Mine craft: Breece D'J Pancake's stories explore lives defined by their geology. Photograph: Dmitri Kessel/Time & Life Pictures/Getty.
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This year’s Stoner? Introducing Breece D’J Pancake

The publisher who brought John Williams’s Stoner to Random House believes he has found its successor: a “hillbilly” from the US coal belt with a precious talent.

When I first heard about John Williams’s Stoner, like everyone else I assumed it was a book about drugs. I was wrong. It turned out to be a sad American novel, first published in 1965, about a university English teacher who enters into a miserable marriage, has a brief love affair and then dies.

The book become a bestseller in Israel, the Netherlands and France. It sold more than 160,000 copies in the UK last year, ushering in a frenzy for so-called Lazarus literature: reissues of neglected or out-of-print texts. Robert Walser, Elizabeth Taylor, Hans Fallada and Stefan Zweig have all enjoyed a posthumous upsurge over the past 12 months, buoyed by imprints such as Serpent’s Tail Classics, Pushkin Press and Melville House’s Neversink Library.

Now the publisher Robin Robertson, who brought Stoner to Random House in 2003, believes he has found its successor.

Breece D’J Pancake was born in West Virginia in 1952. He grew up in an area known locally as “Chemical Valley”, among the region’s many coal mines. An earnest, self-motivated student, he attended Marshall University and taught for two years at a military academy before accepting a fellowship at the University of Virginia in Charlottesville. There he wrote 12 short stories, three of which were bought by the Atlantic Monthly (the magazine responsible for the elision of Dexter and John to “D’J” – an printer’s error which amused Pancake for its pseudo-aristocratic air).

When Pancake died, aged 27, from a self-inflicted gunshot wound to the head, Kurt Vonnegut wrote to John Casey, the young man’s writing instructor at Virginia: “I give you my word that he is merely the best writer, the most sincere writer I’ve ever read,” he wrote. “What I suspect is that it hurt too much, was no fun at all to be that good. You and I will never know.”

Those 12 stories, now published in paperback as Trilobites and Other Stories (Vintage Classics, £8.99), tell of difficult lives defined by geology. “Ain’t nothin’ but coal in this here hole. When we gonna hit gold?” asks a pit worker poignantly, early in the collection. The snappy, rusty vernacular, first-hand knowledge of physical labour’s debilitating effects on the body and spirit, coupled with vivid, painterly depictions of rural Appalachia, are the parts that make the sum of Pancake’s impressive output.

What emerges is an anxiety not so much about being good, but about being inferior. Amid the Southern gentry of Charlottesville, Pancake struggled to define his position. He both relished and detested his status as a “hillbilly”. He wrote to his mother explaining that his landlady had asked him to be a waiter at a party for the English department that should have counted him among its members: “[She] said if I didn’t she’d have to hire a coloured and they don’t mix a good drink. That tells me where I stand . . .”

Like Stoner’s sad professor, Pancake – and so many of his characters – considered himself a disappointment. Now that judgement is out of his hands.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

This article first appeared in the 16 July 2014 issue of the New Statesman, Our Island Story

Home Alone 2: Lost in New York
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The best film soundtracks to help you pretend you live in a magical Christmas world

It’s December. You no longer have an excuse.

It’s December, which means it’s officially time to crack out the Christmas music. But while Mariah Carey and Slade have their everlasting charms, I find the best way to slip into the seasonal spirit is to use a film score to soundtrack your boring daily activities: sitting at your desk at work, doing some Christmas shopping, getting the tube. So here are the best soundtracks and scores to get you feeling festive this month.

A Charlie Brown Christmas (1965)

Although this is a children’s film, it’s the most grown-up soundtrack on the list. Think smooth jazz with a Christmas twist, the kind of tunes Ryan Gosling is playing at the fancy restaurant in La La Land, plus the occasional choir of precocious kids. Imagine yourself sat in a cocktail chair. You’re drinking an elaborate cocktail. Perhaps there is a cocktail sausage involved also. Either way, you’re dressed head-to-toe in silk and half-heartedly unwrapping Christmas presents as though you’ve already received every gift under the sun. You are so luxurious you are bored to tears of luxury – until a tiny voice comes along and reminds you of the true meaning of Christmas. This is the kind of life the A Charlie Brown Christmas soundtrack can give you. Take it with both hands.

Elf (2003)

There is a moment in Elf when Buddy pours maple syrup over his spaghetti, washing it all down with a bottle of Coca Cola. “We elves like to stick to the four main food groups,” he explains, “candy, candy canes, candy corns and syrup.” This soundtrack is the audio equivalent – sickly sweet, sugary to an almost cloying degree, as it comes peppered with cute little flutes, squeaky elf voices and sleigh bells. The album Elf: Music from the Motion Picture offers a more durable selection of classics used in the movie, including some of the greatest 1950s Christmas songs – from Louis Prima’s 1957 recording of “Pennies from Heaven”, two versions of “Sleigh Ride”, Eddy Arnold’s “Santa Claus is Coming to Town” and Eartha Kitt’s 1953 “Santa Baby”. But if a sweet orchestral score is more your thing, the Elf OST of course finishes things off with the track “Spaghetti and Syrup”. Just watch out for the sugar-rush headache.

Harry Potter (2001-2011)

There are some Christmas-specific songs hidden in each of the iconic Harry Potter scores, from “Christmas at Hogwarts” to “The Whomping Willow and The Snowball Fight” to “The Kiss” (“Mistletoe!” “Probably full of knargles”), but all the magical tinkling music from these films has a Christmassy vibe. Specifically concentrate on the first three films, when John Williams was still on board and things were still mostly wonderful and mystical for Harry, Ron and Hermione. Perfect listening for that moment just before the snow starts to fall, and you can pretend you’re as magical as the Hogwarts enchanted ceiling (or Ron, that one time).

Carol (2015)

Perhaps you’re just a little too sophisticated for the commercial terror of Christmas, but, like Cate Blanchett, you still want to feel gorgeously seasonal when buying that perfect wooden train set. Then the subtly festive leanings of the Carol soundtrack is for you. Let your eyes meet a stranger’s across the department store floor, or stare longingly out of the window as your lover buys the perfect Christmas tree from the side of the road. Just do it while listening to this score, which is pleasingly interspersed with songs of longing like “Smoke Rings” and “No Other Love”.

Holiday Inn (1942)

There’s more to this soundtrack than just “White Christmas”, from Bing Crosby singing “Let’s Start The New Year Off Right” to Fred Astaire’s “You’re Easy To Dance With” to the pair’s duet on “I’ll Capture Your Heart”. The score is perfect frosty walk music, too: nostalgic, dreamy, unapologetically merry all at once.

The Tailor of Gloucester (1993)

Okay, I’m being a little self-indulgent here, but bear with me. “The Tailor of Gloucester”, adapted from the Beatrix Potter story, was an episode of the BBC series The World of Peter Rabbit and Friends and aired in 1993. A Christmastime story set in Gloucester, the place I was born, was always going to be right up my street, and our tatty VHS came out at least once a year throughout my childhood. But the music from this is something special: songs “The Tailor of Gloucester”, “Songs From Gloucester” and “Silent Falls the Winter Snow” are melancholy and very strange, and feature the singing voices of drunk rats, smug mice and a very bitter cat. It also showcases what is in my view one of the best Christmas carols, “Sussex Carol.” If you’re the kind of person who likes traditional wreaths and period dramas, and plans to watch Victorian Baking at Christmas when it airs this December 25th, this is the soundtrack for you.

Home Alone (1990-1992)

The greatest, the original, the godfather of all Christmas film soundtracks is, of course, John William’s Home Alone score. This is for everyone who likes or even merely tolerates Christmas, no exceptions. It’s simply not Christmas until you’ve listened to “Somewhere in My Memory” 80,000 times whilst staring enviously into the perfect Christmassy homes of strangers or sung “White Christmas” to the mirror. I’m sorry, I don’t make the rules. Go listen to it now—and don't forget Home Alone 2: Lost in New York, which is as good as the first.

Anna Leszkiewicz is a pop culture writer at the New Statesman.