Harper Lee, author of the internationally-celebrated novel To Kill a Mockingbird, lived most of her life as a reclusive legend in her own time. Famously eschewing further publishing for over five decades following the appearance of Mockingbird, Lee suddenly found her fame reaching new heights in her last days as rumors of an unpublished prequel to her landmark book surfaced. Rather than appear front and center submitting to interviews and retrospectives in the media frenzy, however, Lee seemed only to retreat further from the public eye. Ultimately, questions of her mental state were bandied about, and scuttle that she was not competent to give consent to the publication of the manuscript she penned so long ago were openly discussed. The whole affair was unseemly. The reading public clamored to know more about Lee, and craved to hear her in her own words. With the publication of Wayne Flynt’s Mockingbird Songs: My Friendship with Harper Lee, they finally get to—sort of.
Appearing less than two years after Lee’s death in 2015, Flynt’s book has the appearance of providing the glimpse of the legendary author in her reality that was conspicuously absent from the hubbub surrounding her last days. The book is essentially the unedited correspondence between Flynt (a close friend who delivered the eulogy at Lee’s funeral) and Lee in the form of letters which were written sporadically over the last two decades of her life as a friendship between the two developed. Flynt is one of the most accomplished and respected historians of the South today, having recently retired from an accomplished teaching career at Auburn University which featured a prolific amount of celebrated writing about the twentieth-century South. He has become something of a commentator on Southern culture and the tragic legacy of its notorious inequalities of late, combining his scholarly training, teaching experience, and his background as a Baptist minister into a rare position as an authority on the modern South. His empathetic insight into the heritage and contemporary reality of his home region is much in demand. It is important that readers know this man is so highly esteemed by so many, because I fear the book could easily be misinterpreted as self-serving by those unfamiliar with his career.
It must be acknowledged that at first blush Mockingbird Songs might be seen to present neither author nor publisher in the best light. There are as many of Flynt’s words as Lee’s in the book, and in general the correspondence has less to do with weighty reflection than a strengthening bond of friendship and arrangements for visits. The letters are rather infrequent, occurring in spurts over the period of many years. Further, the fact that the letters, on the whole, have relatively little substance and that they are reprinted verbatim—addresses, phone numbers and all—will certainly raise the eyebrows of some who might view the entire effort as little more than a crass attempt to cash in on Lee’s fame. I do not think any of this to be the case. Indeed, the book could only have been published with the blessing of Lee and, no doubt, her family.
But for a historian with so much experience, and one so driven to use history as commentary on the present, there is something less than satisfying with the publication. We do get a glimpse of Lee as a person, but this is certainly no full biographical portrait. We gain a grasp of her wit and worldview, but this is no thorough investigation into her motivations and character. We are treated to a few definitive refutations of the longstanding rumors that Truman Capote assisted in the writing of her famous novel, but this is no thorough evaluation of her literary legacy. Instead, the book is at once an attempt to do all of the above and none at all. In final review it is an interesting window into the life and times of one of Alabama’s most famous and self-consciously elusive natives. For many people throughout the nation, that no doubt will be enough to make it worth their time to read.
JMB