Sunday, October 7, 2012

Sur le Teche: Exploring the Bayou by Canoe, Stage 1

To research my history of Bayou Teche I resolved to paddle the entire length of the waterway.  Friends found this humorous because they knew me to be an “avid indoorsman.”  But how could I not paddle it?  Had I not paddled it, someone, somewhere — at a book signing, during an interview — would inevitably ask me, “Have you ever been on Bayou Teche?” to which I would have had to answer, “No — but I drive across it every day on the way to work.”

The paddlers for stage one, at the Courtableau landing.
Back row: Jacques, Preston, and me; in front, Keith.
(Click images to enlarge them; photograph by author)

So I decided to explore the entire bayou and to do so not by motorboat (which seemed like cheating), but the old-fashioned way, by canoe — all approximately one hundred twenty-five miles of it.  It just seemed the thorough thing to do, if I were going to write a book about the Teche.  And this proved correct, because there was no substitute for seeing for oneself, from a canoe, where the Teche springs from Bayou Courtableau, meets Bayou Fuselier, zigzags at Baldwin, juts out at Irish Bend.

I would not canoe the bayou all at once, however, but in stages over many months.  And I would do so slowly, stopping to take ample notes, photographs, GPS coordinates.  This journal is based on that data.


Preston and Jacques heading into the Teche from the Courtableau.
(Photograph by author)

I drafted two friends to assist me in the trek, both recent archaeology graduates from University of Louisiana at Lafayette: Preston Guidry and Jacques Doucet.  Preston’s father, Keith Guidry, made up a last-minute addition to the team.  And while Preston and Jacques ended up sitting out several stages of the trip, Keith became my one constant: we, the two older guys in our forties and fifties, would be the only two members of the canoe team to complete the entire journey.

Ben Guidry filled in for brother Preston on a couple stages; and my fellow history enthusiast Don Arceneaux joined Keith and me for one stage.

I was the least experienced paddler of the group, but the others made up for my greenness. Together, an Arceneaux, a Doucet, three Guidrys, and a Bernard, we would seek an answer to the weighty question, “How many Cajuns does it take to paddle Bayou Teche?”


Aerial photograph of Stage 1, Port Barre to Arnaudville.
(Source: Google Maps)

Stage 1: Port Barre to Arnaudville

We began our trip around 9 a.m. on October 23, 2011.  The temperature that morning was cool (about 56 °F), but grew warmer in the afternoon (about 81 °F).  The sky was mostly clear.  We chose that day to start our trip because it fell shortly after the annual Tour du Teche canoe race. We didn’t want to get in the way of the racers and so let them go first.  Preston, Jacques, Keith and I put in at the public boat ramp at Port Barre [30.558367, -91.954874], on Bayou Courtableau.  Port Barre — the town whose speed trap the swamp pop band Rufus Jagneaux sang about in the early 1970s:

All of y’all know about Port Barre.
(If ) they catch you there it’s half of your hide.
You might as well gone to Tucumcari.
It costs you that to leave there alive.

In all fairness to Port Barre, the song was actually written about a speed trap in nearby Krotz Springs; but “Port Barre” just sounded more lyrical to the composer.

It was in Port Barre that the Courtableau Inn, a nightclub owned by my great-grandfather, Oscar Bordelon — first name pronounced OH-SCARE in the French manner — stood right across the bayou from the boat ramp.  In fact, it stood on the lot now occupied by the Squeaky Clean Car/Boat Wash.  It was there, in that nightclub in the late 1940s and early ‘50s, that my father heard Cajun musicians like Papa Cairo and Nathan Abshire.  Dad recalls slot machines lining the walls, even though the devices were illegal at the time.  But those were the days of legendary St. Landry Parish sheriff “Cat” Doucet, who tolerated gambling and certain other prohibited vices.


My great-grandfather's nightclub;
at far right you can see Bayou Courtableau behind the club.
(Source: The Johnnie Allan Collection, UL-Lafayette)

Within minutes of embarking we were paddling on the Teche itself.  At Port Barre the bayou is narrow, varying from about 75 to 95 feet wide (not much larger than a sizable coulée, our regional word for a ravine).  Dense tree canopies reached toward the opposing banks and pressed in on our canoes.  Before it was dredged around 1920 this stretch of the Teche was navigable only during high-water season (each December to June) or if a sizeable flood had recently occurred.

On the Teche near its origin at Port Barre.
(Photograph by author)

The current at Port Barre was swift and strong that day even though bayous are known for lethargic, even nonexistent currents.  With casual paddling it carried our two canoes downstream at a decent clip.  This fooled us into thinking we would make similarly fast headway the entire length of the bayou; but farther down the current slowed and, eventually, reversed, reducing our progress until paddling became a more laborious task.  By the fourth or fifth stage it took us ten or twelve hours to accomplish what we had originally achieved in roughly half that time.  But this lesson would not be learned for several months, finishing, as we did, a stage every month to month and a half.

Shortly after leaving Port Barre we spotted a coyote running along the east bank — our first sight of wildlife.  We soon saw a number of large bleached bones on the west bank, probably from cattle.  Right before that we caught a strong scent of cattle dung and must have passed a ranch (or vacherie, as our ancestors would have called it).  We would pass other ranches during the several stages of our trip.  On one occasion Keith shouted an insult to an insolently staring bull.  In response the bull took a step toward us and stomped a hoof.  That much is true, but the story became more elaborate with each retelling, and after several months Keith had the bull jumping in the bayou to pursue us.


Grazing land along the Teche south of Port Barre.
(Photograph by author)

There would be plenty of joking on the trip, including recurring riffs on Deliverance (explanation unnecessary).

One time that day Keith and I stopped our canoe beside a bridge to wait for Preston and Jacques.  As we floated there, someone threw a bottle from a passing car: clipping the rail, it shattered in its anonymous paper bag and splashed in the water beside me.  Who knows how much trash has ended up tossed in the Teche like that?

Not too long after seeing the coyote, Preston and Jacques spotted a water moccasin swimming in the bayou.  Surprisingly, It was the only snake we saw during the many stages of our trip. Likewise, we saw only one alligator, and it was dead.  Actually, make that two alligators, because we spotted a large one of our final leg of the journey.  I will describe that incident later.


An old car along the Teche.
(Photograph by author)

I noticed much less garbage on the bayou than expected, certainly a tribute to the efforts of the TECHE Project, Cajuns for Bayou Teche, and the Tour du Teche.  The largest quantity of garbage I saw that day lay inside the city limits of Port Barre, where someone used the banks of the bayou as a private garbage dump.  Outside of town, however, the garbage became less frequent.  Some of it was vintage, which gave it a certain respectability: no one wants to see a late-model clothes washer or automobile half-submerged in the bayou or protruding from its banks; but a rusty Depression-era clothes washer or vintage 1950s coupe are more interesting, and even appealing in their antiquity.


Another old car along the Teche.
(Photograph by author)

Paddling down the Teche that day we passed the mouths of a few Teche tributaries — so minor that my canoe team and I missed them entirely.  Or if we saw them, we must have disregarded them as mere ditches.  In any event, the first of these small waterways we passed was Bayou Toulouse, which flows into the Teche where the Union Pacific (formerly Missouri Pacific) railroad spans the bayou just below Port Barre.  The next tributary was Bayou Little Teche, formerly known as Bayou Marie Croquant.  Then came Bayou del Puent, formerly spelled Bayou del Puente — meaning “Bayou of the Bridge” or simply “Bridge Bayou.”  Bayou del Puente appears in historical documents as early as 1812, and the name strikes me as unusual because it’s Spanish and perhaps a remnant of Spain’s nearly four-decade rule of Louisiana (1762-1800).

As for Bayou Little Teche’s earlier name, Bayou Marie Croquant: its been rendered Bayou Marie Crocan or Bayou Maricoquant, and during the Civil War it was called the Barri-Croquant.  As one historian noted, a Union general “committed a minor error which was to baffle civil war scholars for generations,” namely “On all the Union maps, the letter ‘M’ in Marie Croquant was so blurred as to render interpretation all but impossible.  [General] Franklin read it as a ‘B,’ possibly thinking of Barre [as in “Port Barre”], and all Union correspondence thereafter refers to the bayou as the Barri-Croquant.”

Even the name Bayou Little Teche is confusing, because the uppermost stretch of Bayou Teche was itself sometimes called the Little Teche.  In 1886, for example, a U.S. Army Corps of Engineers officer commented, “From here [Leonville] up the stream is called the Little Teche. . . .”

More confusingly, early nineteenth-century land maps sometimes referred to the Marie Croquant as the main channel of the Teche and showed it winding toward and under the town of Washington to become what is today Bayou Carron.  Worse, some historical documents referred to these same waterways as “Bayau [sic] Catereau or Teche” or “Bayou Grand Louis or Teche, or Carron” — indicating disagreement over what to call these tributaries, none of which, in any event, should be confused with the Teche proper that is the subject of this book.

Paddling along, we saw only a few houses lining the Teche between Port Barre and the next bayouside community, Leonville [30.473495, -91.98005].  Interestingly, this area was known during Prohibition as a hotbed of moonshining.  In fact, the entire triangular region between Leonville, Arnaudville, and the nearby unincorporated community of Pecanière was well-known for its bootlegging.  This being said, I have found no evidence of rum-running on the Teche itself during Prohibition.  The narrowness of the bayou would have afforded little if any secrecy and, thanks to the coming of modern roads, automobiles would have provided a faster, and more elusive, means of distribution.

On the outskirts of Leonville we encountered enough suburban-style houses to remove the illusion of paddling through wilderness.  We reached Leonville at 11:45 a.m. to the sounds of a church carillon (or at least it sounded to me like a carillon).

Just south of town, as my team and I headed back into countryside, we spotted a nutria rat on the bank.  With a flash of its pumpkin-orange teeth and long hairless tail, it scurried away to hide from us.  Within the hour, just below the Oscar Rivette Bridge [30.447948, -91.924641], we saw a large owl.  Five minutes later we passed under high-voltage transmission lines, whose audible hum and static made me nervous to sit between them and a body of water.


Keith and me (in front) on the Teche.
(Photograph by Jacques Doucet)

We observed pecan pickers here and there just north of the next bayou community, Arnaudville, as well as a large bird I recorded as an “anhinga.”  I’m no ornithologist, however, but it was large, sported dark plumage, and had black legs — perhaps not an anhinga, but a little blue heron?  We would see many brilliantly white herons, or egrets as they are also called, on our trips, often individual herons whose hunting we repeatedly interrupted, spurring him farther and farther downstream ahead of our canoes.


View of the Teche from my canoe.
(Photograph by author)

At 1:45 p.m. we arrived in Arnaudville [30.397596, -91.930761], our terminus for this stage of the trip.  We put ashore at Myron’s Maison de Manger (excellent burgers), right below the junction of the Teche and Bayou Fuselier.

On this side of the Teche and Fuselier sat the vacherie of my colonial-era ancestor, Lyons-born planter Gabriel Fuselier de la Claire.  It’s an extravagant name, but if he had been a big wheel in France I doubt he would have chosen to brave the south Louisiana frontier.  With its heat, humidity, mosquitoes, alligators, pirates, and potential for slave and Native American revolts, the French and Spanish colony was no paradise despite its idealized portrayals in literature (à la Evangeline).


Late eighteenth-century map of the Teche
("Teichte") showing location of Fuselier's vacherie (red arrow).
Waterway labeled "Fourche du Vermillon" [sic] is Bayou Fuselier.
(Source: St. Martin Parish Courthouse,
courtesy Don Arceneaux & George Bentley;
colorized by the author)

Fuselier de la Claire prospered in Louisiana, however, as did his heirs — but somewhere down the line, probably during Reconstruction, the Fuseliers lost their fortune and ended up marrying into my clan of subsistence-farming Cajuns.  The same went for the de la Morandières, de Livaudaises, and other formerly affluent French Creoles who by twist of fate became my ancestors.  A generation or so after marrying into the Bernards little remained of their previous culture, though my late Cajun grandmother recalled her elderly grandmother-in-law, the last de la Morandière of the line, speaking “that fancy French.”


My favorite photo from that day on the Teche, October 2011.
(Photograph by author)

A folksy hand-painted sign hung beside the bayou near the landing at Myron’s, erected by the local Sons of Confederate Veterans chapter (or “encampment,” as they call it).  Placed for the benefit of boaters, the sign identified this as the spot where, in April 1863, Confederate forces fleeing General Banks’ invaders scuttled the supply steamboats Darby, Louise, Blue Hammock, and Cricket.


Sign listing steamboats that sank on that spot during the Civil War.
(Photograph by author)

The Official Records of the conflict indicate that the five vessels had been scuttled by the Rebels to keep them from falling into enemy hands. As a Union officer wrote in April 1863:
I was there [Breaux Bridge] informed that the steamboats Darby, Louise, Blue Hammock, and Uncle Tommy had passed up the bayou the day before — that is, the evening of the 16th instant — . . . having valuable stores belonging to the enemy. . . . I sent forward a man up the Bayou Teche to ascertain the position and condition of the boats. He reported next morning that all of them had been burned at the junction [of bayous Teche and Fuselier] as soon as the enemy learned of the arrival of my command at Breaux Bridge. . . . [At] the junction I examined the wreck of four steamboats. The water having risen after the rains of Saturday night and Sunday morning, 18th and 19th instant, I was unable to see any names on the boats, or the guns reported to have been left on the Darby. Their smoke-stacks and part of their machinery only were above water. From all the information I received I have no doubt of their being the Darby, Louise, Blue Hammock, and the Crocket. The Uncle Tommy is burned higher up in the Bayou Teche, and the wreck of this boat is high enough out of water to see her name. Cargoes of beef, rum, sugar, and commissary stores, cloth, uniforms, and large quantities of arms and ammunition were destroyed in these boats. Some barges took off portions of the cargoes of ammunition and arms from these steamboats before they were set on fire. (Source: The War of the Rebellion: A Compilation of the Official Records of the Union and Confederate Armies, Series 1, Volume 15, Part 1 [Baton Rouge-Natchez], 343-44.)

Burning steamboats.
(Source: Harper's Weekly [1869];
colorized by author)

How many bullets, swords, balls of shot, and other Civil War artifacts sat right there at the bottom of the bayou, only a few feet beneath our canoes?  Similar thoughts came to me repeatedly as I descended the Teche.  I imagined bones, swords, cannons, revolvers, doubloons, and all sorts of other artifacts passing underneath me, perhaps within reach.  Who knows what the mud and muck of the Teche is waiting to reveal?

After 19 miles of paddling we were exhausted, and of the four of us I was by far in the most miserable.  My arms hurt as though I’d lifted barbells all day, and my palms stung with blisters and glistened with a metallic sheen from handling the aluminum paddles.  “Next time,” I noted to myself, “bring gloves.”  By the time I reached home, I hurt all over.  My bones seemed to ache to the marrow.  No matter in what position I sat or lay, I could not ease the discomfort.  This was my penalty for undertaking the trip without any physical preparation.  I swallowed some aspirin and slept horribly, but by morning the pain had disappeared except for vague aching in my upper arms.  Fortunately, this pain did not return after future stages.  I needed this first stage to break myself in.

The remainder of my canoeing diary will be published in my forthcoming book, Teche: A History of Louisiana's Most Famous Bayou, due out in 2016.  This book examines the Teche from its geological formation through its prehistoric and colonial settlement to the coming of sugar and cotton, steam-driven riverboats and sugar mills, and slavery.  It surveys the Civil War on the Teche, as well as the impact of floods, yellow fever, and postwar violence on the bayou.  Finally, it looks at modern efforts to redesign the Teche using dams, locks, flood gates, and other structures, and the recent push to clean and revitalize the bayou.  To receive an e-mail when the book is released, please e-mail me using the address in the margin at upper right (directly under the Facebook button). ~ Shane K. Bernard, July 2015

Monday, July 9, 2012

Notes on Two Nineteenth-Century Engravings of South Louisiana Scenes

An acquaintance of mine, former Avery Island salt miner and sometimes sculptor Lonny Badeaux, recently showed me a photograph of one of his marble sculptures: a young woman washing laundry on her knees, with the annotation in Greek "Déjà Vu" (or so Lonny told me — I can't read Greek).

Badeaux's sculpture.
(Photo by Lonny Badeaux)


Lonny also showed me the inspiration for this work.  As it turned out, I knew it well: An 1866 A. R. Waud engraving from Harper's Weekly showing Acadian (Cajun) women washing their laundry in Bayou Lafourche.


The inspiration for Badeaux's work,
from an 1866 Harper's engraving.

I knew the image because I'd first seen it many years earlier as an illustration in Carl A. Brasseaux's excellent book, Acadian to Cajun: Transformation of a People, 1803-1877.  


The entire 1866 Harper's engraving, titled
"Washing-Day among the Acadians on the Bayou Lafourche, Louisiana." 


In that book Brasseaux wrote of the engraving in question:

Waud included with his short article [about the Acadians] a woodcut showing two Acadian washerwomen, their legs exposed to mid-thigh, a clear message of cultural and moral depravity to Victorian America.  The image also featured prominently a woman smoking a corncob pipe and an idle (and thus manifestly lazy) man holding a small net used for recreational fishing, watching the women work nearby.

Brasseaux refers to the washerwomen engraving as Waud's "most notorious Louisiana illustration," adding that Waud "was perhaps most responsible for creating the negative national stereotype of the Cajuns, because of his dark sketches which emphasized his personal revulsion for the region's strange landscape and its even more exotic inhabitants."  Furthermore, Brasseaux called Waud's accompanying article for Harper's "perhaps the most notorious" of negative Acadian stereotypes created by Northern journalists in the post-Civil War period.  Here is an excerpt of that 1866 article:

These primitive people are the descendants of Canadian French settlers in Louisiana; and by dint of intermarriage they have succeeded in getting pretty well down in the social scale.
Without energy, education, or ambition, they are good representatives of the white trash, behind the age in every thing. The majority of all the white inhabitants of these parishes are tolerably ignorant, but these are grossly so — so little are they thought of — that the n*****s, when they want to express contempt for one of their own race, call him an Acadian n*****. . . . 
To live without effort is their apparent aim in life, and they are satisfied with very little, and are, as a class, quite poor.  Their language is a mixture of French and English, quite puzzling to the uninitiated. . . . 
With a little mixture of fresh blood and some learning they might become much improved, and have higher aims than the possession of land enough to grow their corn and a sufficiency of "goujon" [gudgeon, a type of freshwater fish]. . . .

Cover of Brasseaux's Acadian to Cajun.
Note that Waud's engraving serves as the book's cover art.


Waud himself noted of his engraving: 

Washing day is a sketch from life.  These simple folks have no acquaintance apparently with the wash-board, nor do they employ their knuckles.  Placing their clothes upon a plank, either on the edge of a pool or the bayou, they draw their scanty drapery about them with the most reckless disregard to the exposure consequent, and squatting, or kneeling, beat them with a wooden bat.  The approach of a stranger does not disconcert them much, if at all.

Badeaux knew of Waud's negative view of the Cajuns, having photocopied the author's vituperative article along with the engraving.  Himself a Cajun, Badeaux nonetheless chose to use Waud's engraving as a model for his work of art.  The finished sculpture now sits in  Badeaux's yard in New Iberia; but with his permission I might try to find another home for it, so that the public can enjoy his modern interpretation of Waud's condemnatory original.

This reminds me of another nineteenth-century engraving, namely, of two women standing in the doorway of a St. Martinville hotel.  



"Doorway of St. Martinville Hotel,"
1887 Harper's engraving.


This image illustrates an 1887 article, also in Harper's, by author Charles Dudley Warner, whose depiction of Cajuns was a bit more complimentary than Waud's.  Which is to say that when Warner's article denigrates Cajuns, it is not Warner himself who does so, but a local interviewee:

My driver was an ex-Confederate soldier, whose tramp with a musket through Virginia had not greatly enlightened him as to what it was all about.  As to the Acadians, however, he had a decided opinion, and it was a poor one.  They are no good.  “You ask them a question, and they shrug their shoulders like a tarrapin — don’t know no more’n a dead alligator; only language they ever have is ‘no’ and ‘what?’”

What I find intriguing about this 1887 engraving is that it shows a doorway that still exists; indeed, it is still a hotel doorway.  It is the front door the Old Castillo Hotel, now known as La Place d'Evangeline, located  in St. Martinville on the east bank of Bayou Teche next to the Evangeline Oak.  (I have never stayed there, but the late Colonel Wallace J. Moulis, St. Martinville native, World War II veteran, and career military man formerly assigned to NATO, once treated me to an excellent dish of crawfish bisque in the hotel's dining room.)


The same doorway as it looks today,
125 years after it appeared in a Harper's engraving.
(Photo by the author, June 2012)

As Warner wrote in his Harper's article, titled "The Acadian Land":

I went to breakfast at a French inn, kept by Madame Castillo, a large red-brick house on the banks of the Teche, where the live-oaks cast shadows upon the silvery stream.  It had, of course, a double gallery.  Below, the waiting-room, dining-room, and general assembly-room were paved with brick, and instead of a door, Turkey-red curtains hung in the entrance, and blowing aside, hospitality invited the stranger within.  The breakfast was neatly served, the house was scrupulously clean, and the guest felt the influence of that personal hospitality which is always so pleasing.  Madame offered me a seat in her pew in church, and meantime a chair on the upper gallery, which opened from large square sleeping chambers.  In that fresh morning I thought I never had seen a more sweet and peaceful place than this gallery.  Close to it grew graceful China-trees in full blossom and odor; up and down the Teche were charming views under the oaks; only the roofs of the town could be seen amid the foliage of China-trees; and there was an atmosphere of repose in all the scene.  It was Easter morning.  I felt that I should like to linger there a week in absolute forgetfulness of the world. . . .

Old Castillo Hotel, now known as
La Place d'Evangeline,
St. Martinville, La.
(Photo by the author, June 2012)

Sources:

Carl A. Brasseaux, Acadian to Cajun: Transformation of a People, 1803-1877 (Jackson: University Press of Mississippi, 1992).

Charles Dudley Warner, "The Acadian Land," Harper's New Monthly Magazine LXXIV (February 87), p. 345.

A.R.W. [A. R. Waud], "Acadians of Louisiana," Harper's Weekly X (20 October 1866), p. 657.


Sunday, July 1, 2012

Finding History Right around the Corner: Heroism on the Cajun Home Front

The following serves as a good example of how history can be found right around the corner, literally, if you look for it.

In my book The Cajuns: Americanization of a People I wrote:

As occurred elsewhere in the nation [during World War II], wartime anxiety sometimes escalated into wartime hysteria.  When a highly contagious disease wiped out hundreds of muskrats in the coastal marshlands and spread to nineteen south Louisianians, killing eight, rumor circulated that the outbreak had been caused by Japanese germ warfare.  Fearing widespread panic, the federal government moved in, quarantined all possible disease carriers, and asked the media to refrain from reporting the incident.  The disease was eventually identified as psittacosis, or "parrot fever," a viral infection transmitted by birds (p. 13).

As it turns out, a residence only a block from my house served as a quarantine house for some of those who contracted the disease.  As the Baton Rouge Sunday Advocate reported eighteen years later in 1961:

On March 3 [1943] the focus of the epidemic shifted from Ville Platte and Rayne to New Iberia.  Miss Antoinette Bourgeois, one of the nurses from New Iberia who had volunteered to help at Rayne, felt a pain at the base of her neck.  Miss Antoinette Bonin, also a nurse who had helped, felt the same pain plus a headache.  They were returned to New Iberia and placed in quarantine in a duplex at 142 Pollard Avenue.  Dr. Edwin L. Landry attended them and five women volunteers entered the house to care for them, knowing that their chances of ever leaving alive were about fifty-fifty.

142 Pollard Avenue, New Iberia, Louisiana,
as it looks today (July 2012).
(Photo by the author)

The article continued:

The volunteers were Miss Cecile Bourgeois, a sister of Miss Antoinette Bourgeois, two sisters of Miss Bonin, Miss Helen Hobart and Miss Remas Gerhart.  The physicians and Miss Katherine Avery, Iberia Parish Public Health nurse, entered the house frequently, always taking elaborate, almost ritualistic precautions.  The townspeople, however, were deathly afraid of the disease.  Some crossed to the opposite side of the street before passing the house.  When groceries were delivered they were left on the sidewalk.  Dr. Landry and Miss Avery were shunned.

The disease, however, was a potent one, taking the lives of both nurses Bourgeois and Bonin in March 1943.


Katherine Avery, one of the five nurses who entered
the quarantine house on Pollard Avenue.
(Source: Avery Island, Inc., Archives)

"Back in the house on Pollard Avenue," recorded the Sunday Advocate , "the five women were hopefully waiting out their 21 days quarantine after the deaths of the two nurses."  However, one of the five, Gerhart, contracted the disease.  "But the people of the community then decided that they had assumed more than their fair share of the risk and an old plantation home six miles outside town was obtained.  Three of the women were put in quarantine out there. . . . The [two remaining] women on Pollard Avenue waited out their 21 days and the quarantine was broken."  (Gerhart survived after "repeated transfusions from recovered patients" under the supervision of Dr. Landry.)


Old street identifications in the pavement,
New Iberia, Louisiana (July 2012).
(Photo by the author)

Much of this story transpired, commented the New Iberia Daily Iberian in response to the Advocate article, in "a house that still stands on Pollard Avenue" — as it stands today on that quiet suburban street . . . a quaint reminder of wartime heroism on the Cajun home front.


Nurse and patient Remas Gerhart, seated,
with additional nurse volunteers;
photo taken at 142 Pollard Avenue.
(Note house with tell-tale eaves in background.)
(Source: Sunday Advocate; original source unknown)

Sources: James H. Hughes, Jr., "Strange Malady Spread Terror through the Marshlands," (Baton Rouge) Sunday Advocate, 1 October 1961, p. 1-E; Jim Levy, "Talk of the Teche [column]," [(New Iberia) Daily Iberian], ca. 1 October 1961, n.p.

Friday, June 15, 2012

My Father's Childhood Autograph Book on the History Channel?*

Last night I was grocery shopping near my home in New Iberia when a woman I know came up to me and said, "Yesterday I was watching the History Channel and saw the episode of 'Cajun Pawn Stars' that mentioned your father."

I shook my head and replied that I didn't know what she meant. Surprised I was unaware of the program, she explained, "On the show a man went into the pawn shop with a battered little booklet, and inside the front cover was written 'My autograph book, Rodney Bernard, Opelousas, Louisiana, 1950.'"

Dad around the time he met
Hank Williams Sr. (ca. 1950).
(Author's collection)

"Well, yes," I replied, "that's my father's name and he did have an autograph book when he was a kid."

"And in the book," she continued, "were the autographs of Hank Williams Sr. and all the members of his band, the Drifting Cowboys, and also the autographs of Hank Snow, Ray Price, Grandpa Jones, and other Grand Ole Opry stars."

"That's right, too" I responded, amazed at the unfolding story. "My dad did have such an autograph book."

In fact, I explained, I kept it for him for many years. But about four years ago he asked me to sell it on eBay, so I put it up for auction for approximately $5,000.  No one bid on it, so he asked me to return the book to him. Dad ended up trading it to a friend for something or another. This friend is a Hank Williams' fanatic and, last Dad saw the autograph booklet, it was framed and hanging on this friend's wall in Lafayette, its pages opened to Hank Williams' autograph.

Hank Williams Sr.'s signature in my father's autograph book.

The woman told me that the pawn shop owner estimated the value of the book — mind you, I'm getting all this second-hand, and have not seen the show for myself — at $15,000 if the book were kept together, $18,000 if it were cut up into individual autographs. "The man with the book offered to sell it then and there," she told me, "but the pawn shop owner thought the price too high. So the man left with the book."  [I've now seen the episode, and — if I remember correctly — the prices were $15,000 if cut up and sold as individual autographs and $10,000 if kept together.]

Interestingly, this man was not the person to whom my father gave the book.

During the episode the show properly identified my dad as a south Louisiana singer and mentioned the need to authenticate the autographs.

If "Cajun Pawn Stars" had contacted Dad, however, he could have explained that he met Hank Williams Sr. backstage at the Yambilee Festival in Opelousas around 1950, and got the autograph of Williams and his band at that time.  As Dad told me in 1991, and as I quoted him in my book Swamp Pop: Cajun and Creole Rhythm and Blues (University Press of Mississippi, 1996):

I met Hank Williams Sr. when I was about eight years old, I guess . . . no, I was probably about nine, 'cause he died, what, 1950?  [Williams died in 1953.]  It was probably about a year before he died.  He played at the Opelousas High School gym. . . . Mr. Dezauche [a local businessman] took me backstage and Hank Williams was standing there in his underwear.  I'll never forget that.  And I walked up to him and that was my god at the time — or a god, it was like Elvis later on.  Man, to see Hank Williams Sr. in person standing there!  And he shook hands with me and I had an autograph book and he signed my autograph book and I found out later that he never signed many autographs, that he didn't really like to sign autographs. . . (p. 146).

Dad also could have explained that as a member of the Cajun swing band the Blue Room Gang, he visited the Grand Ole Opry around the same time and collected many of the other autographs in the book.


Dad (at front center) with members
of the Blue Room Gang, ca. 1950.
(Author's collection)

Regardless, how Dad's childhood autograph book ended up on national TV remains unknown at present.

There is, however, a companion autograph booklet that belonged to Dad as a child, and that one I still have in my possession.

Addendum of 15 June 2012:

A number of websites have picked up on the autograph book's appearance on 'Cajun Pawn Stars,' including The Huffington Post, where you can see a video clip from the episode.

In addition, here is a list of all the notable signatures in Dad's autograph book:
Hank Williams Sr. & His Drifting Cowboys, including band members Floyd Cramer, Don Helms, Jimmy Day, Tommy Bishop and Jerry Rivers
Chet Atkins
Roy Acuff
Eddie Hill
Hank Snow
June Carter (Cash)
George Morgan (signed twice; Lorrie Morgan's father)
Goldie Hill and Tommy Hill
Red Sovine
Ray Price
The Duke of Paducah (comedian)
T. Texas Tyler
Little Jimmy Dickens (signed twice, once in pencil, once in pen)
Ott Devine (WSM Radio Grand Ole Opry MC)
Oswald (comedian)
Faron Young
Marty Robbins
Cowboy Copas
Webb Pierce
Mother Maybelle Carter
Carl Smith
Grandpa Jones
Martha Carson
Moon Mulligan
Autry Inman
Hank Williams III (2001 autograph in same ca. 1950 autograph book)
Finally, I learned late today that the autograph book is still in the possession of my father's friend and that it was never really up for sale.  How it ended up on the "Cajun Pawn Stars" show, however, is a complicated matter and one I don't want to discuss here.  Suffice it to say, the book is safe and in no danger of being dissected and sold off piecemeal . . . at least, not for now.
____________

*Yes, I know, technically the network's name is not "the History Channel," but simply "History."  No one, however, calls it that.  Who says, "I was watching History last night"?

Thursday, May 31, 2012

My Oddball Collection of Cajun Warplane Photos

As I mentioned in one of my previous articles, I discovered a photo in the National Archives and Records Administration showing a U.S. World War II transport plane (a C-47, to be precise) with the nickname Cajun Coonass painted on its fuselage. I also found motion picture footage of the same plane. (See my previous article on the Cajun Coonass.)

The Cajun Coonass C-47 transport plane,
Port Moresby, Papua New Guinea, 1943.
(National Archives and Records Administration)

Not only did this discovery lead, in my opinion, to the debunking of the alleged etymology of the word "coonass" (a controversial term meaning "Cajun"); it also led to my interest in collecting images of Cajun-themed warplanes.


For example, I purchased at auction an original B&W print and negative of a B-29 bomber named the Cajun Queen.

The Cajun Queen B-29 bomber,
possibly in Asia or the Pacific, ca. 1945.
(Author's collection)

Here is the same plane from a different angle:



(Author's collection)

And a color print:



(Courtesy Jason Shelden,
whose father flew on the Cajun Queen.)

Other images of this plane are known to exist and some of them show a B-29 of the same name but with different nose art. Here is an example:


The Cajun Queen B-29 bomber,
different nose art, ca. 1945.
(Courtesy Randy Colby)

Could this be the same plane, but repainted? Or a replacement plane bearing the same name? In any event, each of the images shows a plane belonging to the 678th Bombardment Squadron, 444th Bombardment Group — the emblem of the 678th being a cobra spitting a bomb, both superimposed against a spade inside a circle.

I recently met a US Air Force pilot who told me he knew of a B-52 bomber named the Ragin' Cajun. After returning to his airbase he sent me a photo of the plane in question. I show it here, but blot out the pilot's face for privacy's sake. (By coincidence, the phrase "Ragin' Cajun" was used as a nickname as early as 1950 by U.S. Marine Corps Reserve fighter squadron VMF-143. See my previous article on this subject.) Note that the neanderthalic (and stereotypical) Cajun is whacking an alligator over the head while a crawfish bites him on the toe — alligators and crawfish being symbols of Cajun ethnicity.


The Ragin' Cajun B-52 bomber, no date.
(Source: Anonymous)

Likewise, a search of the Internet turned up the image of another Cajun-themed B-52 bomber: the Cajun Fear. Like the Ragin' Cajun, the Cajun Fear shows a rampant alligator, in this case seemingly bursting through the plane's fuselage. (Note the image of the state of Louisiana at lower right corner.)

The Cajun Fear B-52 bomber, 2011.  (Courtesy Bruce Smith)


To bring up the "C word" again: "Coonass Militia" used to be the nickname of the Louisiana Air National Guard's 159th Tactical Fighter Group.

F-4C Phantom jet with "Coonass Militia" emblem, 1983.
(Click to enlarge; courtesy Gerrit Kok)

According to the Times-Picayune, the group changed its name in 1992 (no doubt because of complaints about the word "coonass," which some consider an ethnic slur against Cajuns). (Source: Ron Thibodeaux, "'Coonass' Carries Baggage Some Prefer to Leave Behind," Times-Picayune, 17 July 2001, accessed 1 June 2012.) It now goes by the nickname "Louisiana Bayou Militia," whose current emblem incorporates French fleurs-de-lis and traditional Mardi Gras colors, symbols associated with the state of Louisiana.

"Bayou Militia" emblem on jet fighter's vertical stabilizer, 2011.
(Photograph by author)

Here is one more Cajun-related, if not Cajun-themed, warplane: A full-scale replica of the P-40 Flying Tiger flown by Cajun fighter pilot Wiltz P. Segura.

Replica of Cajun pilot Wiltz P. Segura's P-40 Flying Tiger warplane,
USS Kidd Veterans Memorial, Baton Rouge, La., 2012.
(Photograph by author)


Hailing from my adopted town of New Iberia, Segura joined the U.S. Army Air Corps in 1942 as an aviation cadet and received his commission the next year as a second lieutenant. As his U.S. Air Force biographical sketch notes:
During his World War II tour of duty in China . . . Segura flew 102 combat missions, destroyed one Japanese bomber and five fighter aircraft, and was credited with damaging three more. He was shot down twice by ground fire but each time parachuted to safety and successfully evaded enemy capture behind the lines. . . . In October 1965 he was assigned to England Air Force Base, La., as vice commander of the 3d Tactical Fighter Wing, and retained that position when the wing was transferred in November 1965 to Bien Hoa Air Base, Republic of Vietnam. During an extended absence of the wing commander, he assumed command. . . . Segura flew more than 125 combat missions in the F-100, and F-5 aircraft, and was the first pilot to check out in the F-5 in the combat theater. (Source: Wiltz P. Segura biographical sketch, U.S. Air Force web site, accessed 31 May 2012)
By the time of Segura's retirement he had attained the rank of brigadier general.


Close up of Wiltz P. Segura's P-40 fuselage.
(Photograph by author)

If you have photographs of other Cajun-themed warplanes — I'm sure there must be a very finite number of such aircraft — please let me know. I'd like to add them to my collection.


Incidentally, a few years ago I designed a faux Cajun-themed-World War II-nose-art T-shirt. Actually, I mixed bits and pieces of pre-existing art from around the Internet with my own art to create this T-shirt. Here is the design. . . .




Of course, "Jolie Blonde" (French for "Pretty Blonde") is a famous Cajun song, considered by many to be the "Cajun national anthem." If there was never a warplane by this name, there should have been!

Addendum of 28 May 2020:

Below is an additional image of the Cajun Queen B-29 bomber. It was sent to me by Val Adams, whose father served on the aircraft.


Courtesy Val Adams.

Addendum of 23 June 2021:

Here is yet another World War II warplane with the word "Cajun" in its nickname -- namely, the Little Cajun, which appears to be a B-26 Marauder.

Author's collection.

Friday, May 11, 2012

My Cajun Book for Children Soon Available in French Translation

I'm pleased to announce that my 2008 book, Cajuns and Their Acadian Ancestors: A Young Reader's History, will be available in May 2013 in a French translation by Faustine Hillard.

J’ai le plaisir d’annoncer que mon livre intitulé Les Cadiens et leurs ancêtres acadiens: l'histoire racontée aux jeunes sera disponible en mai 2013 en version française, traduite par Faustine Hillard.


Cover of the English version and the French translation.
Couverture du livre en anglais et la traduction en français.


Published by the University Press of Mississippi and funded in part through a translation grant from the
Quebec Ministère des Relations Internationales, the book, retitled Les Cadiens et leurs ancêtres acadiens: l'histoire racontée aux jeunes, is aimed at middle-school and high-school readers — though it is useful as an adult primer — particularly students in French Immersion and other French education courses.

Publié par la Presse Universitaire du Mississippi et financé en partie par une subvention du Ministère des Relations Internationales du Québec, le livre, intitulé Les Cadiens et leurs ancêtres acadiens: l'histoire racontée aux jeunes, cible le jeune lecteur collégien ou lycéen, surtout celui des classes d’immersion en français ou ceux qui apprennent le français langue seconde.  Il s'avère toutefois une introduction enrichissante au lecteur adulte voulant s’initier à la question. 

Inside the French version. (click to enlarge)
L'intérieur de la version en français. (Cliquez pour agrandir.)


Of the English version, the Times-Picayune noted:

Au sujet de la version en anglais, le quotidien de la Nouvelle Orléans, The Times-Picayune, remarqua:

Bernard takes just 85 pages to provide a concise history of one of the unique peoples that make Louisiana special. It is a brief but delightfully engaging account of who the Cajuns are and how they got that way, a narrative as informative as it is easy to navigate. . . . [The book] fills an important gap on the Louisiana history bookshelf, and its value can be appreciated by the not-so-young as well. 
Bernard nous raconte l'histoire abrégée d’un des peuples qui contribue à l'extraordinaire mosaïque démographique de la Louisiane en un récit de moins de 85 pages.  Ce bref mais charmant compte rendu entraîne le lecteur à découvrir le peuple cadien et suivre son évolution dans un récit qui informe tout en restant facile à naviguer. . . . [Ce livre] comble une lacune importante en ce qui est de l'histoire de la Louisiane.  C'est un livre qui s'apprécie à tout âge. 
     
In 2008 the Louisiana Center for the Book, located in the state library, selected the English version of Cajuns and Their Acadian Ancestors to represent Louisiana at the National Book Festival's Pavilion of the States in Washington, D.C.

En 2008, Les Cadiens et leurs ancêtres acadiens: l'histoire racontée aux jeunes (version langue anglaise) fut sélectionné par le Centre du Livre en Louisiane, qui se trouve à la bibliothèque de l’état, pour représenter la Louisiane au Pavillon des Etats du Festival National du Livre à Washington, D.C.


Inside the French version. (click to enlarge)
L'intérieur de la version en français. (Cliquez pour agrandir.)


If you wish to be notified of the French translation's release, please e-mail me at: inf...@cajunculture.com [Click on the "..." to reveal the full e-mail address]

Pour être averti de la date de sortie de la  traduction en français, veuillez m’envoyer un message électronique à l'adresse suivante: inf...@cajunculture.com  [Click on the "..." to reveal the full e-mail address]