Literary Detours: Ernest Hebert's "A Little More than Kin" (Re-Read)
"A Little More than Kin" by Ernest Hebert is one of those novels that stays with you. I first read this novel back in 1993 after I found it on a discount rack for $1.00. It was (and it remains to this day) one of the greatest literary buys of my life. I devoured the novel over Spring Break of that year and even went as far as trying to contact Ernest Hebert to express my gratitude for his work. I savored this book like it was ripe fruit and enjoyed every angle of it. I even took the book with me to Japan the summer of 1994 and re-read it a little over a year the first read (I hadn't touched it again since).
What is still clear to me now as it was then was how little I knew (and still know) about the Darby Series and about Ernest Hebert's work overall. "A Little More than Kin" is the second in a series called the Darby Series, which include "The Dogs of March" (Hebert's debut) and "The Passions of Estelle Jordan." I read the series out of order, and surprisingly felt no ill-effects for it. Not only do the books stand on their own, but even in the case of chapters the reader can appreciate how any of them can actually be published as stand-alone short stories. I believe that is the masterful genius of Ernest Hebert. He gives us the pieces to put together and doesn't go cheap on detail and connectivity. It is truly a work of art to see how characters and events flow from one book or chapter to another. Technically speaking, that is one of the greatest talents of a master storyteller. Ernest Hebert is such a master, a true American master writer and probably the best known kept secret in American letters. I say this not because he's not widely known, but just like many other literary fiction writers he's not a household name that rolls off the tongue of housewives book clubs. He's in good company, I might add, since many of my other favorites (like Paul Auster and Haruki Murakami) fall in the same category.
The story centers around the Jordan clan, a family of social misfits that claim roots to the New Hampshire backwoods. Ollie Jordan and his idiot son, Willow are the protagonists of "A Little More than Kin," and they share the stage with the town's dramatis personae in a way that is charming, entertaining and "addictively" readable. Ollie has been evicted from the land he occupied, his shacks bulldozed to the ground. While the Jordan family is not known as setting permanent roots anywhere, Ollie suffers as his world is rocked and his stability shattered. His wife, Helen, had (according to Ollie) been seduced by the Welfare Department, and his fear is that the government agency was now after Willow. He fears they might try to "teach" Willow and "destroy" him by doing so. Ollie Jordan believes his son just needs time, that in due time Willow would blossom out of a cocoon and exercise his genius. As a result, Ollie takes to the woods with Willow. Spread across the narrative are characters as alive as the reader himself. The people of Keene, New Hampshire are picturesque without being typical, honest, not stereotyped and given a natural opportunity to come about in the story and find their own way into it. This is the masterful stroke of technique in fiction. Very few writers know how to allow characters to ebb and flow into a narrative like Ernest Hebert does. It is truly magnificent how the pieces simply link and flow together.
The only negative criticism is that of Ollie Jordan's many philosophical meanderings. I am not saying that a character that is uneducated, prone to emotional impulse and dependent on instinct more than brains cannot have his or her philosophical moments, but Ollie's epiphanies are kilometric in length, and, as a result, they take away credibility from Ollie's nature. There are far too many of these, long renderings of Ollie's thoughts that turn into pedantic ramblings of existential inquiry. In this scene, Ollie is inside a Catholic church, and while I can see the function behind having the character ask questions about his surroundings, it is the lengthy philosophical tertulia that does the damage: "He touched the Christ carefully, discovering something unusual on his head. At first it seemed like some simple hat such as cousin Toby Constant had worn before they sent him to Pleasant Street in Concord. But after testing the hat with the tips of his fingers, Ollie determined that it was made of something like barbed wire strung tightly around the skull, an instrument of torture. He pondered this evil. These Romans, they like to hurt the head. So did the Welfare Department. However, there was a difference. The Romans only wanted to dish out some pain, probably just for the drooly fun of it. The Welfare Department wanted you as stove wood to keep stoked the fire in their own private corner of hell. They made hats so pretty you would want to put them on, and they put things in those hats--devices--which removed information from the mind, planted ideas and clouded memories. He figured that Christ had pulled a fast one on the Romans, getting himself killed all spectacularlike, knowing his death would serve as a kick in the ass for his followers, that for him to die was to live forever through them." It goes on for a while, and Ollie's perceptions are not too off track with the real story of Christianity. A few paragraphs down, Ollie's meandering continues: "Another question that popped into Ollie's head was whether the Romans finished the crosses with anything, some kind of varnish or stain, or whether they left the wood raw. Certainly, they would have to season the crosses because a green cross of any wood would be too heavy to carry. That raised some interesting questions. Was a cross used only once, perhaps buried with the man who had been hung on it? Or was a cross used over and over again until it just wore out? The latter idea excited Ollie. He could imagine nothing grander to look at than a cross that had been up and down countless of hills, laid across the backs of countless Christs, the wood aged by the sun, stained with blood, sweat, tears and dirt. If such a cross could know, it would know everything. No wonder these Christians hung their imitation crosses everywhere. The cross was a story of a human pain revealed in the beauty of wood. The Romans must have put fellows in charge of the crosses--crosskeepers--men who picked the wood right from the tree, cut it down, shaped it, dried the wood so it did not split or check, and then fashioned two pieces in a cross with wooden dowels and glue. Course now and then a fellow would cheat, as workmen will out of anger or boredom or laziness, and join the pieces with mahaunchous bolt. The crosskeepers would store his crosses in barns when not in use, keeping them away from moisture so the rot wouldn't get to them. Later, when the crosses were retired from active duty, the crosskeeper would buy his old crosses at auction from the state, or maybe steal them if he could, cut them up and make them into coffee tables, selling them to the rich who lived down-country, or whatever they called down-country in those days. He bet those crosses lived long lives, longer than the poor bastards who were hung upon them."
Inasmuch as the seemingly countless passages like this one represents the meanderings of a "simple-minded" character then much of the narrative works; nevertheless, I am inclined to point out (not without a little pain) that passages like this one are far too many in the novel. They are correctly constructed behind the idea that Ollie simply lets his mind wanders (bold for emphasis in the quoted passage) but the reveries of the mind are far too many within the novel. I am reminded of the television detective from the 1970s series "Columbo" whose constant line was "And one more thing..."
"A Little More than Kin" is simply a classic of American literature, unknown but crafted like the widely accepted classics of the canon. It is truly a shame that this novel (along its Darby companions) do not list right up there with Mark Twain's work as illustrative of "the other America."