Monday, February 23, 2015

The Reasons Dolores Left Tucson to Go to Kolob to Find Fox: It Was the Karma and it Was the Love

It was an accident. Or, not really. Dolores doesn’t believe in “accidents”. Or “coincidences”. Crystal Vision shows the deeper pattern, see? “Coincidence” is what the ignorant call it when two or more things happen together without them seeing that the things are interdependent. They say “coincidence” and the Crystal Vision says No, it’s not. C.V. says: These two or more things happened together because they caused each other. It’s Karma. So. And “accidents”? Same thing. Obscure Vision is all about saying It was an accident, but it wasn't. No. It happened because of Karma, which in C.V. is interdependence. Attaining C.V. is when you go, like, You are here and I am here and that is not a coincidence and you are here and I am here and you hit me and that is not an accident. That’s why she left Tucson.

It was also for this other reason, which is: Fox. So: She had this nice house she shared right north of the U of A campus. It was really nice, and her roommate was really sweet. Her roommate was this Poli Sci major and was hardly ever home because she was always studying with this guy. So Dolores had the house pretty much to herself. And there was this guy she had fallen in love with, Fox, who had left, but he had been coming here lots when her roommate was out. That is his totally patched up flannel short he left hanging on her chair there in the corner.

She also has this good job that is only three days a week doing reception at the massage and P.T. place. It iss filing and phones and showing clients in the waiting room how to do the hot water thing for tea and she does the Pandora mix and a little cleanup. It's chill. It pays her half of the rent, and her half of the food, and stuff. And, but, she also has this other source of income? Which, it is grass, "gifting it to her list of friends", which, to be honest, is how the supplier says "selling it to her list of customers". Like, for money. Which, right? She just bikes up to Campbell every Monday to this little house with palm trees in a yard with a wall and the guy with these great dolphin tats on his inner biceps, called Minoan dolphins, always gives her a hug and says Hi, gorgeous, and gives her the twenty bags in a gallon Ziploc, and he weighs each one on the scale and enters the weight in his laptop and she signs and she bikes back to her neighborhood and makes the calls and delivers and gets the money. It is so easy. She has to do the reception thing to avoid suspicion, right? But the real money is the weed. It is such a phat job. She really can make lots of money this way. It is like, another two grand a month, for, honestly? no work at all.

This is the part that was not an accident: so, one Monday she was doing her usual morning thing, which was make a big jar of tea and go back to the courtyard and get some sun. It was one of those old Tucson houses with the walled courtyard in the back, and all these yummy fruit trees around a little patio that was sunny in the mornings. Pomegranate, orange, guava, tamarind. It was this little private garden, like paradise. She would take her shirt and pants off and water the trees in her underwear, getting some sun. Sipping the tea, maybe listening to some tunes. Maybe lie on the chair and work on a Pandora mix. If her roommate was at school she would sometimes take off the panties too, to get sun down there. It felt just delicious. It also made her hot. So: that Monday she got lots of sun, and then decided to bike over to Campbell and get her supply. It was hot. She went in and checked out her tan. No lines on top, almost no lines down there. She had a great tan. Golden. So she put on some oil, and then pulled on her favorite cutoffs and a white tank top and her Chacos and tied this piece of purple 6-mil rope around her dreads to keep them from falling in her face as she rode, and she got her cash, and set aside her take, and pocketed the rest and biked over to the guy’s house.

She knocked. Three, pause, three, pause, three. She saw the shadow in the peephole, and then the guy opened the door. He smiled and said Hi, gorgeous, like always. He stood in the door, then he said Dayum, girl, you are extra gorgeous today. And she smiled and went to step in, and he didn’t stand back and then he hugged her, and then she went in and he closed the door behind her. He invited her to sit. Always it had been, like, down to business? And now he was all, like, Take a load off, dollface. Have some lemonade. Which, why not? It was hot out. So she sat with him in the kitchen. Really nice in there. It was a small house, but really nice stuff. Really neat and clean. Big flat screen. These nice silver appliances. Art. Real paintings, not just posters. She really liked the furniture, all hand-carved or something, like from Mexico, all uneven and rough and painted with bright colors. Plus he had parrots and these other tropical birds in big cages in the yard, and a fountain you could hear in the house. It was really nice and the things he had were really interesting.

So, they sat and had lemonade and he asked about her. Sort of personal, but he was really nice. She asked about him a little, too, but really, she just wanted to go but she didn’t want to look impatient or anything. Then he was like, You should come to dinner. I have this big grill. I make this vegetarian stuff on mesquite. So good. And she was like, That would be really nice. And he got up to go in the little office room for his dealing business but when he got to her end of the table he put the back of his hand on her cheek and he said it again: Dayum, girl! And then he went and got the bag and the scale and started doing his thing with the laptop. She felt pretty weird. It was not what she wanted with him. It was always all business and now it was totally shifted.

And of course C.V. says: it is not a coincidence. That does not mean it is okay. Or good, or whatevs. It just means: for good or ill, you and I here together is not a coincidence. And what will happen is not an accident. It is the Vast Web of Karma. It is everything that ever happened and even will happen playing out in the Illusion of the Here and Now.

She thought super hard to think if she could see the Vast Web and where she maybe crossed paths with the guy in the past, or in the future, out of the illusion. But she didn't know. But she felt weird. It was like it was interesting how weird she felt. In the old days it was okay if a man, like a knight or a prince or something, touched you and said You are so gorgeous, but these days those days are over. It can be totally creepy these days if a dude is like, Hi gorgeous and touches you. Maybe it’s because of porn or something. Or maybe in the old days they had valor and chivalry and now we don’t, but, anyway: creepy. Especially with an older guy like this, in this house that’s like a little Mexican museum. But she could not think of any bad Karma with the guy.

He must have noticed how nervous she was. It was probably her arms folded in front of her breasts, which she did because the white tank-top that had felt so nice on her hot skin now felt, well, pretty much transparent, what with the air conditioning blasting on her. And the cutoffs felt really tight and very short. And her legs felt very, very long. She did the breathing exercise. The mindfulness one. To be in the present moment. But she was all jangly. From the tea and sugar and now the creepiness feeling. Anyway, he must have noticed how nervous she was, ‘cause he stopped the weighing and the laptop stuff and looked up at her. He looked in a weird way. And then he went: What’s up, sister? You look all jumpy.

And she said I don’t know. Just feel weird?

He stood up and stood there looking at her and she felt like she was shrinking. He kept getting bigger or something.

Then she thought of her dreads. She pulled on the purple rope and they fell down past her shoulders. She tilted her neck forward and the big dreads fell down in front of her breasts like protection. But he took it the wrong way, the letting her hair down. He stepped up and she looked down with her arms in front of her and then there was this like bang? in her head?

Anyway, she was on the floor and he was standing over her with the scale in his hand and he was saying Oh God, oh God, it was an accident. Oh shit.

She got up and went to the door and let herself out. It was too bright. She had spots in her eyes, and little swimming stars. She went to swing her leg over the bike but she wasn't balancing right and then he was holding her arm up high really hard. Then he handed her her backpack and he started putting bags and bags of weed in it. Like ten of the gallon Ziploc bags. He just loaded it up. He was shaking really bad and she was just standing there all wobbly with the bike between her legs. Then he went in and said It was an accident. I’m so sorry, and closed the door and bolted it.

She biked home really slow. The side of her face had its own heartbeats.


Of course, in C.V. there are no accidents. So she just repeated it over and over: There are no accidents. There are no accidents. She smoked a big bowl and drank a couple beers and locked the bathroom door and took a long shower, then went to bed all stoned but still jumpy, and as she finally felt sleepy she thought: I’m so out of here. This place has bad Karma for me. And she reached to her bedside and picked up the top card and it was the Ace of Swords and she knew that her plan, which had been really foggy til now? was the answer: to go find Fox. Love is the answer. That was so clear.

Sunday, February 22, 2015

How Charley Cowary Come to Be in Kolob

He wanted to be a pro. He was good in high school. He was pretty big, he could bench two-ninety. Pretty strong and big. He put up the posters and wore the jerseys, plus he did dips and taped his wrists. It was him and the team in the halls between classes all booming suck my dick this and you pussy that and carrying their books gripped that way, fingers vising the top edge palm down faking casual. To show his strength. Girls carried them on their hips. Skinny boys cradled them with their hand hooked below. The team gripped them that casually strong way palm down. To be all cool but it took effort carrying them that way.

He skipped classes. Who needs algebra. The Peloponnesian war. Shit like that. He worked at Foot Locker and rebuilt the ’69 Camaro with his dad. Painted it Wisconsin red and white. He graduated. Who doesn’t.

He did not get the call. He went to the walk-on tryout senior year and got hit so hard by a farmboy a hundred pounds heavier he passed out. They did not call him back. He stayed on at Foot Locker summer after graduation. Stopped working out.

His uncle hired him on at NAPA. He drove a delivery truck around Milwaukee. Parts warehouse, mechanics’ shops. Parts warehouse, mechanics’ shops. Then they promoted him to Counter. He put on 75, 80 pounds working Counter. He did that for three, four years. Knew all the parts, pretty much. Knew all the mechanics and the weekend DIY guys. Worked on the ’69 Camaro til it was cherry, then sold it to some big high school kid’s dad.

His doctor said get exercise every day. Walk. Go to the gym. Maybe lift. But if you don’t lose that weight you are going to die young. The doctor reminded him of Coach, so he did what he was told. Every morning early he walked. He lost the weight. He felt dynamite. 110%. He got a new girlfriend that was way sexier than the other one. He dressed sharp. Tucked in his Charley NAPA shirt. Got promoted to Warehouse Inventory Manager. Moved with the sexier girlfriend to Atlanta and bought a house. That went pretty good for a few years. He got promoted up through Inventory. She wanted to get married but he had this stupid thing on the side with a girl at H.Q. and the girlfriend left. He slept around for a while and focused on work.

He flew lots. Went from store to store all over the country, implemented the new Inventory Control System. It was a big deal. He got lots of recognition and got bumped up to Corporate. It was the role he was born for. He never knew he could do Corporate. He wore a suit and made deals. He ended up Vice President for Purchasing. Twenty five years out of high school they sent him to get a BPA. He did it in evening classes. Then he retired, years early, on his savings and did the MBA at the University of Colorado. Went to work for a software company that did inventory control for the Fortune 500s. After that, he found some investors and started his own business. He hired some programmers and they did distribution optimization. Sold that and he was done. At 50. He sold his house in Denver right before the recession. For a mint. The amount startled him. Millions in assets. Real estate. Shares in the company that bought his software.

He met a younger woman in Phoenix that winter. They were golfing in Scottsdale, staying at the Loew’s. Real nice. They were drunk in the hotel bar and she asked him up to her room and pretty soon they were married with a kid on the way.

All these years he’d kept up the walking and the working out. He was fit. Had this girl who helped him dress sharp. A personal shopper. He got two expensive haircuts a month. Bought a nice house in North Scottsdale, on the fairway with a pool and a view of the McDowell Preserve. Things were going good.

Then he just couldn’t get it up anymore. Here he was with his pretty younger wife and it just didn’t work. He tried Viagra, of course, but no go. He just wasn’t that interested. Plus, he was pretty sure she was sleeping around. A rumor she’d been in a downtown club with a big man her own age. He didn’t really care.

He’d been taking the RV to the National Parks by himself. Every couple months he’d take off for a week or so. Drive to a Park, do the hikes. Went to Canyonlands, southeast Utah. It just felt like where he belonged. Phoenix and his wife and the kid and all the shit with pool maintenance and HOA meetings and drinks at the golf club and not getting it up just sort of went away. He got his ducks in a barrel and had his attorney deliver the house and car titles and a pile of stock certificates and a college savings account for the kid and a bunch of other paper, including a petition for divorce, to his wife. He left a package of MagnumExtra-sized Trojans on the counter along with the spare keys to the Mercedes convertible and the ski-boat. He kept the RV and enough money to last his remaining years.

She tried to get more from him, but her attorney told her it was pointless. He’d already given her far more than the law required.

He bought a hacienda-style place in Moab. Got to know Canyonlands pretty good. And Arches. Even made several trips deep into the Maze. Bought a new pickup just for that.

He walked farther and farther into the wilderness. Went all around the Colorado plateau, from the San Rafael to Chaco. One night about sunset, deep in southern Utah, he hiked out of a remote canyon where he’d been lost for two days. He was very hungry so he drove 80 miles up a dirt road in the dark to a tiny town. The smallest dot on his map. Just a cluster of houses and some outlying ranches in a narrow valley between the canyons and a huge standalone mountain. In all the black night just a few lights out there. There was this strange thing he saw. Like a vision. In that lonely place a big yellow window floated in the perfect black and the window was full of people. Like fish in a tank. It was like they were just bumping around in that glass rectangle, drinking and laughing. In his headlights there was a handpainted sign with an arrow pointing at the floating window. It said Be Merry Restaurant. He parked the RV. He tucked in his shirt and dusted himself off as best he could. He could hear music as the door swung open. Someone off in the dark smoking. He walked around toward the door. In the back of the room three young people on upright bass, banjo, and fiddle and an ancient scrawny woman on drums. A mix of people dancing. Old ones and young ones and a few kids. The tables pushed back. Most of the dishes cleared and people drinking wine and clapping to the music and dancing and that yellow light and the music and laughing and clapping. It was a restaurant, but it was also like a home party or something. He hesitated to go in. Maybe it was a birthday, some private event. But he was hungry. Anyway, he ate a steak. It was good. He hadn’t been drinking much in the last couple years, but he got a glass of wine. Then a bottle. The waitress was cute. He felt good. A young guy with a drowsy toddler on his lap talked to him in a neighborly way. Big Charley with his now-gray crewcut and this kid in his twenties with beaded braids in his beard talked like they were buddies. Like the kid didn’t care who he might be as long as he was decent. Charley was decent. He had a great time. Felt so good. The very long last couple days lost in the desert, the long drive, the night black as ink and then this good meal and this old-style music and the warm people and the wine. He felt like a million bucks.

He slept in the RV in the parking lot. Early the sun came up the valley over long hayfields and pastures. The view seemed a fiction. Something ideal. The canyons and mesas ranked a hundred miles into the white east. The sun coming to him through the spray of a hundred chugging handlines. Angus cattle and the sawtoothed ripgut fence cutting the sunrise to his feet. He sat in the door of the RV and watched the shadows back away and the colors sharpen
.
The restaurant opened midmorning and he went in for coffee. The sunlight on his table was harsh and the place was quiet and sober.

This is how Charley Cowary came to be in Kolob. It was what he wanted, or what he imagined he wanted. Peace and quiet. Remnants of old ways. Cowboys and conservative old Mormons. Friendly people. The magnificent scenery. That’s what he thought about over the next several days as he looked for a house to buy. He wanted nice neighbors but not too close. He wanted enough land to have a horse. A barn he could convert to a woodshop. He though he would spend his retirement being a woodworker. It felt right. A view out over the canyons and pastures. Walking distance from this restaurant where he could drink coffee mornings and wine nights. For the first time since high school he had an exciting vision of the future. Before the week was over he owned a house, a horse, tack, and a restored Ford tractor. He started the life he’d never known he’d wanted.

*             *             *

This is how Charley Cowary came find a place in Kolob, and to buy the horse and tack and the restored Ford tractor:

That first day in Kolob, after he had coffee at the Be Merry, he took his morning walk right there in the middle of town. It was just a crossroads, where the dirt road he’d driven out of the desert the night before teed into a two-lane county highway that came out of the canyons and went up to the mountain. The Be Merry was right there at the intersection. There was a store next door, mostly tourist stuff and an espresso machine and snacks. Off to the side a small sawmill with the overhead door wide open but nobody around, just drifts of pine dust blowing across the highway. Up a ways there was a shabby two-pump gas station and a little motel straight out of the ‘50s. Other than that, just a couple dozen houses scattered around back from the roads and a post office and a fire station that was little more than a Quonset hut. He walked by all this in a minute. A dirt lane went off the highway toward the pastures, and he went that way. From around a bend he could see a cloud of dust and soon a herd of a couple hundred pair of whiteface cattle came up between the roadside fences. Behind them on either side rode two cowboys that from a distance looked like straight out of a John Wayne. He stood off to the side to let the cattle through. A rough and tattered heeler planted himself between Charley and the cattle and watched him. Charley looked the old dog in the eye and remembered a big purchasing deal he’d made with a Chinese manufacturer, how the Chinese man played it like a poker game. Never blinked, never showed nothing. Just kept his face blank as though to say Nothing personal Mr. Charley, just business.

When the cowboys came up at the rear of the herd Charley studied them, but they ignored him. He was disappointed to see that one of them wore bright new Nike basketball shoes and was listening to an iPod. These modern things jarred him, because otherwise the scene could have been the 1870s. The other cowboy was elderly. He wore dusty flannel and scarred leather chaps and a sweatstained felt hat. He even had an old blued Colt revolver with walnut grips. To Charley’s eye, the older man’s general dusty decrepitude, his deeply-weathered face, and the rubbed-in grime in all his tack and gear spoke of authenticity. He saw a no-bullshit manliness. He imagined the old man alone on the mountainside in a howling blizzard, stoically tending a fire while his massive quarterhorse dozed on a highline. In his imagination coyotes yipped in the distance and cattle lowed in the frigid night. But the Nikes and the iPod intruded on this pure vision, and Charley felt resentment rise in him. He also felt a new certainty that he would live in Kolob and that his new life would be authentic. That the pussified golfing and wine at the club and strategizing with brokers and managing the pool boy and the wetback landscapers and the mobile car-detailing service were over. That he would, from now on, live an honest and manly life of independence and self-sufficiency. That he would meet his future with stoic endurance. He knew all of this in the time it took the cowboys to ride past.

As inconspicuously as he could, looking both ways, he took his cell phone from his pocket and snapped a picture of the older cowboy, pausing just long enough to frame the younger man, with his ridiculous white basketball shoes, out of the picture.

He walked down the lane. Back from the highway the pastures opened up to land that sloped away for miles down to the canyons. Dozens of green and buff fenced fieldsand a few scattered houses and barns. The sun was still low and cast a golden light on everything. Thick old cottonwoods lined the lane, and here and there sections of the old juniper ripgut fence. He thought he’d never seen prettier country anywhere. The prettiest farmland he’d ever seen placed tightly into a wilderness of buff towering sandstone, like a National Park you could buy and live in.

With his new excitement and certainty he walked down the lane. It fell away from the town. He found a realtor’s sign, and went to call the number, but there was no service. He felt a moment of irritation, but quickly said to himself Well, here is a good sign. If there is no cell service here, we’re not really in the ticky-tacky modern world, are we? A man could escape to this place and live a genuine life. Without the intrusions. No interruptions, just the man’s real life’s work to do, no excuses. Just an honest day’s work and the pleasures afforded to such a man as can face that work unblinking. He found the thought satisfying and true. He clicked a picture of the barcode thingy on the realtor’s sign and walked on.

After a while, he came to a crossing lane, a sandy two-track that climbed the slope back toward town. He crossed a cattle-guard and walked up the hill. Some irrigated plants with purple flowers all around, and an irrigation ditch running. As the lane fell out of sight behind him he found himself in a sort of wide swale. A dog stood in the two-track a couple football fields ahead and started barking. In a dense stand of cottonwoods a ratty old shipping container sat on blocks. Other dogs came out from under it and the pack trotted down the drive toward him. He stopped and stood his ground. The dogs arrayed around him barking. A big man in a wide hat came out from behind the container and stood and watched. Charley waived to him, but he didn’t waive back. He just stood and looked. The dogs came in closer. Charley held his arms out and shrugged in an exaggerated way as though to say What am I supposed to do? Why don’t you call your dogs off? And the man finally whistled. Just one sharp whistle and the dogs stood down. Like he’d thrown a switch. The man came down the drive.

Help you?

Just out walking, looking around.

Private property.

I apologize. I didn’t see a sign.

Never needed one.

Charley Cowary, he said, and held out his hand.

The man paused. Jasper Lyman. His hand was huge and hard, but he barely squeezed Charley’s hand, and looked away as they shook.

Well, the way back to town is the way you come.

Maybe you can tell me about that property for sale? With the sign?

You lookin to buy?

Maybe. Just looking. Who’s the seller?

I am. It int any kind of vacation place or cabin or nothin.

Is there a house on it? Just land?

There’s the linehouse and some rock foundations is all. It’s good pasture.

Can you show me it?

Was gonna let the realtor do that bit.

But Jasper started walking along the fence. At the top of the rise he pointed down into another broad swale. Below them another cluster of cottonwoods and willows, and the two-room line-house and an acre of rusted machinery, clots of rusting fence, a bottle dump, a white refrigerator listing beside a Willy’s jeep lying on its side. A dump. Charley looked. Didn’t say anything for fear of offending Jasper. He stood with his arms crossed. A horse walked out from behind a low barn. The horse reminded him of his new commitment to the authentic life and the scene of redneck squalor shifted somehow, and Charley saw beneath the surface of appearances to the many years of hardship the people here must have endured. The junk took on a history then. A history of authentic survival in a harsh western desert. He looked again, and he thought All this junk, these things, they must have kept because on the frontier you don’t throw things away. You keep them in case you’ll need them. Spare parts. Clever ways to re-use machines. That old rusted pickup down there, for example, could be converted to a grain mill, or some such useful device. He looked and looked til he became conscious that Jasper was shifting on his feet, waiting for some response.

How many acres in the parcel?

That’s the original forty.

Forty? Charley asked, with some astonishment, then immediately regretted the sound of enthusiasm in his voice. He thought it betrayed some suburban innocence, and he wished to sound savvier, more familiar with rural western ways. I was lookin for closer to eighty, he said, on an impulse. He cursed himself. Now what was that? he said to himself. You wake up wanting a nice place not too close to neighbors and now you’re asking for eighty acres.

Jasper’s expression didn’t change. Well, I can’t spare eighty, but I bet we could work something out, less you need eighty exact.

They went down to the line-house. The dirt there was hardpacked and lifeless, and stained here and there with motor oil and trampled by cattle. The linehouse was a shambles. Windows boarded, old yellowed and brittle vinyl siding hanging off in strips. Charley silently noted the dovetailed squared timbers exposed there. The roof was just asphalt roll with the mastic seams mopped on. But a chimney of hand-squared sandstone stood through the roof. He went to the front door.

Nothin to see in there, Jasper said, with a dismissive waive of his hand. Just a wore-out old linehouse the packrats took over.

Charley feigned indifference.

They walked among the rusted detritus of a hundred years of cattle ranching. Back in the trees Jasper took him to the barn. The horse stood off. The barn looked solid. Old and weathered, but with siding repaired and the doors newly built. Inside was neat and dry. There were rolling chests of mechanics’ tools along the wall. Crescent and Snap-On, Charley noted with approval. In the middle of the floor stood a gleaming red tractor, an old Ford.

What year is that?

Fifty-eight.

You did the restoration.

Yes. Sort of my winter money-making business, except for the money part.

Charley smiled. Walked around the tractor and looked it over with admiration. That’s some fine work, he said.

I do what I can. Hard to get parts here.

They talked about the auto-parts business a while. Then Charley said he’d call the realtor and they shook and he left.

He bought sixty-six acres, the tractor, the horse, and tack. Before Charley left Kolob to close down his life in Moab, he contracted with Jasper to haul all the junk, and he hired a builder to start on the linehouse. The builder, a solid, clean, silent man used to working on vacation cabins, looked the linehouse over. Looked neither encouraging nor skeptical. Charley struggled to convey his ideas about the linehouse. He felt self-conscious. He didn’t want to say aloud what he felt about authenticity and manly stoicism and how to attain these ideals in the refurbishment of a decaying linehouse, but the builder, name of Fielding, saved him the trouble.

What I suggest, if I may, is we strip off everything modern. Get down to the underlying structure. See how those logs are holding up. Have a look at the foundation. Give you a report when you get back from Moab so you can make informed decisions about how to proceed.

Charley felt a swelling of gratitude. Not only did Fielding speak like a man of business and seem so competent and ready to work, but the man had perfectly read Charley’s mind concerning the construction work. Get rid of all the defilements of modern life. Strip away the artificial, man-made siding and get to the thick, handhewn timbers beneath. Clean the place of all signs of the new world of commerce and hurry and makeshift cheapness.

Two weeks later Charley drove back into Kolob pulling just a small trailer containing all of his old life he cared to keep. He’d sold the RV and donated his nice suits and ties to the Mormon Church. He’d appraised every last item for its authenticity and manliness and culled what didn’t fit his new standard. He left the Moab house furnished to rent. In the trailer, along with an old oak rocker and a narrow twin bed and a set of cast-iron Dutch ovens he’d found in the antique store in Moab, was a set of old battered steamer trunks full of his new clothes. In a kind of fever of lust for his new life on the frontier he had gone online and bought hats and boots, chaps and a Navajo saddle blanket, flannel shirts and an oilcloth slicker and a shearling coat. He outfitted himself for riding his new horse, for fly-fishing, for hunting deer and elk. He ordered checked wool blankets and shirts from Pendleton, and lapelled wool vests from Filson. He ordered matching leather belt, holster, and saddle scabbard from a craftsman in New Mexico. With some input from his personal shopper, he outfitted his new life to perfection.

He stayed in the motel on the highway. The Lazy Daze. Run by a young couple who were always agreeably stoned. Every day he spent at the new property, working as though he were one of Fielding’s employees. The linehouse progressed quickly, despite many setbacks. Fielding just about disassembled the entire structure, placed a new foundation that Charley had him veneer with sandstone, to match the chimney. He tore down the old chimney and rebuilt it with the original stones over a core of reinforced concrete blocks. They replaced many of the logs. Fielding himself used a hewing axe to surface the new timbers, to match the old ones. A specialized painter came down from Salt Lake for a week to stain and antique the new timbers to match the old ones. Almost black with age. They rechinked. They roofed with a special steel designed to rust evenly. They framed a new floor and planked it with wide pegged oak, scrub-planed to a perfect unevenness. Fielding bored the peg holes square, for authenticity, he said. Charley appreciated this conscientious attention to detail, and Fielding’s knowledge about the old ways of building. They added a wing out back so that Charley could have a kitchen and bath in his house. They added plumbing and power, and a furnace. Charley wanted only a woodstove, but Fielding gently insisted on the furnace, just in case.
Some months into the job Charley went to talk with his neighbor Jasper about getting the junk cleaned up. He hadn’t even started. Jasper’s brother told him Jasper was probably in Vegas and he had no idea when he’d come back. So, at considerable expense, Charley hired a company from Grand Junction to clear the area.


It was a long winter, bitter cold. Charley hadn’t expected the cold. It scared him sometimes the way it blew a plume of powder-dry snow off the mountain and threw weighted sheets of plywood across the pastures. But spring came as Fielding put meticulous finishing touches on the house. They’d added a long porch with battered stone piers and heavy columns of nearblack timbers. Charley showed up one morning and found his rocker set just so on the porch with his Navajo blanket across the armrests and the keys and Fielding’s last, breathtaking, invoice. The way the chair was set triggered in Charley a deep uneasiness. Meadowlarks sang, and a warm breeze came up from the canyons, but a cold dread reaching way back came over him. He shook it off and went inside, leaving the heavy plank door open to air out the stink of polyurethane and paint.

Saturday, February 21, 2015

Kandace Sees the ISIS Video and Needs to Leave

It’s so bright! Lambent. The stretch of hot afternoon. And the windows ticking like a clock timing the retarded sun. Sash, mullion. Just the nothing-happening of it. A typical Kolob day with nobody her age. So she’s on the internet they finally got just clicking and clicking, following the links. This One Weird Trick to Melt Fat. Army Spouse Waits for Him With Triplets. You mean wife, she thinks. Or possibly not. Iraq Veteran Held on Domestic Violence. Islamic Extremists Torch Christian Icons. Iconoclasts. To, finally ISIS Recruits Burn Lebanese Pilot in Cage, and she clicks. It’s a YouTube video.

And she has to leave. She knows it now. Between the bars and out. The heat on the side of her face and the tiny room and the wall of his fucking boxes. The kitchen is a little cooler but the stink of dirty dishes and the cat. She will make herself so small she will slip between the bars and go.


There is from now on a stench over the place and before her shut eyes always that horror of the boy in the cage. It won’t quit. All cut noon and night by the black vertical bars. The gossip and the looking at her. Like the bikers checking her out, her mother’s boyfriend crowding her at the top of the stairs, Kade with his big hands, the Sheriff’s wife, the fluorescent-lit one judging at her in the mirror. She’s like a dog in here.

Sunday, February 1, 2015

In or Out?

Trying to be more articulate about the big divide in prose style, with what I have come to call the "lucid and plain" style, on one side, and the "mannered" or "poetic" style on the other. These labels are possibly misleading, so I've been trying to find other prose-style categorizations or formulations that describe the schism. First, some examples so you know what I've talking about:

"Lucid and plain" prose stylists:

Mark Twain
Don DeLillo
Wendell Berry
Ernest Hemingway
Kurt Vonnegut

"Mannered" or "poetic" prose stylists:

Herman Melville
William Faulkner
Cormac McCarthy
David Foster Wallace
Thomas Pynchon

And of course all of them move back and forth on the spectrum. But, most basically, the "lucid" ones have something to say and their prose says it as clearly as possible. What they have to say is the important thing, and their prose is designed to get out of the way, to be a perfectly clean glass through which the reader can see what the writer wants him to see. On the "mannered" side, the writer has something to say, and sees the prose itself --its diction, its departures from strictly normative grammar, its idiosyncrasies, its self-consciousness, its artfulness (what I mean by "poetic") as being part of the means by by which the content of the story is made clear. So, if Cormac McCarthy, for example, is writing "about" the inevitability of fate and the pawnhood of people, his purpose is greatly abetted by his epic style, so very much an outlier in the modern fiction tradition, in which fate is out of fashion, and individual agency and freedom from fate is almost de rigueur. And David Foster Wallace, in his fiction and sometimes in his essays, seems to see grammar itself as the embodiment of the kind of certainty and societal agreement that really died in the trenches of Flanders (or thereabouts) but which is, by now, neither necessary to meaning nor accurately depictive of the diversity of modern mass culture and the sublimation (or sublation?) of the tradition of intellectual rigor into a kind of referential or allusive hyperlinked modernity in which "y'know what I mean" is current. And, besides, we do know what you mean, even without the rigor of grammar. Anyway, behind this idea is that grammar is a normative system to which all writing either conforms or doesn't, and the ways in which writers consciously deviate from the strictures of grammar are, in themselves, significant. They signify. True, also, of diction. Why does McCarthy fill his epic visions with arcana and the solid objects of lost ways? "Mansuete", "alparejas", "sprues", "thrapple", "archamandrite", "lazarous", "skelps"... I just flipped through Blood Meridian and those are just a few of the words McCarthy places before us like paleolithic totems, to be guessed at and to take us places, but not to places we can know. Like our fates. Places we can't know.

In my research I found a terribly unfashionable essay by Richard Lanham. I guess he's a big deal among literary types. In the few pages I found online, I found his almost-opaque description of the prose-style divide: he calls the two modes the 'At' mode and the 'Through' mode. The 'Through' mode is lucidity. The prose is designed to be seen through. Cultures that run on consensus value the 'Through' mode. There is no need for, nor tolerance of, much stylistic range or authorial drama in eras or places of societal agreement. The personality of the writer is neither welcome nor at issue. These cultures, contrary to the common political formulation (which sees anti-establishment modes as decadent) are decadent, or moribund, and value the maintenance of the tradition and order over the inventiveness of self-conscious art.

On the other hand, the 'At' mode is at home in Elizabethan England and modern America because we have little consensus. Our worlds are fractured. At least our spiritual, emotional, psychic worlds are, and the motives for "poetic" ( or 'At') modes of prose writing come from the extremes of the spectrum of all artistic motivation, from pure play, on the one hand (Pynchon, sometimes Wallace, Shakespeare, very often Melville before the depression got him), and, on the other extreme, from what I see (departing from Lanham here) as the writer's deep sense of estrangement from the norms of the culture. This estrangement shows in the writer's estrangement from the culture's approved forms in literature: the norms of standard prose, and even from the wide range of readily-understood narrative modes, and, in the case of McCarthy again, even from the modern, novelistic assumption that human motives can ever be clear. Lanham uses lots of examples, but the gist of his model is that normative standards in prose contain a certain range of political or social or psychological tolerance, and that an author's decision to step outside the bounds of this tolerance is organic and significant inasmuch as what he is trying to say is inconsistent with consensus, or critical of it, or, of course, in any way prescient, divergent, idiosyncratic, or prophetic (in the Old Testament sense of the word). A writer 'cries from the wilderness' not in the lucid, essayistic 'Through' mode, but with a stretching of grammar, diction, voice, and narrative mode that in themselves contain his isolation and self-consciousness and his critique. His unhappiness, really.

But, true to its nature, the 'mannered' or 'poetic' or 'At' mode can, self-consciously, choose to dress in suit and tie and go about downtown in the garb of lucidity and plainness. Good examples of this, where normal grammar and accessible diction serve subversive purposes, are DeLillo and Jonathan Lethem, among many others. But what you don't see is Romney conservatives using great stylistic latitude, all the head banging and hand-wringing of square-peg neurosis, all the refusals of normative grammar, and all the diction from the wilderness. They have no need, and to do so would be to stretch their culture's tolerance, and to open the gate to the prophets.

Wednesday, January 7, 2015

Fielding Smith Hunting Deer ROUGH DRAFT

Well before noon he waits in a dry alcove behind the water for the last of it to sluice down. It sluices then trickles then drips into the scatter of fresh-washed rocks just this last hour flushed from the reef above. Early he rode his horse and led the mule hours below 144, an hour at least below the reef where the fireroad ends. From where he tied the horse and mule he walked a half hour, contouring mostly, to this perfect blind: a soft floor under big pines and behind a fallen tree still thick with brown needles and above a falling open meadow. A stream meanders below inside willow and chokecherry. Lupine, geranium, then black sedges low by the streambank. The opposite hill climbs to yellow aspen. He shrugs out of his blaze vest and stuffs it in his pack. He hears his wife make him promise to wear it but she is not here. He moves low and quiet and sets up his chair behind the fallen tree. His view of the meadow is wide and free through a sort of window he had pruned in the thick boughs. He sits and levers the bolt up and back one smooth movement at a time to chamber a round and he checks the safety before leaning the barrel into a crook with the stock to the right of his feet. With the binoculars he scans the whole far edge of the meadow, taking his time. He picks up the rifle and scopes a tree he knows to be 250 yards away. He had zeroed the scope at 200. He drinks water then sits silent.

The trees drip around him and steam rises from the meadow. A rock shifts in the reef above and a skitter of pebbles follows. It's still after the rain. He unfocuses his eyes and listens to the sounds: dripping, rattling of cobbles in the stream, distant woodpecker, jay, wheezing chatter of flocking siskins. He sits and sits. He pisses in a ziplock bag and pinches it shut. Later, breeze starts and he notes the scent of the meadow. He remembers his father the day he first showed Fielding this meadow, and he recites the names from that distant afternoon: pennyroyal, monkeyflower, paintbrush. Parry's and pale primrose. Fireweed, aster, bluebell, speedwell. Joseph Fielding Smith knew all the flowers , the birds, the trees, everything, it seemed, the world is made of. His mind, to young Fielding, was lists of lists, a whole taxonomy of the mountain and the desert verge. All the workdays of his life keeping the tractors of Youngville running, and all the other days and his Septembers horseback on the mountain. The garage, hot and cold, greasy, slag-gray, full to the high rafters of gray objects for which Fielding at first had no names, but for which he learned the uses and then the names.

A customer, an old rancher whose name Fielding can't remember: I seen that bird book at my grandkids' up to Salt Lake. There's a thousand birds in there. I'll be danged if you know them all, Joe.

His father: Only if they's on the mountain.

How many birds we got up there?

Fair number.

An you know them all?

I think so.

How come you learned em all?

When I was this ole of my hands and go up there I pay attention. His back was to the customer. He was intent on a stuck part.

It is just paying attention you saying? Seems you'd have to study, too. Yet how you'd do that I don't know.

I just learned it.

Well, who teach you?

I don't know. I know some from my mother.

You have the bird book when you was a boy?

We had only the scriptures.

Well it's a miracle how a boy could learn all the birds on the mountain without nobody to teach him.

Who teach Adam then?

He named em hisself.

Well.

So you call em by your own naming? Not like in the bird book?

I don't know what's in the bird book. But if it calls em by the same names I do then that would be a miracle. I jus calls em by the names I thought up when I first learned em.

Well, that explains it.

Look, I just fix tractors. I don't know what that bird book calls em or what they calls em in Viet Nam or Mexico. How you going to keep em straight if you got no bird names? If you want to keep em straight with Mexicans you got to use Mexican bird names. If you want to sell more than one bird book you got to use the names everybody agrees on. But until right now nobody ever been interested in birds in this town but me, so the names I use for the birds on the mountain are my own names, and I know this is no use to nobody so I'll use the damn bird book when I take Fielding up to hunt. I will see a bird and find it in the bird book and read the book-name and tell it to Fielding and if he cares to learn it, why, he will have means to converse about birds with others.

What about the Mexicans?

What about I finish this p.t.o. an you ask the boy what he's going to do about talking about birds with Mexicans. I got a lot full of broke tractors and it's haying.

Well. Fielding? Looks I made your daddy grumpy asking about birds.

Fielding knows the names in the books. His father didn't tell him his own names. He sits and sits and wonders what his father called them, and under what system of description or relatedness or other taxonomic basis his father had named them. Color, or the trees they rested in, or the food they ate, or the calls they made. Like cardinal or maybe raven. And dipper and swift. And like hummingbird and chickadee and warbler. But not like goose or swallow or sparrow. These had names either arbitrary or from an earlier language, maybe Adam himself's.

He sits and sits. From time to time he uses the binoculars, always moving slowly and shading the lenses to avoid reflecting sunlight. In the mid afternoon the creek rises abruptly, then goes back down. Above this draw not a cloud visible. Thunder at the very edge of hearing.

Fielding, buddy, keep that barrel down.

Sorry.

Don't be sorry, son, jus do it right an keep quiet.

Okay. His arms have cramped and he's very tired, but Fielding doesn't show it.

They walked half the day and Fielding didn't know what they were doing except when his father led them into a stand of oaks and squatted by a round depression in last year's leaves, and held up a tuft of yellow hair. Tawny. Then Fielding followed him out of the oaks and parallel to a narrow bare path. After a while they reached a small beaver pond but kept back in the aspens. They sat on a beaver-downed tree and watched til dusk and finally the buck came down halting with his handsome head up testing, testing and at last to the sedges where he bowed to drink. His father held a hand out to say wait. Fielding waited. His left hand shook on the foregrip. That was the .257 Roberts. The buck stood and stepped and stopped. He faced them dead square and the world, all its sound and color, drew into the buck's amber eye and his father turned his hand then palm up so gentle Fielding shifted the rifle behind a trunk and knelt off the fallen tree silent into duff. His left hand he steadied on the trunk and extended his thumb and rested the rifle there and his father withdrew his hand as if to say You are on your own, son, and he thumbed the safety and sighted. The buck stamped a fly twitched an ear licked his nose. Fielding sighted at the shoulder. The buck drank again then stood and turned. Fielding held his breath. His father blew quiet behind him and he remembered to breathe. He waited. The buck stepped and presented his flank but a branch was in the way. He waited. The buck stepped again and he followed the flat behind his shoulder until the buck stepped clear of the branches. His hands shook and his breath caught and the sound came too soon, a shock and almost a whiteness in his head. He knew it was wrong, felt it in him after all that practice shooting the cutout. He racked the lever [LEVER ACTION .257? Yes Browning BLR 1969] and jerked the rifle back back up and looked across at the still pondbank that seemed to never have seen nor heard mention of buck. He sat back. In the still air the pale smoke still hung like a stain after the rifle's shameful early report. He sat back ashamed, small, childish and eager. His father stood and gripped his shoulder for a moment. It's okay. Next time.

The sun has lowered to the top of the spruces across the meadow and their shadows comb toward him against the nap of the grass. A cold breeze comes up. He bends low behind the fallen trunk to put on his wool coat and hat. He can't see into the shadows. A marmot moves in some tumbled boulders. He sits and sits. His right hand is cold on the trigger guard.

He has added to the map over several years, black for routes he's scouted and red for kill sites paired to his shooting positions. He has gradually outlined the vast area close enough to 144 but not too close. The map shows what he believes to be the swath of land from which he can haul meat hoseback, but which is inaccessible enough that the geared-up ATV-lazy suburban hunters won't come within hearing. The area shrinks year by year. There are more hunters, and they are stupider. Their machines are more capable. The fireroads reach deeper into the forest, and they are better-graded. Their rifles shoot flatter. And his own strength is waning and the sweetness of the hunt is dilute with years. And he has no son of his own to teach, who would give new purpose to what he feels is an old and obsolete practice. What was once necessity is now, to be honest, just a game or entertainment, something that men of a particular race and politics do to show their allegiances. Just this morning he rode down a raw recent extension of the fireroad past a parked gleaming new F-350 hitched to a trailer of six ATVs. Across the rear window a decal: TAKE MY CARBON FOOTPRINT AND SHOVE IT UP YOUR LIBERAL ASS. The reek of gasoline. The scattered brass. The grotesque calibers: .340 Weatherby, .300 WinMag, [  ], the overkill ammo of amateurs with puerile military fantasies hunting what? Cape buffalo? Black rhinos? Tyrannosaurus Rex? Terrorists? His own worn .308 has for several years felt antiquated and shabby and he has longed to replace it, but now it feels like a craftsman's tool, sufficient, perfect for the job, an unflaunted indication of experience and superior skill and quiet masculine competence. The horse and mule, too. And the wool and leather. Shut up, now, he tells himself. You are getting smug. You do this for the meat and for the quiet and in memory of your father. Then he rode on, picking a route away from the plume of bacon stench that came from their camp in the trees.

That evening with a black line he excluded another valley from his map. The good hunting areas succumbed to a rising sea of noise and heedlessness and stupidity. The vast swaths broke into archipelagoes of harder and harder land. He hopes that the deer gather in these places, too, driven out of the easier land by bacon and gasoline and 1,000-yard target practice and abandoned gutshot carcasses.

For years he has been on the verge of discerning a pattern in deer movements. A finer set of movements within the coarse seasonal migrations up and down the mountain. This discernment could allow him to break free of the long cramped waiting in blinds within sight of streams and from the long days of looking in rough terrain. There must be some faint but inviolable patterns, and he would discern them if he worked at it long enough. He would pay attention the same as his father had. But the deer kept humbling him. Last summer he had scouted a promising area. He had found a hidden way down into a valley that he had thought entirely enclosed within a battlement of vertical Navajo. For years he had looked down on grassy meadows and streambanks unsullied by cattle and had seen the complacent deer. Then he found the way through the rocks, so narrow he had to take the panniers off the mule and lead his horse. Once in the valley he set up and watched, and for three days hadn't seen a single deer. He had to go home, so he packed up and was headed out when a buck stepped into the meadow ahead of him and just watched, unalarmed. He took out the rifle and shot him. What had kept the deer away while he watched? And why had that instinct failed this buck? He didn't know. Heat made them go upmountain, and cold made them go down. Water governed their daily circuit. But all their other movements appeared random. After all this hunting.

The sun seemed to get hung up in the tops of the spruces. It stayed there for some time. He expects it to move but it doe not, and he considers that his expectation must derive from clocks and rest in some habitual conception of time that it always move forward in measured increments. Our ancestors and the indians must have seen time as starting and stopping, and slowing and speeding, he thinks. Bullshit. In the shadows dew forms on seedheads that now cast their own lunar light. Day and night at once in this same meadow, and summer and winter, and the falling away of years.

He listens to the stream and thinks lonely thoughts of all the many days he's patterened deer alone on the mountain. This last June when the deer had gone about as high as they would he had marked his map with question marks showing his guesses about where the deer would be in September on their way back down to the winter hay stubble of Kolob. He was riding a familiar slope above 144, checking for sign in the deep-cut trails that meandered up the mountain according to no logic but the inscrutable hunches, interests, daydreams and ambitions of deer. As he rode he pondered their fecklessness and supposed it to be neither intelligence nor stupidity, and neither could it be simple instinct, because wouldn't instinct have produced by now a more decisive and efficient behavior? Would instinct alone guide so many deer for so many years to climb an arbitrary arc across the hillside, reach the summit, then bend back and loop around an outcropping and through a copse, only to wander, single-file, back to where they'd started? It must be a kind of distractibility or maybe an aesthetic sense, or some set of preferences unattached to mere survival, he had concluded. Or the seemingly arbitrary path is the map of unperceived forces. Or subtleties for which he has no sense. Maybe deer are like children, who eat and drink when they must, and have more or less predictable and sensible fears, but who otherwise follow only momentary enthusiasms without regard for reason. So he rode and thought and stopped now and then to add to the map on his pommel. And late in the day he cut below a stand of aspen and followed a trail into dense willows and reined at a bright movement ahead. He stood in the stirrups expecting a deer and saw instead the girl step out of the pond on the far bank. The water was silver on her. She stood in the sun and towelled her hair with her shirt, then turned and turned in the sun until she finally dresses and disappeared into the willows. The world closes and condenses to a point of soundless attention when you sight a buck and it did identically when he saw her that day.

He sits. Cramps and tremors started some time ago. The meadow is now all in shadow. He scans the streambank, but in the dark all is disordered and depthless. He sets the binoculars aside and brings up the rifle. After some time he hears them down there. It is evening. The dark comes and the deer hang back. He waits as atill as he can. Then one and another move into the meadow, heads up. They stand all straight to him. The lengths of their bodies arrayed radially from him, the centerpoint. Aware of him there he thinks though he has not moved. One by one they step forward up out of the sedges into the meadow itself and the sky holds a washed-out whiteness only as scrim to the black spruces. He levels the rifle and thumbs the safety. The sound of a twig snapping brings their heads up and ears forward. Then another snap and a third, these anomalous sounds suddenly in pattern, an iamb that is only human, the beat of a man coming down a hill sidelong, and as the several deer bound all in an instant back over the stream as man crashes through the treeline. Charlie Cowary, all in new blaze orange swinging a big rifle with an oversized scope stamps into the meadow verge and looks around. Looks right past Fielding as he sits, then at the sky. He shrugs out of his pack and fumbles, then clicks on a headlamp and pans it over the meadow, though the prick of light makes no difference in the diffuse evening light. Fielding notes, as though with one ear the racket Charlie is making, and as though with the other the crashing departure of the deer down the streambed and angry sets the safety as Charlie cinches his pack and leaves the empty meadow the way he arrived. A sudden malicious urge fills Fielding, and he fills his lungs and makes of his voice the most contorted and violent shriek he can, which he lets taper to a long howl and he is gratified to hear, after a moment's silence, Charlie begin to sprint up in the trees. Fielding's voice comes back to him from the cliff-face above Upper Lost-a-Cow. It was the call of no known creature as though his throat had opened onto another world from which nightmares take shape and leap into this one to terrorize and kill, and to send back to the order and safety of the highway those who stray too far into the wilderness only a more cautious and skillful hunter deserves.




Saturday, December 20, 2014

Glimmer Train's Interview w/ George Saunders

"...I don't get plot. I don't understand it. I don't like it."

"If I'm going to do you, I have to think in your diction, with your precise experience, and...your neuroses and repetitive thought-stream."

Two great, clear insights here: plot and theme need to follow, or emerge from, character or voice (pp. 22-23); and he talks about free indirect voice, that he calls "third-person ventriloquism", in such an understandable way that he pretty much obviates that whole James Wood book (p. 21). Saunders is fun and exciting on the mysteries of writing.
http://www.glimmertrain.com

http://www.amazon.com/How-Fiction-Works-James-Wood/dp/0312428472

http://www.npr.org/2013/01/20/169507764/george-saunders-on-absurdism-and-ventriloquism-in-tenth-of-december