The purpose of this essay is to support the premise that an idea is born, nurtured, and raised to maturity just as an individual is. That idea is death, the cessation of life - or death-in-life - as the sole source stream in a writer's world. That idea was/is a gift. For me, it is a second-handed gift, because I was influenced by a certain group of writers via the influence that this group exerted on my first mentor in creative writing. I received the ideas pandered by my mentor from many writers, even Paul Laurence Dunbar, the first professional African American poet, and the American poet Edgar Allan Poe, but more readily from the pre-romantic writers of English literature. Some of the pre-romantics belonged to the eighteenth-century Graveyard School of writing. Back-story reveals that my mentor occupied his mind with the thoughts of others to buttress the "brutal dilemmas" of his own existence, dilemmas that had in part faced the writers of his favorite literary works, especially Robert Burns and Edgar Allan Poe. Catherine Haich, after experiments and experiences with spiritualism, expresses the view in her book Initiation that "... it is possible to receive the thoughts of another human being" (90). After years with Sweet Mary by "Sweet Afton," the tragic child bride Annabel Lee, the "Raven" quoting "Nevermore," and the man without a country (but with a "dead soul") sauntering the deck of ship after ship, mumbling, "I can never say again, |This is my own native land,'"(1) I became an initiate of "tragedy" as my mentor envisioned it, and was eventually baptized as a true believer. My mentor was my father, Calvin Shepherd Jackson (1880?-1947) of Winsborn, South Carolina. He became my mother country as a writer. His spirit, his consciousness, his thoughts permeated my being so completely that it is fair to say that he was my god from 1923 to 1930. This man, who became a Christian minister, believed in the efficacy of fate. His classical studies at Benedict College in Columbia, South Carolina, in the field of Greek literature introduced him to the Greek mind/spirit that held fate as the grand arbiter in human affairs. He never came to terms with the idea that Jehovah God could man the affairs of the being created in his own image with justice and mercy. He, somehow, did not ingest the ideas that, though the tragic hero moved to catastrophe because of his flaw in character, he maintained his moral courage and spiritual prowess. A line from Calvin's poem "The Apple Man" reads, "All my themes become discord." Since Calvin was my god, I worshipped at his shrine of "tragedy," unconsciously bringing a predilection for doom and gloom into my stories and verse. When Lance Jeffers, the revered African American poet, read my short stories in the mid-1980s, he said in a letter, "Several of your stories are realistic tragedies. There is often in |Rena' in Such Things from the Valley, |Silas,' |Little Jake,' and |Runetta' in Seeds Beneath the Snow, that element that sobers and brings tears to the eyes."(2) My few faithful critics have never become tear-struck on reading my fiction,(3) although they do note some characters who are struggling to alleviate inordinate justice. Lance, however, set me thinking. I knew Aristotle's "imitation of an action" definition of tragedy. I knew about Shakespeare's tragedies. But Lance's words came across to me as "What have I to do with Hecuba?" in terms of my having an affinity with tragedy as a writer. Me? Tragedy? Then, I remembered Linda's conversation with her sons in Arthur Miller's Death of a Salesman. Her inference that a small boat has as much need for a harbor as a large one shows us the "brutal dilemmas" in the life of the humble man, whose life counts as well as the life of a mighty ruler. The death of Linda's husband Willie Loman is a metaphor of fallen humanity. For the first time I was moved to examine my own stoies to see why my people were always falling. …