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Patricia Austin Becker - Cane River Bohemia: Cammie Henry and Her Circle at Melrose Plantation

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Patricia Austin Becker Cane River Bohemia: Cammie Henry and Her Circle at Melrose Plantation
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A National Historic Landmark with a complex and remarkable two-hundred-year history, Melrose Plantation near Natchitoches, Louisiana, was home to many notable women, including freedwoman and entrepreneur Marie Thrse Coincoin and artist Clementine Hunter. Among that influential group, Cammie Henry, the mistress of Melrose during the first half of the twentieth century, stands out as someone who influenced the plantations legacy in dramatic and memorable ways. In Cane River Bohemia, Patricia Austin Becker provides a vivid biography of this fascinating figure.

Born on a sugar plantation in south Louisiana in 1871, Cammie Henry moved with her husband to Melrose in 1899 and immediately set to work restoring the property. She extended her impact on Melrose, the surrounding community, and the region when she began to host an artist colony in the 1920s and 1930s. Writers and painters visiting the bucolic setting could focus on their creative pursuits and find encouragement for their efforts. The most frequent visitorsconsidered by Cammie to be her circle of congenial soulsincluded writer/journalist Lyle Saxon, naturalist Caroline Dormon, author Ada Jack Carver, and painter Alberta Kinsey. Artists and artisans such as Harnett Kane, Roark Bradford, William Spratling, Doris Ulmann, and Sherwood Anderson also found their way to Melrose.

In addition to hosting well-known guests, Henry began a collection of history books, nineteenth-century manuscripts, and scrapbooks of clippings and memorabilia that later brought her attention from the wider world. Researchers and writers contacted Henry frequently as the reputation of her library grew, and today the Cammie G. Henry Research Center at Northwestern State University houses this impressive collection that serves as a lasting tribute to Henrys passion for the preservation of words as well as for the Souths material culture, including quilting, spinning, and gardening.

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Cane River Bohemia
Cane River Bohemia Cammie Henry and Her Circle at Melrose Plantation - image 1
Cammie Henry works on her scrapbooks in her bedroom, 1930.
(Melrose Collection, SB 203, 32, Cammie G. Henry Research Center, Watson Memorial Library, Northwestern State University of Louisiana)
Cane River Bohemia Cammie Henry and Her Circle at Melrose Plantation - image 2
Cane River Bohemia
CAMMIE HENRY AND HER CIRCLE
AT MELROSE PLANTATION
Patricia Austin Becker
Picture 3
LOUISIANA STATE UNIVERSITY PRESS
BATON ROUGE
Published by Louisiana State University Press
Copyright 2018 by Louisiana State University Press
All rights reserved
Manufactured in the United States of America
First printing
DESIGNER: Michelle A. Neustrom
TYPEFACES: Whitman, text; Meltow San 200
PRINTER AND BINDER: Sheridan Books, Inc.
LIBRARY OF CONGRESS CATALOGING--PUBLICATION DATA
Names: Becker, Patricia Austin, 1959 author.
Title: Cane River Bohemia : Cammie Henry and her circle at Melrose Plantation / Patricia Austin Becker.
Description: Baton Rouge : Louisiana State University Press, [2018] | Includes bibliographical references and index.
Identifiers: LCCN 2018012796| ISBN 978-0-8071-6982-7 (cloth : alk. paper) | ISBN 978-0-8071-7027-4 (pdf) | ISBN 978-0-8071-7028-1 (epub)
Subjects: LCSH: Henry, Carmelite Garrett, 18711948. | Melrose Plantation (La.) History. | Natchitoches Parish (La.) Biography. | PlantationsLouisianaMelrose PlantationHistory.
Classification: LCC F377.N4 B43 2018 | DDC 976.3/6506092 [B] dc23
LC record available at https://lccn.loc.gov/2018012796
The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Picture 4
For my parents
Mary Earle Texada Phillips and William Hutch Phillips Jr.
ILLUSTRATIONS
MAPS
Location of Melrose Plantation below Natchitoches
PHOTOGRAPHS
frontispiece
Cammie Henry working on her scrapbooks, 1930
following page 80
FOREWORD
P atricia Austin Beckers Cane River Bohemia induces a palpable sense of time and place, along with a wistful yearning for the days when letter writing was the primary means of long-distance communication between friends. At the same time, she has created a fascinating, thoroughly researched study of the force of nature that was Carmelite Garrett Henry of Melrose Plantation at Isle Brevelle in southern Natchitoches Parish, Louisiana.
Accomplishing both in the same work is quite a feat. Becker educates us on the significant events of Cammie Henrys life, as a good biographer should, but at the same time captures the feel and taste of life on an isolated Louisiana cotton plantation and the mystique of Melrose, which, as the author says, infuses the place like the mist off the Cane River.
Miss Cammie was a widow at forty-seven with eight children, attending to the mundane details of running a profitable agriculture enterprise while creating an artists colony at Melrose that nourished a contingent of well-known writers, painters, and photographers.
The soul of this book is the relationship between Cammie and writer Lyle Saxon, naturalist and writer Caroline Dormon, and, to a lesser degree, writer Ada Jack Carver. Becker reveals their personal and professional interdependence through copious excerpts of letters between the four and provides the historic context in which these formal but highly personal, even intimate, letters were written. In fascinating detail, she describes how Cammie would forward letters she received to the others, so that the four of them would know what each was thinking. An inveterate collector of everything written, Cammie would insist that the forwarded letters be returned to her for inclusion in the myriad scrapbooks she kept during her life. These scrapbooks, along with the extensive contents of her library at Melrose, have been enshrined in the Cammie Garrett Henry Research Center at Northwestern State University of Louisiana in Natchitoches.
Never idle, Cammie Henry was a preservationist before it was fashionable, a generous and prodigious patron of all the arts, and a collector of documents, artifacts, and people. She held on to Melrose through the Depression, creating unique sources of income to support not only her family but also the many people on the plantation and in the community who depended on her.
The places and names that appear in this bookMelrose, Isle Brevelle, The Normal, Briarwood, the Lemee House, Cloutierville, Irma Sompayrac, Gladys Breazeale, Franois Mignon, Clementine Hunter, the Roques, the Balthazars, and the other Children of Strangers, to use Lyle Saxons term, who lived down the riverare all familiar to anyone who lived in the second half of the twentieth century in Natchitoches, where I was born one year after Miss Cammie died at Melrose in 1948. Through the years Ive been asked by many people in many places if I knew her.
My forebear, Londonderry-born Joseph Criswell Henry Sr., acquired Melrose in 1884, and his son John Hampton Henry, husband of Cammie, was the owner until his death in 1918 at the age of fifty-six. My cousin Pat is mentioned by Becker, described as a youngster playing at Melrose, climbing in the fig trees and building a set of stilts.
But you do not have to be related by blood or marriage to Cammie Henry or from Natchitoches or Louisiana to be enthralled with these people and places. The artists colony Cammie Henry created at Melrose, at the intersection of three roads down the winding Cane River in cotton country, has had a lasting impact and will be appreciated by any sensitive reader.
The author has written an important book about a creative dynamo of a woman who was a force in the lives of her writers and artists, through whose work the world learned of the mystique of Melrose. This book reminds those of us who knew of Cammie Garrett Henry of her accomplishments and introduces her to others.
For that, and for the emotions I felt while reading, I am forever grateful to Pat Austin Becker.
MICHAEL HENRY
PREFACE
O ne cold day in February 2013, I was at Melrose Plantation, standing in Cammie Henrys bedroom with a tour group, full of questions. It was certainly not my first tour through the plantation, but it was the first time I realized that there needed to be a record beyond what was currently available concerning her accomplishments. I was fascinated by the fact that this woman had opened her home to writers, artists, and photographers who wanted a quiet retreat in which to work. What motivated such a thing? What was the plantation like then, with Cammie and Lyle Saxon sitting on the gallery in the late afternoon, watching the sun set over the Cane River and talking into the night? Why hadnt her story been told?
As I began to search for answers, I found that there were two or three brief biographical sketches of Cammies life as well as a couple of good dissertations. But the treasure trove, the real insight into who Cammie Henry was, came through her own words, in her letters and in her scrapbooks. There she really began to come alive, reminding me sometimes of women in Kate Chopins novels yet vibrantly distinct in her own right.
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