Doris Betts’s fiction is strongly rooted in the landscape and experiences of North Carolina. Her first collections were solidly realistic stories about her own part of that state, the Piedmont Upper South, and they focus on everyday concerns such as growing up, growing old, racial tensions, family relationships, and death as it is perceived by the dying and the living left behind. Her later work, although still centered on everyday experiences and characters, time, and mortality, also moved into fantasy and passed through a concern with death into a consideration of the afterlife. Her later stories, as always rich in diction and image, operate on several levels simultaneously.
The Gentle Insurrection, and Other Stories
Betts’s earliest collection, The Gentle Insurrection, and Other Stories, presents twelve tales, each involving a paradox or oxymoron. In all of them, characters who would cause an insurrection by breaking out of their situations or typical lifestyles go no further than contemplating changes or making plans for them. The plots concern race relations in a small southern town in the 1950’s, mothers deserting children, children coming of age, love, illness, and death. The characters face the burdens of ordinary life as they struggle against serious odds, especially loneliness. Betts’s universal theme is the difficulty of achieving real understanding between people.
In this collection, then, there is at least momentary defiance by individuals toward their situations and their discovery that life is not a matter of finding happiness on some climactic day. While the characters seek self-identity, independence, and, often, love, the issue of morality usually lurks in the background. These threads remained central to Betts’s fiction, long and short, throughout her writing career. Her style is suggestive, metaphysical, economical, flexible, and religiously allusive; her sobriety and humor are also in evidence. The setting is characteristically southern, in terms of both geography and mindframes.
An example of someone involved in a “gentle insurrection” by attempting to break out of her mold is Agnes Parker in “Miss Parker Possessed.” Here a fortyish public librarian tries to jettison her persona of an unloved old maid who focuses on her library duties completely and efficiently. Her “other self” longing to emerge reveals an inner being that presses her to declare her love for Lewis Harvey, a widower and the head teller at the Merchants’ and Industrial Bank in her town.
At a meeting of the Committee of Councilmen Supervising Library Management, Miss Parker evidences her state of mind when she suggests that the library acquire a competent textbook on sex. Previously, her “second personality” had shocked some prudish women at the Ladies Bi-Monthly Book Club, which Agnes Parker has attended regularly. Overhearing Mr. Harvey and another council member discussing the possibility of first hiring a library assistant and then pensioning off the apparently sickly Miss Parker, she enters the meeting room and resumes her former demeanor. She can now meet Mr. Harvey’s glance and let out a long breath without the earlier fluttering in her chest. Rather, she sees the longed-for lover of her timid desires as a balding individual with protruding front teeth, an unpleasant-looking scar on his left index finger, and a similarly unattractive mole behind his ear.
The resumption of her former routines, responsibilities, and persona suggest the sorrow of a lost opportunity to love and communicate—elements so crucial in Betts’s thinking—and thus the return to her earlier empty life. That is how the author achieves the oxymoron promised in the collection title.
The Astronomer, and Other Stories
In the first movement of Betts’s The Astronomer, and Other Stories , the eponymous hero (his real name is Horton Beam) retires from the huge, noisy textile mill in North Carolina where he has spent most of his adult life. It is his last...
(The entire section is 2,562 words.)