Southern Originals: Marie Thérèse Metoyer


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Marie Therese Coincoin, Artist Interpretation from Geni.com

Marie Therese Coincoin is truly a Southern Original.  Her life story is surprisingly little known, and yet so amazing as to be incredulous.   In the words of her biographer (1) Coincoin was “born a slave … and became an independent black woman in a world dominated by white men. She adapted successfully to all the situations that life presented to her; from being the concubine and housekeeper of a rich white man, she became a profitable farmer and businesswoman in her own right.â€
“She was born a slave and became an independent black woman in a world dominated by white men.

This was a woman  born at the lowest rung of her society, who endured deprivation, injustice and hardship, not the least of which was her absolute lack of freedom.  Unfortunately, she left no written record, but nothing in the historical records suggest that she faced formidable challenges with anything but courage and grace.

Marie Therese Coincoin was born a slave  in Nachitoches, La in August, 1742.  She lost her parents to the plague when she was 16 and was taken into the household of her godmother, Marie de Soto.  During this period, she had five children with a fellow slave.   When she was 24 she was “loaned” to Pierre Metoyer, recently arrived wealthy French merchant .  Over the next 20 years she lived in the house with Metoyer and born him 10 children.  In 1777, a Spanish Priest denounced her as a “public concubine” and ordered her out of Metoyer’s home.  This prompted Madame deSoto, who still owned Marie Therese to finally sell her to Metoyer,  who bought her freedom as well as that of their 10 children who were slaves of the deSoto family.   Marie Therese, Metoyer and their children lived together in apparent financial and family stability for the next decade, although she was unable to free her three oldest children.  However Metoyer  eventually  succumbed to public pressure to marry a “suitable” French woman.

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Cane River, Nachitoches, La
A person sitting on the ground in front of water.
Melrose Plantation, (Photo: Henrietta Wildsmith/The Times)

We know nothing of her reaction to the ending of their relationship, however, we can only imagine the pain of this betrayal.  However,  in parting, Metoyer gave her a yearly annuity and a plot of land  on the banks of Cane River, which allowed her finally to be independent.  She built a house, farmed tobacco, raised cattle and trapped bears, and slowly accumulated more land.  Because of this size of her businesses, she eventually  took on slaves  to work her land.  Again, we can only imagine her sentiments at becoming a slaveowner after having gained her own freedom at such a price.  By some accounts, she did this in a desperate attempt to free her remaining enslaved children and grandchildren. Sadly, she was never able to free all of her children.

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Melrose Wash House Wikipedia Commons

Over time Marie Therese’s family became the leading family of Isle Brevelle, a thriving community of “gens de couleur libre”, free people of color;  business people, plantation and slave owners.      Cane River’s famous Melrose Plantation  was built by her son Louis over the period
1810-1832.    Melrose was completed by Louis’  son Jean Baptiste after Louis’ death. When Jean Baptiste died in 1838, the Melrose estate was valued at over $100,000. The Metoyer family owned Melrose Plantation from 1796 until 1847. http://bit.ly/1OCe35

(1) African American National Biography, Oxford University Press, 2008

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LOUISIANA


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Ben Pierce Photography

I come from tears, I come from joy
I come from pain, I come from ease
From time-infested lies and truth that will not die
I come from Louisiana

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I come from scoundrels and from saints
From mothers old with toil and moneyed indolents
I come from Jesus and from Rex
I come from Louisiana

A person sitting on the ground in front of water.I come from backwoods berry trails and morning jasmine dew
From summer firefly nights and crashing thunder-rain
From mist of bayous’s breath and windy forest sighs
I come from Louisiana

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I come from running away and yearning for home
Once I was old, now I am young
Once I was there, now I am here
What I really want to say is—

I come from Louisiana

Louise Canfield

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Storytellers


I come from a long line of Storytellers.  If I asked my mother what day of the week Christmas fell on this year,  her answer might take a few minutes as she reckoned it against the events of  last year.

“It was on a Wednesday last year, I know that, because  I remember thinking I wouldn’t have to iron that week, Wednesday being my ironing day.  And I know it was last year because that’s when  Emma’s grandbabby was born.  Poor little tyke  had to have an operation of some kind.  I forget now.  Had to be in the hospital for several daysA person sitting on the ground in front of water. and Emma was just beside herself.  I had to go over and help her with the housecleaning, she was so upset.  She had all that company, all the way from Oklahoma, you know.  Her two brothers, Pete and Buddy, and their wives and five kids, the oldest only seven,  her great Aunt Mary,  in a wheelchair, and Aunt Mary’s lapdog.  Meanest little cuss you ever saw.    All of them there to see the baby.   It was a crowd, I’ll tell you that.  Poor little tyke.  But  he’s OK now, you’d never know anything happened. Such a pretty baby.  And smart as a whip.   Emma’s so proud.

So since it was Wednesday last year, it must be on a Thursday this year.”

If all of that sounds a little convoluted and tedious, you don’t come from a family of Storytellers.    Nothing happens in isolation to a Storyteller.

“The Wreck At Sugarmill Junction† is inspired by an accident that happened in a small town near my home in Louisiana. The accident itself was unremarkable. Nothing much more than a slightly damaged squad car.  What interested me was that no one who witnessed the accident saw the same thing. Not even close.   But even more intriguing was the Storytellers’  strong sense of place.  Each identified themselves in unique relationship to their community, relating the story in the context of the place and people they knew.  The Storytellers  savored, almost seemed to taste, each detail in their narrative.  In the long years away from home, I had forgotten about the Storytellers’ version of the news.   I was spellbound,  a child again, for a moment in time,  hypnotized by the lyrical cadence of the speech, the escalating excitement as the story approached its apogee,  the dramatic conclusion, the inevitable coda, “Oh, and another thing…”

Storytellers cannot be rushed.  They require a peaceful setting.  A porch swing accompanied by mending and fresh lemonade is ideal, but a vegetable garden or a kitchen will do.   Storytellers do not frequent Facebook, Instagram or Twitter. The story is based on fact,  but details can be altered if need be to make the point.   Truth, not fact,  is what Storytellers are about.

And my mother’s storytelling; while mixing biscuit dough, hanging clothes on the clothesline, sewing, picking peas from the garden;  in the midst of life is where I learned our family history.  Here is where I met my ancestral heroes and villains (in Mother’s opinion), learned about my grandmother’s struggles in the Great Depression, and her mother’s difficult life in the “War Between the States.† Here is where I formed my concept of right and wrong, good and bad, what is acceptable behavior and what is definitely not.

My mother worked hard.  There were no vacuum cleaners, automatic dryers, microwaves or air conditioners.  Our food came mostly  from our gardens and stockyards, not the local A&P.    My clothing did not come from Neiman Marcus, my mother sewed it on a vintage Singer sewing machine.   She did not have the luxury of sitting down every morning with a Moleskin journal and a pretty pen to write her memoirs.  Her stories were her memoir.

I am afraid we’ve lost the art of storytelling.   At the least, it’s a dying art. In our large cities, the people, places and things around  us  provide little more than a backdrop for our busy lives. We rush past traffic accidents with no thought for the victims, more than a little annoyed that we’ll be late for whatever seems crucial at the time.  We read in “bytes.† I wonder how War And Peace  would make it in our “Haiku worldâ€.  But there’s no chance of turning back the clock, and the idea of that is no doubt better that the reality.  But, every now and then, I just need to listen to a Storyteller.

———-

Look for The News from Sugarmill Junction, Chapter 3, coming soon.

RealSouthernWomen redux


                                                                                                                                         

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Welcome to my blog.  Exciting new features have been added.

In Southern Showcase, Southern women writers will share their experiences about life in the South.

Real Southern Women will present  true stories of  famous and not-so-famous southern women.

The News from Sugarmill Junction will transport you  back in time to experience life in mid-twentieth century,  small town Louisiana from the perspective of its citizens.   Look for the first installment soon.

I hope you will enjoy the stories and add your comments to our discussion.

Telling Our Stories


 

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There is a mystery surrounding Southern women.  Many see us as different from other women somehow; mysterious, romantic, and well.. frivolous.   But in fact, we are not so different.  We drink green tea as well as “sweet tea,” we are as likely to stir-fry as deep-fry chicken and most of us haven’t had peach cobbler in years. We go to college. We have the same career challenges, relationship boggles, and unpredictable children as everyone else.  We get the same diseases.

But the stereotype persists.  And I get it; it’s highly entertaining; it’s funny. But it’s untrue. And dangerous. Read the headlines, people. We’ve got to learn to get along.

As Patricia Neely-Dorsey put it (this blog; 3/10/15) “I believe that we can bridge many gaps of misunderstanding across regional, racial, cultural, generational and economic lines by simply telling/sharing our stories.†http://patricianeelydorsey.webs.com I agree, Patricia. Our stories are a powerful agent for understanding and healing. They make us real. So let’s get them out there.

The mission of this blog is to promote understanding of Southern women through their stories.  The first stories were of rural women of my grandmother’s generation.  They were too poor and too tired to write their own stories, so most of what we know about them survives  only in the memories of their grandchildren.  The time to save their stories is running out, and my commitment to them has not diminished.  But writing RealSouthernWomen has given me unexpected opportunities to meet wonderful, stereotype-smashing, real live Southern women with fascinating stories.  Theirs are the authentic voices of today’s Southern woman.  If you listen to them, you will understand who we really are.

The first storyteller is Lissa Brown, a New Jersey native who retired from the fast track in Washington to the mountains of Appalachia. http://www.lissabrownwrites.com Lissa is a real Southern Woman with a fascinating story to tell. She’ll be “guest-blogging†the next post.

 

 

 

 

Cameo: Natalie Baszile


Queen Sugar is an intriguing new novel about Charley, an African American woman who unexpectedly inherits a sugarcane farm in Louisiana. http://nataliebaszile.com/book/. The author, Natalie Baszile,  is not a Louisiana native. Her father was born in southern Louisiana, and much of his extended family still lives there. But while she often visited on vacations and holidA person sitting on the ground in front of water.ays, Natalie grew up in Southern California and currently lives in San Francisco. She comes to writing as a scholar, the recipient of numerous fellowships and awards, having studied at UCLA and Warren Wilson College. So even though she writes about the South, she is not a “typical” Southern woman. When I asked if she considered herself a Southern woman, she replied, “I have a Southern Heart.” Indeed she does. And at the end of the day, that Southern Heart is what unites us as Southern women; that spirit not defined by zip code, politics, race, religion, socioeconomics, or any of a number of other tiresome labels.

In Queen Sugar, Ms. Baszile portrays the South as She really is. She has no truck with stereotypes and plows deliberately through to the underlying truths about the lives of her characters.  Through Charley’s eyes, we experience the  outlandish beauty of the South as well as its senseless injustices.   We feel the gravitational pull of Southern family bonds and the joys of unexpected friendships. We are outfoxed by the seductive Southern charm that blankets pain with an illusory veil.   We confront  our unrecognized prejudices.  And through Charley’s trials, we witness the outrageous persistence of Southern women in the face of hardship.

Here is one of my favorite passages from the book: “Because life should be as simple as a bucket of fish caught a few miles offshore and a van full of produce bought at a roadside stand. It should be as sweet as a cube of melon the color of your heart.” (Ch. 6)

This is not a book review.  But Queen Sugar goes on my list of favorites.  If you’re looking for a beautifully written story with an engaging plot that presents an authentic picture of the present-day South,  here it is.   It’s an honor to claim Natalie Baszile in the sisterhood of Real Southern Women.