disguised for fiction. That is to say, yes, certain aspects of my history did manifest knowingly at times, at times spontaneously and distantly, as ghostly north-south structures, as composite personae, as moles and stains and tears and glistening rain and dark bottles of beer, rooms of cigarette smoke, hay lofts and pigs. Here’s a quote from the acknowledgements that may serve to illustrate this point.
“Two memories served as starting points for a short story I wrote that eventually became this novel. One was of my Kentucky grandmother as she emerged from a shed with a white chicken held upside down in one of her strong bony hands. I, a boy of nine and a “city slicker” from Detroit, looked on in wonderment and horror as she summarily wrung the poor creature’s neck. It ran about the yard frantically, yes incredibly, as if trying to locate something it had misplaced as if the known world could be set right again, recreated, if only that one thing was found. And then of course it died. The second memory was of lantern light reflected off stones that lay on either side of a path to a storm cellar me and my grandparents were headed for one stormy night beneath a tornado’s approaching din. There was wonderment there too, along with a vast and looming sense of impending doom.”
I read the usual assigned stuff growing up, short stories by Poe, The Secret Life of Walter Mitty, The Scarlet Letter, The Cherry Orchard, Hedda Gabler, a little of Hemingway, etc. I also read a lot of Super Hero comic books (also Archie and Dennis the Menace) and Mad Magazine was a favorite too. I was also in love with my beautiful third grade teacher and to impress her pretended to read Gulliver’s Travels for which I received many delicious hugs.
It wasn’t until much later that I read Huckleberry Finn. I did read To Kill A Mockingbird too. I read Bastard Out of Carolina and The Secret Life of Bees. I saw the stage play of Hamlet and read The Story of Edgar Sawtelle too. However, thematic similarities to these works occurred to me only after I was already well into the writing of Then Like The Blind Man. Cormac McCarthy, Pete Dexter, Carson McCullers, Raymond Carver, Flannery O’Conner and Joyce Carol Oates, to name but a few, are among my literary heroes and heroines. Tone and style of these writers have influenced me in ways I’d be hard pressed to name, though I think the discerning reader might feel such influences as I make one word follow another and attempt to “stab the heart with...force” (a la Isaac Babel) by placing my periods (hopefully, sometimes desperately) ‘... just at the right place’.

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CHAPTER ONE

EVERYBODY ON EDGE

Thursday, June 6^th 1959

Momma and even Victor said I’d be coming to St. Petersburg with them. They’d been saying it for weeks. Then Victor changed his mind. He was my stepdaddy, Victor was. It would be easier on everybody, he said, if I stayed with Granny and Granpaw in Kentucky. Him and Momma had enough Florida business to take care of without on top of everything else having to take care of me too. I was a handful, Victor said. I kept everybody on edge. If you asked me, the only edge everybody was kept on was Victor’s. As far as I was concerned, him and Momma could both go to hell. Missy too. I was fed up trying to be good. Saying everything was okay when it wasn’t. Pretending I understood when I didn’t.

Momma’s car was a 1950 model. Daddy said it was the first Ford car to come automatic. I didn’t know what ‘automatic’ was but it sure had silver ashtrays, two of them on the back of the front seats. They were all popped open with gum wrappers and cigarette butts and boy did they smell.

One butt fell on top a bunch of comic books I had me in a pile. The pile leaned cockeyed against my dump truck. Heat came up from there, little whiffs of tail pipe smoke, warm and stuffy like the insides of my tennis shoes.

It rattled too – the Ford car did. The glove box. The mirrors. The windows. The knobs on the radio. The muffler under the floorboard. Everything rattled.

We’d been traveling hard all day, barreling down Road 3 from Detroit to Kentucky. Down to Harlan’s Crossroads. I sat on the edge of the back seat, watching the fence posts zoom by. Missy stood up next to the side window, sucking her thumb, the fingers of her other hand jammed between her legs. She was five years old. I was nine.

I’d seen pictures of Florida in a magazine. It had palm trees and alligators and oranges. It had long white beaches and pelicans that could dive-bomb the water. Kentucky was just old lonesome farmhouses and brokeback barns. Gravel roads and chickens in the yard.

Road 3 took us down big places like Fort Wayne and Muncie. It took us down a whole bunch of little places too, places with funny names like Zaneville and Deputy and Speed.

Missy couldn’t read.

“Piss with care,” I said.

“Oh Orbie, you said a bad word.”

“No. Piss with care, Missy. That sign back there. That’s what it said.”

Missy’s eyes went wide. “It did not. Momma’ll whip you.”

Later on we got where there was a curve in the road and another sign. “Look Missy. Do not piss.”

“It don’t say that.”

“Yes it does. See. When the road goes curvy like that you’re not supposed to pee. But when it’s straight, it’s okay; but you have to do it careful cause that’s what the sign says. Piss with care!”

“It don’t say that.”

“Does too.”

We crossed a big pile of water on a bridge with towers and giant ropey things looping down. On the other side was Louisville, Kentucky. After that was just small towns and little white stores with red gas-pumps, farm houses and big barns and fields, empty fields and fields of corn and fields where there were cows and horses and pigs and long rows of tobacco plants Momma said cigarettes was made of.

I had me a war on all the towns going down.

Tat Tat Tat Tat! Blam! There goes Cox Creek!

Bombs away over Nazareth!

Blam! Blam! Boom! Hodgekinsville never had a chance!

“Let’s keep it down back there!” Victor said.

“A grenade rolled into Victor’s lap!” I whispered. “BlamOOO! Blowed him to smithereens!”

I wished Momma’d left him back there in Toledo like she said she would. She was always threatening around like that, but then she would get to feeling sorry and forget all about it. She’d been mad ever since Victor spilled the beans about Daddy. Victor was mad too, drinking his beer and driving Momma’s Ford too fast. After Louisville he started throwing his empties out the window.

I liked to watch them bust on the road.

“Pretty country, Kentucky,” Victor said.

**

It was the end of daytime and a big orangey-gold sun ball hung way off over the hills, almost touching the trees. The Ford jerked over a ditch at the foot of a patchy burnt yard, thundering up a load of bubble noises before Victor shut it down.

“Get off me,” Missy said.

“I ain’t bothering you.”

“Yes you are.”

“But Missy, look!”

A big boned woman in a housedress had come to stand in the yard down by the well. She was looking into the sun – orange light in her face - standing upright, sharp edged and stiff, like an electrical tower, one arm bent like a triangle, the other raised with the elbow so the hand went flat out over her eyes like a cap. She stared out of wrinkles and scribbles and red leather cheekbones. Her nose was sunburned, long but snubbed off at the end, sticking out above a mouth that had no lips, a crack that squirmed and changed itself from long to short and back to long again.

Missy’s eyes widened. “Who is that?”

“Granny,” I said. “Don’t you remember?”

I saw Granpaw too, sitting squat-legged against Granny’s little Jesus Tree. He was turning in one big hand a piece of wood, shaving it, whittling it outward with a jackknife. The brim of a dusty Panama shadowed his eyes. In back of him stood the house, balanced on little piles of creek rock. You could see jars and cans and other old junk scattered underneath. It was the same dirty white color as before, the house was, but the sun ball had baked it orange, and now I could see at one end where somebody had started to paint.

As we got out of the car, the big boned figure in the housedress let out with a whoop, hollering, “Good God A Mighty! If it tain’t Ruby and them younguns of hers! Come all the way down here from Dee-troit!” Blue-green veins bulged and tree-limbed down the length of her arms.

Victor stayed out by the Ford, the round top of my ball cap hanging out his pocket. A gas station man had given it to me on the way down. It was gray and had a red winged horse with the word ‘Mobilgas’ printed across the front. Victor had swiped it away, said I shouldn’t be accepting gifts from strangers. I should have asked him about it first. Now it was in his back pocket, crushed against the Ford’s front fender where he leaned with an unlit cigar, rolling between his lips. The sun was in back of him, halfway swallowed up by a distant curvy line of hilltop trees.

“Hidy Victor!” Granny called. “Ya’ll have a good trip?”

Victor put on a smooth voice. “Fine Mrs. Wood. Real fine. You can’t beat blue grass for beauty, can you?” A long shadow stretched out on the ground in front of him.

Granny laughed. “Ain’t been no farther than Lexington to know!”

Granpaw changed his position against the tree, leaned forward a little bit and spat a brown gob, grunting out the word ‘shit’ after he did. He dragged the back of his knife hand sandpaper-like over the gap of his mouth.

“I want you just to looky here!” Granny said. “If tain’t Missy-Two-Shoes and that baby doll of hers!”

Missy backed away.

“Aw, Missy now,” Momma said. “That’s Granny.”

Missy smiled then and let Granny grab her up. Her legs went around Granny’s waist. She had on a pink Sunday dress with limp white bows dangling off its bottom, the back squashed and wadded like an overused hankie.

“How’s my little towhead?” Granny said.

“Good.” Missy held out her baby doll. “This is Mattie, Granny. I named her after you.”

“Well ain’t you the sweetest thang!” Granny grinned so big her wrinkles went out in circles like water does after a stone’s dropped in. She gave Missy a wet kiss and set her down. Then her grin flashed toward Momma. “There’s my other little girl!”

Momma, no taller than Granny’s chin, did a little toe dance up to her, smiling all the way. She hugged Granny and Granny in turn beat the blue and red roses on the back of Momma’s blouse.

“I just love it to death!” Granny said. “Let me look at you!” She held Momma away from her. Momma wiggled her hips; slim curvy hips packed up neat in a tight black skirt. She kissed the air in front of Granny.

Like Marilyn Monroe. Like in the movies.

“Jezebel!” Granny laughed. “You always was a teaser.”

They talked about the trip to Florida, about Victor’s prospects – his good fortune, his chance – about Armstrong and the men down there and that Pink Flamingo Hotel. They talked about Daddy too, and what a good man he’d been.

“It liked to’ve killed us all, what happened to Jessie,” Granny said.

“I know Mamaw. If I had more time, I’d go visit him awhile.” Momma looked out over the crossroads toward the graveyard. I looked too but there was nothing to see now, nothing but shadows and scrubby bushes and the boney black limbs of the cottonwood trees. I remembered what Victor’d said about the nigger man, about the crane with the full ladle.

“I want you just to look what the cat’s drug in Mattie!” Granpaw had walked over from his place by the tree.

“Oh Papaw!” Momma hugged Granpaw’s rusty old neck and kissed him two or three times.

“Shoo! Ruby you’ll get paint all over me!”

Momma laughed and rubbed at a lip mark she’d left on his jaw.

“How you been daughter?”

“All right I reckon,” Momma said. She looked back toward Victor who was still up by the Ford. Victor took the cigar out of his mouth. He held it to one side, pinched between his fingers.

“How’s that car running Victor?” Granpaw called.

“Not too bad, Mr. Wood,” Victor answered, “considering the miles we’ve put on her.”

Granpaw made a bunch of little spit-spit sounds, flicking them off the end of his tongue as he did. He hawked up another brown gob and let it fall to the ground, then he gave Victor a nod and walked over. He walked with a limp, like somebody stepping off in a ditch, carrying the open jackknife in one hand and that thing, whatever it was he’d been working on, in the other.

Granny’s mouth got hard. “Ruby, I did get that letter of yorn. I done told you it were all right to leave that child. I told you in that other letter, ‘member?”

“You sure it’s not any trouble?” Momma said.

Granny’s eyes widened. “Trouble? Why, tain’t no trouble a-tall.” She looked over my way. “I want you just to look how he’s growed! A might on the skinny side though.”

“He’ll fill out,” Momma said.

“Why yes he will. Come youngun. Come say hello to your old Granny.”

“Orbie, be good now,” Momma said.

I went a little closer, but I didn’t say hello.

“He’ll be all right,” Granny said.

“I hope so Mamaw. He’s been a lot of trouble over this.“

Veins, blue rivers, tree roots, flooded down Granny’s gray legs. More even than on her arms. And you could see white bulges and knots and little red threads wiggling out. “I’ll bet you they’s a lot better things going on here than they is in Floridy,” she said. “I bet you, if you had a mind to, Granpaw would show you how to milk cows and hoe tobacco. I’ll learn you everything there is to know about chickens. Why, you’ll be a real farm hand before long!”

“I don’t wanna be no damned farm hand,” I said.

“Boy, I’ll wear you out!” Momma said. “See what I mean, Mamaw?”

“He’ll be all right,” Granny said.

The sun was on its way down. Far to the east of it two stars trailed after a skinny slice of moon. I could see Old Man Harlan’s Country Store across the road, closed now, but with a porch light burning by the door.

A ruckus of voices had started up by the Ford, Granpaw and Victor trying to talk at the same time. They’d propped the Ford’s hood up with a stick and were standing out by the front.

Victor had again taken up his place, leaning back against the front fender, crushing my ball cap. “That’s right, that’s what I said! No good at all.” He held the cigar shoulder level – lit now – waving it with his upraised arm one side to the other. “The Unions are ruining this country, Mr. Wood. Bunch of meddlesome, goddamned troublemakers. Agitators, if you catch my drift.” He took a pull on the cigar then blew the smoke over Granpaw’s head.

Granpaw was stout-looking but a whole head shorter than Victor. He stood there in his coveralls, doubled up fists hanging at the end of each arm, thick as sledgehammers – one with the open jackknife, the other with that thing he’d been working on. “Son, you got a problem?”

“The rank and file,” Victor said. “They’re the problem! They’ll believe anything the goddamn Union tells them.”

Granpaw leaned over and spat. “You don’t know nothin’.”

“Anything,” Victor said.

“What?”

Victor took the cigar out of his mouth and smiled. “I don’t know anything is what you mean to say. It’s proper grammar.”

“I know what I aim to say,” Granpaw said, “I don’t need no northern jackass a tellin’ me.” Granpaw’s thumb squeezed against the jackknife blade.

Cut him Granpaw! Knock that cigar out his mouth!

“Strode!” Granny shouted. “Come away from there!”

Momma hurried over. “Victor, I told you.”

“I was just sharing some of my thoughts with Mr. Wood here,” Victor said. “He took it the wrong way, that’s all. He doesn’t understand.”

“I understand plenty, City Slicker.” Granpaw closed the knife blade against his coveralls and backed away.

“Ain’t no need in this Strode!” Granny said. “Victor’s come all the way down here from Dee-troit. He’s company. And you a man of God!”

“I’ll cut him a new asshole, he keeps on that a way,” Granpaw said.

Momma was beside herself. “Apologize Victor. Apologize to Papaw for talking that way.”

“For telling the truth?”

“For insulting him!”

Victor shook his head. “You apologize. You’re good at that.”

Over where the sun had gone down the sky had turned white-blue. Fireflies winked around the roof of the well, around the branches of the Jesus Tree. Victor walked around to the front of the car and slammed the hood down harder than was necessary. “Come on Orbie! Time to get your stuff!”

I couldn’t believe it was about to happen, even though I’d been told so many times it was going to. I started to cry.

“Get down here!” Victor yelled.

Momma met me at the car. She took out a hankerchief and wiped at my tears. She looked good. She always looked good.

“I don’t want you to go,” I said.

“Oh now,” Momma said. “Let’s not make Victor any madder than he already is, okay?” She helped bring my things from the car. I carried my tank and my box of army men and crayons. Momma brought my dump truck, the toy cars, my comic books and drawing pad. We put them all on the porch where Missy sat playing with her doll. Momma hugged me one last time, got Missy up in her arms and headed to the car.

Victor was already behind the wheel, gunning the engine. “Come on Ruby! Let’s go!”

“You just hold on a minute!” Momma put Missy in the car and turned to hug Granny. “Bye Mamaw.”

“Goodbye Sweetness. I hope you find what you’re looking for down there.”

“Right now I’d settle for a little peace of mind,” Momma said; then she hugged Granpaw. “I’m real sorry about Victor Papaw.”

Granpaw nodded. “You be careful down there in Floridy.”

“Bye Momma! Bye Missy!” I yelled.

Momma closed her door and Victor backed out. I hurried down to where Granny and Granpaw were standing. The Ford threw dust and gravels as it fishtailed up the road.

Granpaw tapped me on the shoulder. “This one’s for you son,” he said and handed down the piece he’d been working on. It was a little cross of blond wood about a foot high with a burnt snake draped lengthwise along its shoulders. Granpaw moved his finger over the snake’s curvy body. “Scorched that in there with a hot screw driver, I did.”

It was comical in a way, but strange too; I mean to make a snake there – right where Jesus was supposed to be. Like most everything else in my life, it made no sense at all. Momma’s Ford had disappeared over the hill. Pale road-dust moved like a ghost into the cornfields under the half-dark sky. It drifted back toward the skull of Granpaw’s barn, back toward the yard. I stood there watching it all, listening as Momma’s Ford rumbled away.