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Arts Culture

Writerly family produces another author

The apple doesn’t fall far from the tree—or, in this case, the trees. Henry Alexander Wiencek has followed in the footsteps of his parents, Charlottesville writers and historians Donna Lucey and Henry Wiencek, with his own book, Oil Cities: The Making of North Louisiana’s Boomtowns, 1901-1930, published by the University of Texas Press in May.

The younger Wiencek, 38, was more interested in fiction than nonfiction while in high school at Tandem Friends. “In fact, I found history boring, but as I got older, I realized I have the same bug for it as my folks,” he says in a phone interview from Los Angeles, where he lives.

Among his father’s books are The Hairstons: An American Family in Black and White and Master of the Mountain: Thomas Jefferson and His Slaves. Lucey’s books include Sargent’s Women: Four Lives Behind the Canvas and Archie and Amélie: Love and Madness in the Gilded Age.

Wiencek was doing research for his doctorate at the University of Texas at Austin when he ran across documents about how Standard Oil was building pipelines “through the swamp” in segregated northern Louisiana in the early decades of the 20th century.

Caddo Parish, known as “Bloody Caddo,” was part of the boom. During the Jim Crow era, it ranked second nationally in the number of lynchings, according to the Equal Justice Initiative. “That was an intersection of the old South and the new industrial economy,” Wiencek says. “I was really interested in how those two forces collided.”

He found photographs of boomtowns that have entirely vanished and wanted to know why they were so ephemeral. “It’s important to understand that people made a huge amount of money,” he says. “If it didn’t create permanent communities, where did it go?” Hint: Nearby Shreveport was a major beneficiary, while many Black residents were shut out of the boom. 

White immigrants flocked to Louisiana to work. “I was really amazed that a small corner of Louisiana that had nothing going on before 1904 managed to attract people from all over the world,” he says.

Contemporary accounts made the area seem like a “weird, scary, bad place to live,” Wiencek explains, a “landscape devastated” by oil drilling, with fires burning and oil running into creeks. He didn’t expect the fond memories found in oral histories from those who lived in the boomtowns. One remembered emerging from a lake covered in oil. “They had the attitude, ‘It’s fine, I still ate the fish in the lake,’” he recounts.

In the ensuing 100 years, it seems to Wiencek that northern Louisiana, with its large percentage of Black citizens, has reverted to what it was like in 1900: poor, sparsely populated farmlands.

In a recent U.S. Supreme Court decision on gerrymandering in Louisiana, Wiencek’s research played a role. “The Louisiana state house created voting districts to dilute the power of Black voters in northern Louisiana,” he says. His dissertation was used to argue that the former oil fields held an important Black community that shouldn’t be broken up. The court ruled for a second Black-majority district. 

Lucey didn’t really expect her son to become a writer, especially after he saw “the crazy lives we’ve had” as writers, she says. She credits a teacher at Tandem for sparking his interest in history, and he credits an adviser at UT for her guidance and for pushing the publication of his dissertation.

Young Wiencek appreciates the advice he got from his parents, although he says he didn’t send them pages to edit. “I didn’t want to have a situation where there were too many cooks in the kitchen,” he says. But for research and tracking down resources, they were experts.

And of course they’re “bursting with pride,” says Lucey, “knowing how hard it is to write a book.”

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Arts

Aja Gabel strikes a chord with The Ensemble

Around the same time Aja Gabel began learning the alphabet, she began playing the violin. As she became more adept at writing, filling “notebooks with stories as kind of a way to play,” she became more skilled at reading and playing music. When she was 10 years old she traded the violin for the cello and continued her studies through graduate school, stopping short of pursuing music as a career.

“I just never had the professional chops,” Gabel says. “I was good but I couldn’t get to that next level. It was always this thing I really loved and wanted to be a part of.” A 2009 graduate of UVA’s creative writing program who now lives in Los Angeles, Gabel says, “The way I became part of it was by writing a novel about it.”

Aja Gabel
New Dominion Bookshop
May 19

That novel is The Ensemble, published this month by Riverhead Books. It details the lives and relationships of Jana, Henry, Brit and Daniel—the central characters who make up the titular string quartet struggling to establish a career together. Gabel first had the idea for the book as a teenager when she took a chamber music seminar led by members of the St. Lawrence String Quartet. Observing them for 10 days, Gabel came away with a strong sense of the interconnection their art required.

“I’d never been around professional players of that caliber that were also like people I would want to be friends with,” she says. “It sort of humanized that world in a way it often isn’t.” And that’s exactly what she sets out to do in The Ensemble: Bring the reader into rehearsals, hotel rooms and the homes of these four interdependent people, and trace the fascia that binds them, as well as the tender secrets they keep from each other.

Jana and Henry share an emotional intimacy and platonic friendship while Brit and Daniel dabble in physical intimacy but struggle to understand each other emotionally. The novel follows the quartet members as their career and relationships evolve and their intimacies with each other deepen.

“It became clear to me they had to have some kind of personal relationship in order to make this professional relationship work,” Gabel says. “And you have to do that for years. It’s not normally the case for any other profession.” She explains, “In a string quartet, the thing you’re doing is so intimate that you end up having these relationships that aren’t necessarily romantic but are some weird breed of closeness.”

She details beautifully in the book the hyperawareness each musician has of the others’ bodies and movements. “You come to know somebody’s physicality very well,” Gabel says, with a depth of knowledge you might not even have about your closest friends. “You have to be able to anticipate, react and respond to their physicality with your own physicality. It’s essential when you’re playing music together,” she says.

Gabel addresses the messiness of life and human relationships, of ambition and personal and professional fulfillment, often drawing on music as metaphor. In one particularly poignant line, Brit questions the phrase “inner harmony” (“How can you harmonize with yourself?”) and Daniel responds: “I don’t know about you, but I contain many pitches. It’s about moving from polyphony to harmony. People are so much music. People don’t recognize that enough.”

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Arts

Lynn Thorne’s new book honors a journey of love and transition

It began at a Live Arts callback a few years ago. That’s where Lynn Thorne, a native Virginian who had just moved to Afton, met Jennifer. “We kind of became instant friends, and she shared with me pretty early on that her husband was transgender,” Thorne says.

At the time, Thorne admits, she didn’t really understand what that meant. “[Jennifer] told me what she went through to make her marriage work. I was flabbergasted by her story,” says Thorne. After numerous conversations with Jennifer and her husband, Marc (whose last name is withheld to protect their privacy), Thorne convinced them their story should be a book.

Published last November, Who Am I If You’re Not You? tells the story of one spouse coming to terms with his authentic self as the other spouse loses her grasp of her own identity. While there are many memoirs by and about transgender people that chronicle their transition, Thorne’s book tells the story from Jennifer’s perspective. “There are very few books told from the partner’s side, which I think is important,” Marc says. “They are transitioning too.”

Jennifer had met and fallen in love with a woman. An obedient daughter who always did what was expected of her, it was difficult for Jennifer to come out to her parents, and difficult for them to accept. But Jennifer and her partner married and were happy. Then, one day, her wife showed her a film about being transgender and opened a discussion about it.

Jennifer was shocked to learn her wife identified as transgender. Soon after, she decided to transition, began using he/him/his pronouns and changed his name to Marc.

Thorne describes in the book how Marc “had always felt different,” as a child. She writes from Marc’s perspective, “Maybe the whole world just pretended to feel normal, and that is what normal was: pretending to be something you weren’t.” Even as Jennifer tried to support and honor Marc’s authentic self, watching her soul mate change before her eyes hit her hard. When hormone therapy caused Marc’s voice to deepen, Thorne writes, “Jen couldn’t help feeling as though her spouse had died.” Jennifer felt completely alone and began to self-harm and deny herself food in an attempt to regain a sense of control over her life.

“A lot of people would say that they adapt to the person they’re with,” Thorne says. “So if the person they’re with suddenly changes, where does that leave them?” She says there’s some irony in the book’s title “because as Marc was finding himself Jen was losing herself.” In sharing her story, Jennifer says, “My hope is that there are people who won’t feel as alone as I once did.”

Jennifer sought treatment and ultimately overcame the sense of loss. In the book, Thorne recounts the moment when Jennifer came to see, “We are us, just like we’ve always been.” Thorne says, “She comes to realize [Marc] is still the person she fell in love with. I think that’s what’s key.”

“I feel with all the negativity out in the world right now,” Marc says, “people deserve to hear a story that with hard work, and many ups and downs, a ‘happily ever after’ can happen.” Jennifer agrees. “Each time I tell the story, or read the story of our journey, it becomes less painful, because I know where it leads. I know the ending, and I wouldn’t change that for the world.”