As mentioned in a previous post, a digital literary journal that I contributed to and served as volunteer editor for a few years ago has gone offline. It was called Tiny Donkey, and it was an offshoot of the Fairy Tale Review dedicated to very short non-fiction pieces about folklore and fairy tales. The journal shut down in 2017, but was still available to read online up until recently. With its disappearance went all the writing of its contributors, including some essays I wrote and commissioned and interviews with other writers and artists. I decided to share a few of my own pieces here over the next few weeks.
This one is the first editor’s note (but not essay) I wrote for Tiny Donkey, about the American pioneer folklore anti-hero Mike Fink. I wrote and published this literally days before the 2016 election that saw Trump rise to power.
As a personal note, I once got some feedback about this piece by someone who called it “weak.” Usually I welcome feedback or editing suggestions, but this was one time when I think the reader misunderstood the tone. It’s written in an intentionally understated, matter-of-fact tone, to match the speaking tone and verbal style of the people in the part of the country where Mike Fink lore comes from, for better or worse–Midwestern people, Mississippi River people, people like my family, like my many Iowa and Illinois relatives, and like me. So here it is: “Modern-Day Mike Finks.”
Once I tried reading a 900-page book called A Treasury of American Folklore, by the folklorist B.A. Botkin. But I only got 60 pages in before dumping the “treasure” at a book swap.
It was the stories of Mike Fink that did it, a Mississippi River boatman of the post-American Revolution era celebrated for his outrageous boasts and pranks. His boasts were of the variety that he could “outrun, outjump, outshoot, outdrink, and lick any man in the country.” And his pranks? Well, he had a curious sense of fun, this Mike Fink, and a suspiciously specific kind of targets. Like the time he shot an African-American boy walking by in the heel just because he didn’t like its shape, and the time he shot the scalp-lock off a Cherokee man’s head for acting too proud, or the time he made his wife lie in a pile of leaves and set them on fire, letting her go just after her hair and clothes started burning, all for looking at another man.
Botkin labels Fink a “pseudo bad man” without explaining what that means. Along with many other folklorists who’ve written about Fink, he tries to assure us modern folks that Fink wasn’t real, or at least, his pranks weren’t. They couldn’t be, could they?
Though I’d never heard of Mike Fink before this, I don’t need any academic or historical investigation to know he was real. That he is real. I’ve known him. Maybe you have too. Maybe like me, you see him every day on the news, in life, in the memory of personal experience. Sometimes he wears a badge, sometimes a suit. Sometimes he’s followed me on the street or leered at me on the train. When I was young I sometimes encountered him on the playground or in the school hallway, trying to lift up my skirt or grab some part of me. More than once I’ve loved him and forgiven him. Sometimes he’s the picture of everything all good and charming. Oftentimes he’s put in charge of things, more than just riverboats, like committees, laws—and bodies, usually black, brown, and female.
I think now, this election year, he’s too close for comfort to being put in charge of the whole country.
I dumped that treasury of American folklore because I was too angry and ashamed to see what else was in the folk history of the United States, what further ugliness my country’s mythology had to reveal. The book confirmed what I’ve always known about my country, and my place as a woman in it, but don’t often like to face. I can’t afford to ignore the truth and cost of such “treasure” anymore. Mike Fink is deserving of dumping. America needs the coinage of a new, transformative folklore.