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THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University

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THEMES of VOYAGE and RETURN in TEXAS FOLK SONGS Ken Baake Texas Tech University University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Spring 2010 "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS Ken Baake Texas Tech University Follow this and additional works at: http://digitalcommons.unl.edu/greatplainsquarterly Part of the American Studies Commons, Cultural History Commons, and the United States History Commons Baake, Ken, ""IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS" (2010). Great Plains Quarterly. 2575. http://digitalcommons.unl.edu/greatplainsquarterly/2575 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. "IT'S NOW WE'VE CROSSED PEASE RIVER" THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS KENBAAKE Stories of development from childhood to narratives, its protean form identified repeat­ adulthood or of journeying through a 1ife­ edly in world mythologies by scholar Joseph changing experience to gain new knowledge Campbell. According to Campbell, the hero are replete in oral and written tradition, as comes in many forms, bearing "a thousand exemplified by the Greek epic of Odysseus and faces," but always with the same underlying countless other tales. Often the hero journeys experience-moving from a call to journey naively to an alien land and then, with great and often an initial refusal, then acceptance difficulty, returns home wiser but forever followed by a crossing of the threshold into scarred. Such a journey can take the hero to temptation and atonement, finally leading a terrible place, from which he may escape to an eventual return bearing both scars and physically, but from which he can never escape the wisdom of a transformative experience. emotionally. The hardship of travel and its As Campbell writes, "The hero has died as ensuing lessons is a common theme in human man-he has been reborn ... to return then to us, transfigured, and teach us the lesson he has Key Words: narrative, buffalo, cowboy, African learned of life renewed.,,1 American, Mexican border Christopher Booker's study of human story­ telling offers the theme of "voyage and return" Ken Baake is an associate professor of English at Texas as one of the seven underlying plots of human Tech University. He specializes in the rhetoric of science and the environment and explores the areas in which narratives, although some of his other plots myth, literature, rhetoric, and technical writing intersect. such as "overcoming the monster" and "the He is the author of Metaphor and Knowledge: The quest" also reveal strong traces of the heroic Challenges of Writing Science (2003). journey in them. For Booker, "the essence of the Voyage and Return story is that its hero To hear samples of Texas folk songs, see "Educational Resources" on the Great Plains Quarterly Web site: http:// or heroine (or the central group of characters) www.unl.edu/plains/publications/GPQ/gpq.shtml travel out of their familiar, everyday, 'normal' surroundings into another world completely [GPQ 30 (Summer): 171-82] cut off from the first, where everything seems 171 172 GREAT PLAINS QUARTERLY, SUMMER 2010 disconcertingly normal."z We see this most viv­ and many musical folk ballads6 of the Great idly in Joseph Conrad's late-nineteenth-cen­ Plains and the American West. My premise tury novel Heart of Darkness, where Marlow, is that such narratives retain power over the the narrator, pilots a ferry boat over the Congo American psyche today even if the actual River in search of Kurtz, a European ivory words and songs are seen merely as quaint trader made bestial by his travels. He survives artifacts of cultural history. Thus, I align my the journey but is plagued by his knowledge of position with literary scholar Lauren Berlant's human savagery. Kurtz fares worse, of course, classification of frontier themes as nothing dying on the boat while muttering about the less than a "national symbolic," comprising horror of human nature. Implicit in this novel "images, narratives, monuments, and sites that is the message that there exists some line, circulate throughout personal/collective con­ geographical, psychological, or otherwise, that sciousness."7 Sara Spurgeon extends Berlant's cannot be crossed without forever transform­ analysis to reveal a "national fantasy" that dei­ ing the traveler. fies the iconic image of the frontier, the "figure Because the Great Plains has often been of the sacred cowboy," which shows no sign of portrayed as vast, wind tormented, desiccated, losing power to shape national culture.s without succor of trees and nurturing mead­ Resistance to the power of the cowboy ows, and because it represents in American archetype characterized much of the criticism mythology the wide border between home­ of the foreign policy of U.S. president George lands and the dangerous frontier, it has been Bush. We may no longer sit around the camp­ the setting for many narratives of a heroic fire singing about the adventures of the Texas crossing over and return. Members of Stephen Rangers protecting the Texas frontier, but our Long's expedition of 1820 offered some of the cultural mythos has not relinquished those first non-native written accounts of crossing stories. When Bush's successor, Barack Obama, the Southern Plains, forever implanting the in 2009 gave the order for Navy sharpshooters image of desolation.3 Zoologist Thomas Say to kill Somali pirates holding an American reported that expedition members saw the hostage or for drone planes to attack terror­ Southern Plains as a "trackless desert which ists on the Afghanistan-Pakistan border, the still separated [them] from the utmost bound­ cowboy mythos born more than one hundred ary of civilisation."4 When historian Frederick years earlier continued its work. Clearly those J ackson Turner later (1894) identified the Asiatic or Horn of Africa border regions repre­ frontier as "the outer edge of the wave­ sent the modern frontier between government the meeting point between savagery and and lawlessness, but they have not entirely civilization"-he was essentially proclaiming replaced the Great Plains in evoking such it to be a region of trial for America's heroes.s symbolism. Dando points out that current news Eighteenth- and nineteenth-century American accounts of the depopulation and the so-called history is cast with characters who, like Long's death of agriculture on the Great Plains today group, accepted that call. Indeed, much of the heralds a revived frontier consciousness within celebratory history of America's uniqueness or the United States, a reaffirmation of the Plains "exceptionalism" is a retelling of the crossing­ as a hostile region on the other side of the line. over story by scores if not a thousand faces. Dando writes, "I believe frontier is being recast in the American popular imagination from a NATURALIST STORIES ON THE GREAT border or transition at the advance of civilization PLAINS to that of a landscape with low population den­ sities, filled with wildlife and Native Americans, Not surprisingly, this theme of crossing from which civilization has retracted."9 a line between innocence and baptism into It is probably not a coincidence that folk­ life's travails is the essence of much folklore lorists such as John Lomax, Carl Sandburg, THEMES OF VOYAGE AND RETURN IN TEXAS FOLK SONGS 173 and Howard Thorpe recorded in writing many around the lOath meridian the trees, lush of the traditional Texas and Western songs grasses, and the life-giving waters of the great and stories about the frontier in the early part river valleys yield to short grasses, parched of the twentieth century. This was a time land, wild animals, and an unending canopy when "naturalistic" literature in America and of relentless sun. Color choices on maps of the elsewhere offered an unvarnished image of Great Plains subtly convey this line of warning reality that was the setting for a Darwinist even today. One example is found in the Web struggle for survival by its characters-this page of the Great Plains Network Consortium, drama itself was a narrative updating of the a computer software group, in which a clear epic Old Testament struggle by God's chosen line exists between the Edenic green of the men for Israel's survival on a harsh landscape East and hellish deep brownish red of the among relentless enemies.1o In that Old interior lands.14 Green being the color of living Testament mythos, nature was the beguiling vegetation and brown the color of dead, such manifestation of the Phoenician fertility god color gradients are not surprising or necessarily Baal, who might draw man's attention away symbolic of a line between heaven and hell. from the God of Israel.ll Undoubtedly the Still, the visual impact of such maps of the U.S. recording of oral narratives in American folk interior is striking. songs steeped in biblical heritage (and the Staged on this clearly delineated set is the writing of new narratives in the same vein by repeated theme or rhetorical commonplace in identified lyricists in the early years of the last literature and folk songs of westward migration century) codified a worldview dominant at the where-like Adam and Eve-the adventurer time: nature was harsh and uncowered by the will pay for the sin of crossing over into for­ will of man. bidden land and, in essence, be stripped of Understandably, then, the settler from the bliss. Or he may create his own physical and East in the traditional "Bury Me Not on the emotional hell in the new land, as Kurtz did Lone Prairie" offers up his dying wish to be in Heart of Darkness.
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