Mary Jordan stretched her legs out and laid her head in Evie’s lap. The sounds of the water and the music and the wind lapped over us. The sea rolling in and out, the voices bursting forth and ebbing, as if the very rhythm of the night was God’s one pulse beating inside us.
My body was tucked into Dewey’s, his arm wrapped around my waist. After a while, he said, “Let’s go for a walk.”
We took off down the beach, clasping each other’s hands.
“I’ll miss you,” he said.
“I’ll miss you, too.”
“I’ll call. Every day if I can.”
And then, out of nowhere, I felt this terrible fear crawl under my skin.
We stopped walking and Dewey wrapped his arms around me. “What’s wrong?”
“I’m scared,” I said.
He rubbed my back, stroked my hair. “Don’t be scared.”
Tommy Pierre had said he’d call. He never did. Doug had told Mary Jordan he loved her. I wanted to believe Dewey would call. I wanted to believe that things between us wouldn’t change. I wanted him to come home after his month in Montreal and hold me just as tightly as he was right then. Evie once told me to believe only in the things you want to come true. She said fear is believing in the things you don’t want to happen.
Standing there with Dewey, I knew nothing was certain. I couldn’t be certain that things between us would stay the same. I couldn’t be certain he would come home. I realized a broken heart isn’t so much the loss of the person as it is the loss of your dreams with that person. I decided Evie was right, and I knew I would rather believe and hold on.
Dewey held my face in front of his. “Don’t fade on me,” he said.
We stood there for a long time, as if memorizing each other, the sense of each other’s presence, the smell of each other’s skin. He took hold of my hands again, clasped his fingers between mine, lifted them slowly so that our palms were pressed together just beside our shoulders, and then he kissed me, as tenderly as possible, his lips as smooth as the moist ocean air, our mouths loosening into a long, deep kiss as each of us breathed the other one in.
Acknowledgments
Writing a novel isn’t just a process, it’s life—everything good and bad and in between. It’s the joy and grief and comedy and love. And it’s the people, without whom there would be no story. My deepest gratitude to Mom and Pete, for their love and faith and the sanctuary of their lives; for Dad and Jane and their stalwart encouragement, for sticking with me through tough times and keeping me on the forward road; for my brothers and all those friends and families from Nashville, who stay close wherever I go; for my grandparents, those still living (Grandma in Michigan and Marie in Tennessee), and those who have passed on (Mamaw and Papa Joe, Southern born and bred); for Taylor Littleton, whose love for Shakespeare and literature set my heart aflame; for Judy, Sue Ann, Michelle, Kathryn, and Laurie, spiritual compatriots and prayer warriors; for Michael White, Clint McCown, Suzanne Strempek Shea, and Ann Hood, for their mentorship and friendship and the books they have given the world; for the community where I live, the fellowship and the vistas; for Zippy and her hearth and home and soulful laughter; for Libby’s wisdom and love for the written word; and Dolly Viscardi, author and confidante; for my benevolent comrade, Susan (doctor), who came through time and time again; for generous Lew, ally and sage; and Jim and Sue and Jim, as good and loyal as they come; for Scott and his sense of humor and sense of place; for big-hearted Brad and his passion for the wilderness; and Ran and his wealth of musical knowledge; for Melanie and grad school and that first walk on the beach; for the University of Southern Maine and all my fellow Stonecoasters; for Evie and the Brickhouse where the story first began; for Rita and Mary Frances, and the inspiration of their lives; for Kathy and Jim and Bill, and all my other archery advocates and competitors; for Tim and Margot and their support; and Dan and Karen for their intelligence and insight; always to Eveline for the vision and my first taste of Cajun; for the Conrados and Easter and birthdays and days of good cheer; for Cindy and her encouragement when I needed it most; for Glade, Johanna, Jessie, and Katie and all my archaeology mates; for my students who gave me an audience and knew when I could use a hug; for Jeannine and her bed and breakfast and her incredible faith and love; for Melanie Cecka, amazing editor and friend; and Steven Chudney, agent superb; for Nate, Seth, and Jake—I love you with all my heart; for Moab, in his memory, a woman’s true best friend. As my student, Aaron Webster, captured with his words: Love is like a heart beating strong. Love is like the sun always shining. Love is like a horse, wild and free. Love is like the grass, graceful and quiet. Love is like ice, strong but sometimes thin. Love is like a spirit, or the whisper of the wind. My heartfelt thanks to all.
A Note on the Author
Diane Les Becquets was hailed by Publishers Weekly as “a writer to watch” after the publication of her first novel, The Stones of Mourning Creek. She is an assistant professor of creative writing at Southern New Hampshire University, and she also enjoys archaeology, snowmobiling, bicycling, and archery. Diane lives in New Hampshire, where she is working on her next novel.
Praise for Love, Cajun Style
“Like a spicy Cajun stew, this mixes together lots of ingredients, and the result is delicious…. Les Becquets creates a wonderful world that not only captures the emotions and dreams of youth but also the longings and regrets of adults…. This is romantic, real, and lots of fun.”
—Booklist, starred review
“Filled with playful vignettes of a fun-loving Cajun lifestyle, here’s a novel dealing with sexuality that can appeal to both conservative and liberal readers…. Realistic, affecting and enjoyable throughout.”
—Kirkus Reviews
“This story is told with humor and warmth and is deliciously full of Cajun metaphors and mouth-watering cooking descriptions—and one particular scene with Tabasco that will provoke squirms and giggling.”
—SLJ
“A sweet, homey novel.”
—VOYA
“Les Becquets cooks up a pot of small-town southern life that comes together like a jambalaya—spiced with humor and goodwill, with tasty chunks of occasional conflict and misunderstanding that melt away into a harmonious happy ending.”
—BCCB
Let the good times roll, and learn even
more about how to develop your own
“Cajun style” with these fun extras!
Music, Cajun Style
CREATE YOUR OWN SOUNDTRACK WITH THESE
MUSICAL VOICES FROM THE BOOK
SPICY SUGGESTIONS FOR MORE MUSIC
TO READ BY
Food for Thought, Cajun Style
FOOD FROM THE BOOK
Conversation, Cajun Style
A READING GROUP GUIDE
Music, Cajun Style
CREATE YOUR OWN SOUNDTRACK WITH THESE
MUSICAL VOICES FROM THE BOOK
John Coltrane
Linda Ronstadt
Barbara Mandrell
Crystal Gayle
Patsy Cline
Billie Holiday
Fats Waller
The Doors
Green Day
Diana Krall
Nirvana
Vivaldi
Bach
Beethoven
Chopin
SPICY SUGGESTIONS FOR MORE MUSIC
TO READ BY
Buckwheat Zydeco
Clifton Chenier
Beau Jocque and the Zydeco Hi-Rollers
Waylon Thibodeaux
Michael Doucet and BeauSoleil
The Balfa Brothers
Lynn August and the Hot August Knights
Percy Mayfield
Charles Sheffield
Rockin’ Dopsie, Jr. and the Zydeco Twisters
Food for Thought, Cajun Style
FOOD FROM THE BOOK
APPETIZERS
Creole Vegetable Soup
Shrimp Beignets
Herbed Bread
Oysters Iberville
Crab-Stuffed Mushrooms
Crawfish Dip
SWEETS
Bourbon Pecan Pie
Buttermilk Pie
Pecan Yam Muffins
Turtle Shell Cookies
Parfait
Rum Raisin French Toast
ENTREES
Étouffée
Crawfish Pie
Crabcakes Lisette
Seafood Consommé
Shrimp and Okra
Gumbo
REFRESHMENTS
Creole Coffee
Iced Tea
Virgin Hurricane
Punch
Conversation, Cajun Style
A READING GROUP GUIDE
Love, Cajun Style is told from Lucy’s perspective. How do you think events would differ if told through Evie’s or Mary Jordon’s eyes?
Lucy looks at the relationship between Ms. Pitre and Miss Balfa and wonders where she, Evie, and Mary Jordon will be in forty years. Where do you see yourself and your best friends forty years from now? What makes a good friendship withstand the test of time?
What do you imagine happens to Lucy, Evie, and Mary Jordon after they graduate high school?
“Once in church, Father Ivan read from the Bible that a cord of three strands is not easily broken. I’m sure that had something to do with God, but all I could think about was Mary Jordon and Evie and me” (page 54). What do you think it is about these three young women that keeps their cord entwined—and strong?
In the novel, Dewey comments on how slowly time passes in Louisiana compared to in the North: “‘If you took an hourglass in Detroit and one from here, the sand from Detroit would move a lot faster’” (page 99). How would you describe the pace of your own life? Do you ever wish it was more (or less) like Lucy’s small-town, Southern experience?
Southern turns of phrase are sprinkled throughout the novel, such as: “Tante Pearl once said that listening to Mama tell a story was like milking a cow with a bad teat. By the time she finished, you weren’t sure whether to cry or get drunk” (page 33); and “‘I swear you can crawl under a person’s skin like a june bug’” (page 120). In what ways do you think these sayings enhance the story? What comparable phrases are native to your region?
One reviewer commented: “Here’s a novel dealing with sexuality that can appeal to both conservative and liberal readers. Not all characters make good decisions, but the love of the three friends for each other heals wounds” (Kirkus Reviews). Do you agree or disagree with these comments? Why?
More than half the town attends the wedding of Mrs. Forez and Clyde. Why do you think this late-blooming love inspires hope in so many people of all ages? What was your reaction to their union?
Lucy’s mother describes her own life as a pie made up of equal parts music, sex, art, and cooking. If you were to divide your life in similar portions, what would your main ingredients be?
This novel taps into a pivotal point in these young women’s lives. They’re dealing with emotional and physical changes that they both eagerly await and reluctantly delay. “Lying on my back, I drew my knees to my chest, wrapped my arms around my legs, and held myself, trying with all my might to keep a part of myself from slipping away…. The part of me that didn’t want to grow up” (pages 137–138). Have you ever felt this way? If so, what brought on those feelings?
Do you agree or disagree with Lucy’s, and subsequently her friends’, responses and reactions to Mr. Banks’s behavior?
In the novel, Lucy wrote down a wish to throw into the ocean, much like Tante Pearl did at her family’s wishing well when she was Lucy’s age. Do you have any wishing traditions or superstitions? What do you wish for?
Lucy’s aunt and mother are very different from each other. How do you think these differences play a role in Lucy’s development?
If you and your friends had your clothes stolen while skinny-dipping, what type of revenge, if any, would you carry out?
“‘He told me that a kite string was like people’s lives. In one way you could look at the string as holding a person back, but he said you could also say it kept the person grounded, like family, or having a place where you belong, or friends. That without it, a person can get lost’” (page 100). Which way best describes your life? Would you prefer it to be the opposite?
Lucy easily locates beauty in her friends, but she is self-conscious about her own height, resenting nicknames like “Queen of Sheba” and “Statue of Liberty.” Why do you think people judge themselves with harsher standards than they do their friends? Have you ever come to terms with a personal trait or nickname you didn’t like? How did you turn something you thought was a negative into a positive?
Lucy misconstrues her mother’s behavior when it comes to her interaction with Mr. Savoi. Do you think she was overreacting? What would you do if you suspected (or knew) the boyfriend or girlfriend of one of your friends was cheating on him or her?
Lucy eventually realizes she misunderstood her mother’s behavior. In what ways does the outcome of the situation between her mother and Mr. Savoi, and subsequently her mother and father, change Lucy’s understanding of herself? Of her mother?
Religion plays an integral role in Lucy’s life. Do you relate to her spirituality and beliefs? If so, how? If not, how do you differ?
If you were to produce the movie Love, Cajun Style, who would you cast in each role?
Copyright © 2005 by Diane Les Becquets
All rights reserved. You may not copy, distribute, transmit, reproduce, or otherwise
make available this publication (or any part of it) in any form, or by any means
(including without limitation electronic, digital, optical, mechanical, photocopying,
printing, recording, or otherwise), without the prior written permission of the
publisher. Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
Published by Bloomsbury U.S.A. Children’s Books
175 Fifth Avenue, New York, NY 10010
First published by Bloomsbury U.S.A. Children’s Books in September 2005
Electronic edition published in October 2012
www.bloomsburyteens.com
For information about permission to reproduce selections from this book, write to
Permissions, Bloomsbury BFYR, 175 Fifth Avenue, New York, New York 10010
Grateful acknowledgment is made to Ahab Music Company, Inc.
for permission to reprint lyrics from “The Streak.”
Words and music: Ray Stevens
Copyright © 1974 by Ahab Music Company, Inc.
Copyright renewed 2002
The Library of Congress has cataloged the hardcover edition as follows:
Les Becquets, Diane.
Love, Cajun Style / by Diane Les Becquets.—1st U.S. ed.
p. cm.
Summary: Teenage Lucy learns about life and love with the help of her friends and
saucy Tante Pearl over the course of one hot Louisiana summer before her
senior year of high school.
[1. Aunts—Fiction. 2. Family life—Fiction. 3. Friendship—Fiction.
4. Louisiana—Fiction.] I. Title.
PZ7.L56245Lov 2005 [Fic]—dc22 2005011948
ISBN: 978-1-61963-020-8 (e-book)
Love, Cajun Style Page 21
