Paul Hemphill – författare

A veteran journalist’s collection of sportswriting on the blue-collar South.

Sport mirrors life. Or, in Paul Hemphill''s opinion, “Sport is life.” The 15 pieces in this compelling collection are arranged along the timeline for an aspiring athlete''s dream: “The Dawning,” with stories about boys hoping and trying to become men, “The Striving,” about athletes at work, defining themselves through their play, and “The Gloaming,” about the twilight time when athletes contend with broken dreams and fading powers. Through all the pieces, Hemphill exhibits his passion for the sports he covers and a keen eye for the dramas, details, and hopes that fire the lives of athletes, allowing them to become prototypes of all human existence.

Most of the stories have been previously published in such national magazines as Sports Illustrated, True, Life, Today’s Health, and Sport. In “White Bread and Baseball,” the author chronicles his own boyhood infatuation with the minor-league Birmingham Barons, while in “Yesterday’s Hero” he details the sad end of a former All-American football player named Bob Suffridge, a portrait of a lion in winter. “It’s a Mad, Mad, Mad Whirl” covers nights on the road with the roller derby, and “Saturday Night at Dixie Speedway” captures all the raucous glory of a stock-car dirt track under the hot lights. “Big Night, Big City” tells of an anxious, small-town high school basketball team facing their crucial chance for glory at a state tournament in Atlanta, and the classic “Mister Cobb” details a personal lesson on sliding the young author received from “the greatest player in the history of baseball.”

These stories are often bittersweet, emotional, and mythic: little dramas bearing impact and psychological “size.” Some of them are distinctively “Dixie,” but they ultimately transcend time and place. Frye Gaillard, author of Kyle at 200 MPH: A Sizzling Season in the Petty-NASCAR Dynasty, writes, “For more than 30 years, Paul Hemphill has been one of the finest writers in the South, and I think he proves it again in this collection. He exudes a natural feel for the players and the game, drawing out the real-life themes of struggle and desire, occasional triumph, and the omnipresent possibilities of heartache and failure.”

 

While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie’s Orchid Lounge, Robert’s Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. “Harper Valley PTA” Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.

While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie''s Orchid Lounge, Robert''s Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. ""Harper Valley PTA"" Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.

While on a Nieman Fellowship at Harvard, journalist and novelist Paul Hemphill wrote of that pivotal moment in the late sixties when traditional defenders of the hillbilly roots of country music were confronted by the new influences and business realities of pop music. The demimonde of the traditional Nashville venues (Tootsie's Orchid Lounge, Robert's Western World, and the Ryman Auditorium) and first-wave artists (Roy Acuff, Ernest Tubb, and Lefty Frizzell) are shown coming into first contact, if not conflict, with a new wave of pop-influenced and business savvy country performers (Jeannie C. "e;Harper Valley PTA"e; Riley, Johnny Ryles, and Glen Campbell) and rock performers (Bob Dylan, Gram Parsons, the Byrds, and the Grateful Dead) as they took the form well beyond Music City. Originally published in 1970, The Nashville Sound shows the resulting identity crisis as a fascinating, even poignant, moment in country music and entertainment history.

Except for a massacre of five hundred settlers by renegade Creek Indians in the early 1800s, not much bad had happened during two centuries in Little River, Alabama, an obscure Lost Colony in the swampy woodlands of To Kill a Mockingbird country. "We''re stuck down here being poor together" is how one native described the hamlet of about two hundred people, half black and half white. But in 1997, racial violence hit Little River like a thunderclap. A young black man was killed while trying to break into a white family''s trailer at night, a beloved white store owner was nearly bludgeoned to death by a black ex-convict, and finally a marauding band of white kids torched a black church and vandalized another during a drunken wilding soon after a Ku Klux Klan rally.The Ballad of Little River is a narrative of that fateful year, an anatomy of one of the many church arsons across the South in the late 1990s. It is also much more -- a biography of a place that seemed, on the cusp of the millennium, stuck in another time. When veteran journalist Paul Hemphill, the son of an Alabama truck driver who has written extensively on the blue-collar South, moved into Little River, he discovered the flip side of what the natives like to call "God''s country": a dot on the map far from the mainstream of American life, a forlorn cluster of poverty and ignorance and dead-end jobs in the dark, snake-infested forests, a world that time forgot.Living alongside the citizens of Little River, Hemphill discovered a stew of characters right out of fiction -- "Peanut" Ferguson, "Doll" Boone, "Hoss" Mack, Joe Dees, Murray January, a Klansman named "Brother Phil," and his stripper wife known as "Wild Child" -- swirling into a maelstrom of insufferable heat, malicious gossip, ancient grudges, and unresolved racial animosities. His story of how their lives intertwined serves, as well, as a chilling cautionary tale about the price that must be paid for living in virtual isolation during a time of unprecedented growth in America. God''s country is in deep trouble.