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North Carolina Folklore Journal North Ct,re\ina ·~tate 1..ibr~ O -;-,lr..iir-.·1"'1° S:\,,..,'-15i ' • t~ • C. North Carolina Folklore Jolllllal Vol. 38, No. 2 Summer-Fall 1991 North Carolina Folklore Journal THOMAS McGOWAN, editor LYNN MOSS SANDERS, assistant editor NORMA FARTHING MURPHY, illustrator KATHLEEN ASH & KATI-:IY MOORE, editorial assistants The N<nth Carolina FolkwreJournal is published,cwice a year by the N orch Carolina Folklore Society with the assistance of Appalachian Smte University and through grants from the N.C. Arts Council and the National Endowment for the Arts, a federal agency. Memberships in the Society, which include subscriptions to the Journal and the quarterly News/,etter ofthe North Carolina Folklore Society, are $150 for life members, $7.50 per year for individuals, and $10 for institutions. Ma.ii membership dues to the North Carolina FolkJorc Society, c/o Deparunent of English, Appalachian State University, Boone, NC 28608. Assorted past issues of the North Carolina FolkloreJournal are available at $2 each. Wiseman 's Vw: The Autobiography ofSkyland Scotty Wiseman and the special issue on A Singing Stream are available at $4 per copy. North Carolina residents should add 6 per cent sales tax on back issue orders. TI1e North Carolina Folklore Journal publishes studies of North Carolina folklore and folklife, analyses of the use of folklore in literature, and articles whose rigorous methodology or innovative approach is pertinent to local folklife study. Manuscripts should conform to The MLA Style Manual. Quo!ations from oral narratives should be transcriptions of spoken texts and should be identified by teller, place, and date. 1991 OmCERS OFTHE NORTH CAROLtNA FOLKLORESOCIElY President: Karen Baldwin. East Carolina University. Greenville. 1st Vice P.-e-sldent: Mary Anne McDonald, Du.-ham Technical Institute, Durharn. 2nd Vke l'Tesident: Elon Kulii, North Carolina A&; T University, Greensboro. 3rd Vi« President: ShelbyStcpl1emso11, Pcmbroic State University, Pembroke. Secretai-y-T.-ca.<urer: Thoma.< Mef.nwan. Appalachian State Unlven1\1.y, Boone. North C:,ic!ina St.itC: Libr?.f"t ~~ctc.~gh. r~ C North Carolina Folklore Journal Vol. 38, No. 2 Summer-Fall 1991 CONTENTS The Storyteller as Shaman: Ray Hicks Telling His Jack Tales, Cheryl Oeford ......................................................................... 75 Review·s ............................................................................. 18i Patterson & Zug, A1ts in Earnest: North Carolina Folhlife Reviewed by Lynn Moss Sanders .................................... 18i Davis, Listening for the Crack of Dawn: A Master Storyteller Recalls the Appal,a,chia of His Youth Reviewed by Cheryl Oxford ............................................ 189 Cover Photograph: Ray Hicks performs at the Beech Moun• tain Story-Telling Festival, 1989. Photo by Jon Wilmesherr. Copyright© North Carolina Folklore Society 1992 The Storyteller as Shaman: Ray Hicks Telling His Jack Tales By Cheryl Oxford Yeah, y1n, see,Jack can he anybody, whm yott get 011 it tight. l'm}ndt I've been Jack. I'm.fuck rig/it now. I kn{)1JI ever t1'ick and tum oflite mountains, yott know. -Ray lficks This scudy presents the performance paradigm of Ray I licks, a traditional storyteller from near Banner Elk, North Carolina. Unlike hi~ second-cousin Stanley Hick~, who told accounts of the fun-lo-.ingJack as objectively observed fiction, Ray Hicks's narrative perspective is omni­ scient, submerged into the trickster's consciousness. Ray Hicks is no­ table, too, for his intimate involvement with the adventures of the tales' hero. During a Ray Hicks Jack Tale, listeners discover as much about the storytelle,· himself as they do about his narrative creations. Thus, Hicks's empathic storytelling style conveys aspects of his autobiography. What the sto1yteller has experienced, his alter ego also encounters; what Hicks has seen is what Jack sees as he travels through 1licks's tale. Cher)•! O:ef<ml teaches drama andpublicspealiingal WI/Stem Piedmont Community College inMm-g(mt<m. This article is a chapter inker MC/Qral dissertation written at N011hwestern University. Her study ofStanky Hicks's st<>rytelling won l>UY Society's 1988 Gratif Williams Ptize, and she soon will publish a st11dy of Marshall Ward in a book onjack Ta.ks, edited lry Bill McCarthy. 75 This case study includes Hicks's privately owned composition en­ tided "Jack and Ray's Huming Tiip,~ an especially interesting example of the teller's interjection of himself into his tales. In addition, Hicks's embodiment of three traditional Jack Tales inherited from his people­ "Hardy Hardhe:td," 111e Heifer Hide," and ~Jack and the Varmints~-will be examined. ln all three of these mountain odysseys featuring the wily woodsman.Jack bears certain resemblances to Ray Hicks, a feature which the performer emphasizes in his telling. Hicks's personal interpolations enrich the textural duality of these tales in which Jack's narratives arc juxtaposed with Ray's metam1rratives. Finally, this study also explores other aspects of the folk heritage, narrative repertory, and performance style of chis traditional storyteller who, like a shaman, believes deeply in tJ1c strength of his stories "to give the heart ease.~ In the liner not<.-s to his recording Ray JlicltS Telling Four Traditional "jack" Tai.es, Sandy Paton comments on the special folk heritage of Ray Hicks, who was born in 1922: At one lime or anot.lter, during my many t.rip6 to lieech Mountain, people had told me: "Why, yes, I used to hear thc:111 old s1.o1ies hdug t.<>ld when I wa.,yo1111g." A li:w hadevenourlinedaplotortwofor me. But it takes a special son of genius lo tell a ta.le the way Ray does­ delighting in it, invemingjusl a little each lim.: 1.0 keep it fresh and spontaneous. Ben Botkin has used the teim "folksayer" for lhosewho p<>6s<:ss I.his genius. Many ,11011111,,in p,x,plc sing folksongs; a few aTC real ballad singers, masters of an anciem an. But the lrue "fotksayer• is r::m,, indeed. Ray Hicks, No.-th Carolina mountain farmer and pal't· rime 1ncch;u1ic., is. without <111cstion. one or tbcsc. (2) Master folk artist Ray Hicks is a preeminent traditional North Carolina "folksayer." Since 1981, I have visited and recorded Hicks in his remote Reech Mountain home on numerous occasions, but initial contact with this teller was more difficult to arrange than had been the case with either Marshall Ward or Stanley Hicks, both of whom I spoke with by phone. In response to my mail inquiry into his.Jack Tales repertory, Ray Hicks dictated n letter to his wife Rosa explaining that he would expect monetary compensation in rccum for granting my request for an inter• view. Some regional storytellers justifiably feel that the Jade TaJt,5 have proven )uc.rative for collectors, while the folk creators themselves have gained little or nothing in return. As an example, Ray Hicks is a man blessed v,,ith many gifts, among tJ1cm tJ1c ability to evoke vivid spectacles in the mind's eye ofhis listeners, yet he lives in conditions which most people in this cocytry have difficulty imagining. His poverty throws into sharp reliefan ethical consideration that is ever present for folklorists: what is owed to folk artists in re tum for their performances of handed-down talcs? In "Perlorming as a Moral Act," Dwight Conquergood discusses this issue of the ethnographer's stanc.c in relation to tJ1e Other whose expressivity becomes the subject of scrutiny: 76 Moral and ethical quc:stions get stirred to the surface because ethnographers of performance <-:xp!ode the notion of aesthetic distance. In their fieldwork efforts to grasp the native's point ofview, to understand the human complexities displayed in even the most humble folk pc:rfonnana:, <:thnogiaphc:rs try 10 suin.'ltder thc:m­ selves to the centripetal pulls of culture, to get close to the face of humanity where life is not always pretty. (2) Obviously the folklotist mu.st decide such ethical matters as fair payment for a life portrait on an individual basis. My own decision under the circumstances was to make Hick.s an occasional remuneration for the pleasure of his company. However, my initial acquaintance with this shamanistic storyteller who would, in time, so generously share his wealth of wisdom was arranged through a personal channel, with pecuniary concerns put aside. OnJuly 11, 1981, during my only meeting with the late Mai-shall Wa,·d. Hicks's friend and neighbor, the retired school teacher suggested that I visit Hicks in person and explain that Ma,·shall Ward had sent me. I had been given a mountaineet·'s equivalent ofa letterofintroduction from the benevolent Ward, whose custodial care ofthe Beech MountainJack Tales extends even to this case study of Ray Hicks. Ward's oral calling card proved a successful introduction for me. Upon heating that Marshall Ward had directed me to his rural hillside home, the more reclusive Hicks ser.tled his six-foot, seven-inch frame into a worn ladder-back chair on bis front porch, which is adorned with protective hex signs. Rolling a Prince Albert cigarette, Hicks launched into a monologue merging tales of himself with stoiies of spirits, herbal healings, and a boy namedJack. The transcriptions that follow represent a compilation of Ray Hicks by Ray Hicks, a piecing together of both vintage Hicks narrative and his metafolklore, his own thinking about his storytelling, in the distinctive voice of this reflective storyteller. Unlike Marshall Ward, a folk curator who demonstrated a clear sense of historical chronology in his oral testimony, Ray Hicks's speaking style is more disjunctive and paratactic. At times, his conversations seem almost like so·eams of consciousness. Appreciation of the unity and internal cohesion of his long, loosely knit narratives requires an ear attuned to the storyteller's expansive, unhurried prose rhythms and cadences.
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