In late January of 2015, a tree stood wavering on the edge of Detroit’s burnt-out Grixdale neighborhood. A loud, old engine revved. A 100-foot rope tightened. A car strained forward. The tree followed, snapping and dropping into the overgrown yard of an abandoned house. A group of bearded men looked on from the front yard of a fire-ravaged structure across the street. Satisfaction and relief filled them as the final rays of sunlight scattered into the gray horizon. They had lost two ropes and a chainsaw in bringing down the tree, but they comforted themselves with the thought that the abandoned house and the surrounding telephone lines stood unharmed.
They were pretty far from Detroit’s refurbished downtown. Years ago, this neighborhood had succumbed to the rot brought on by the crack wars. Inhabitants fled, homes were torched, and the long blocks, once designed for cars, were left sparsely populated. In 2015, it remained largely abandoned. Sometimes, there were residual flare-ups of violence and theft. Some ways down the road, there remained a crack house. In this quiet, largely forgotten place, however, adjacent to the vistas of empty lots, under the canopy of old-growth trees, there was a new community growing. They lived amongst the neglected red brick houses and chose to call themselves Fireweed, after the pioneer plant species that takes over the landscape after a forest fire. More… “Why Does a Tree Fall in Detroit?”
Literary critics and regular readers often have things to say about a writer’s voice. Many think that the most-read writers are those whose voice is so clear that it can be singled out from all the other authorial voices. Hemingway, with his hard-edged nouns and verbs, is often said to have a powerful voice. Katherine Anne Porter’s authorial voice might be described as precise, incisive, and aware. Joy Williams’s voice is somewhat quirky, but — as we say — in a serious way. Peter Balakian’s voice is strong and exhilarating. F. Scott Fitzgerald’s voice carries a certain wistfulness and a sense of regret. Thomas Hardy’s novels project compassion and sorrow; yes, a sorrowful voice. Jane Austen’s voice is crisp and witty. The voice of George Eliot, née Mary Anne Evans, the author of Middlemarch, often said to be the most intelligent book ever written, is psychologically acute and hard-nosed and definitive. More… “Voice Is Vision”