OCR |
 | DRUMLUMMON THE ONLINE JOURNAL OF MONTANA ARTS 8L CULTURE HELENA, MONTAN[...] |
 | [...]educational and literary organization that seeks to foster a deeper understanding of the rich culture(s) of Montana and the broader American West. Drumlummon Institute is a 501 (c) (3) tax—exempt organization.The editors welcome the submission of proposals for essays and reviews on cultural productions— inc[...]inquiry, food, architecture and design— created in Montana and the broader American West. Please send all queries and submissions to info@drumlummon.org. We are not currently accept[...]mlummon Institute Copyright Statement Copyright for contributions published in Drumlummon View: is retained by the authors/artists, with oneitime publication rights granted to DV Content is free to users. Any reproduction of original content from Drumlummon View: must a) seek copyright from the authors/ artists and b) acknowledge Drumlummon View: as the site of original publication. Cover Image: Pairicia Forxberg, Heart Twisting in the Wind, 2006, gouatbe, ink and collage onpap[...] |
 | DRUMLUMMON THE ONLINE JOURNAL OF MONTANA ARTS & CULTURE Editorrianbief Rick Newby Art Diretto[...]ing Editorx Adventure: Randall Green Architecture & Design/ Material Culture: Patty Dean Environment & Science: Florence Williams Folklife: Nicholas Vrooman Food & Agriculture: Max Milton Media Arts: Gita Saedi Nature & Culture: Roger Dunsmore New Music: Bill Bo[...] |
 | Drumlummon Views V01. 2, No.1, Fall 2008 FROM THE EDITOR 6 ACKNOWLEDGMENTS 8 THIS ISSUE’S ORIGINAL WORK 9 Fiction 10 Excerpt from In [be Seatter oft/5e Moonligbt, a novel by Scott Hibbard II “Tu B’Shvat: for the Drowned and the Saved,”a story by Melanie Rae Thon 27 “In the Grips,” a story by Chris Nicholson 5I Excerpt[...]29 Drawings, by Wes Mills (plus an interview with the artist by Jennifer A. Gately) I30 FROM THE ARCHIVES I 39 Third installment: “Cabin O’Wildwinds: The Story of An Adventure in “Homesteading,” by Ada Melville Shaw; originally published in 777e Farmer’r Wife, I93I I40 ESSAYS I 51 Education 151 “‘The People’ of Montana: In Exegesis of Indian Education for All,” by Nicholas CP Vrooman I52 Literature 1[...]Romanticism, Revisionism, and Post—Revisionism in the Fiction of the American West,” by Karen Fisher I60 “When Cowboys Became Capitalists and the |
 | [...]LL 2008 5 “‘I learn by going where I have to go’: Initiatory Turnings in Poetry, Philosophy, and Religion,” by Robert Baker 191 Rural Philanthropy 216 “‘Stuck Situations’ in the Philanthropic Divide: The Need for Nonprofit Capacity,” by Michael Schechtman 217 Science 53" Health 223 “Probing the Unknown,” an excerpt from theThe Hegemonic Eye: Can the Hand Survive?” by Chris Staley 258 “Rudy Autio: Coming Home to the Figure,” by Rick Newby 27o RudyAutio, a short[...]an Cox 287 TRAVELS &TRANSLATIONS 308 “Dancing at Olympia’s,” an East African memoir by Gilles Stockton 309 “Long Lines of Dancing Letters: The Japanese Drawings of Patricia Forsberg,” by Rick Newby 314. REVIEWS[...]offman 34.8 Poemx Arron [be Big Sky/4n Antbology of Montana Poem, edited by Lowell Jaeger, reviewed by 0. Alan Weltzien 353 Danting to [be Edge, Tappan/Roberti/Williams Trio, reviewed by Keith Raether 355 IN MEMORIAM 3 59 Rudy Autio, by Richard Notkin, Stephen Glueckert, & Beth L0 360 Liz Claiborne, by Brian Kahn[...] |
 | DRUMLUMMON VIEWS—FALL 2008 6 From the Editor Welcome to the fourth issue of Drumlummon Viewx, the online journal of Montana arts and culture. For those of you who have followed DV from our beginnings in 2006, you will have noticed that our progress has been slow but steady. We had originally envisioned publishing three issues of DV per year, but it’s become clear that one and possibly two issues per year is more nearly realistic, given the limits on our time and energy. We take some solace in the fact that each issue of DV is truly substantial, essentially the equivalent of a large book. And we are grateful for the patience and kindness of our supporters, readers, and contributors. Speaking of books, Drumlummon Institute has launched its book publishing program with two titles, Food ofG'odx and Starve[...]eeted Poemx ofGraee Stone Coatex (2007) and Notex for aNovel: 777e Seleeted Poemr of Frieda Fligelman (2008).These two books, in turn, launch our DRUMLUMMON MONTANA LITERARY MASTERS SERIES. A reissue of Thomas Savage’s first novel, 777e Pan, with an introduction by 0. Alan Weltzien and published in collaboration with Riverbend Publishing, will join the series in Winter 2009. In 2009, Drumlummon is also publishing, in collaboration with Bedrock Editions, another long[...]y historian Kim Allen Scott. A first publication of Grace Stone Coates’ second novel, Clear Title, with an introduction by Caroline Patterson, is also in the works. Finally, we have begun a series of offprints from Drumlummon V iewx, featuring essays and portfolios of particular interest. The first is Patty Dean’s superbly researched and illustrated essay on architect Cass Gilbert and his designs for the Montana Club. The second is a portfolio of Patricia Forsberg’s marvelous Japanese drawings[...]ure into color books by Drumlummon can be ordered at http://www.blurb.com/bookstore/ detail/313138.To order any of Drumlummon’s books and offprints, go to http://www.drumlummon.org/html/ Books—Offprintshtml. *** Like its predecessors, this issue of Drumlummon Viewx ranges over a multiplicity of terrains. We have expanded our offerings of original works, with substantial selections of fiction and poetry, together with a movin[...] |
 | [...]es a cautionary essay by ceramist Chris Staley on the shrinking role for the handflnd full range of our senses—in the making of art today and a portfolio of Richard Buswell’s singular photographs, with an essay by Julian Cox, curator of photography at the High Museum, Atlanta. We also feature a film and essay celebrating the art and life of the late, great Montana sculptor, Rudy Autio (1927— 2007). And in our “Travels 8cTranslations” section, we feature the abovementioned portfolio of Patricia Forsberg’s Japanese drawings, together with a story set in East Africa by Montana agronomist Giles Stockton.We continue our coverage of science and health issues with an excerpt from a[...]n Montana biophysicist Jeff Holter, who ceveloped the now—ubiquitous Holter Heart Monitor in his Helena laboratory. Nicholas Vrooman acknowledges the importance of the Indian Education for Al, initiative, and we continue our serialization of Ada Melville Shaw’s homesteading memoir, “Cabin O’Wildwinds.” Our Literature section ranges from the creation of post—revisionist western fiction (like Karen Fisher’s A Sudden Country) to the development of western literature by such figures as playwright[...]ovely meditation on Theodore Roethke’s poem, “The Waking.” Thank you for your interest in Drumlummon V iewr—the last twelve months have seen downloads of more than 30,000 files from the Drumlummon site. Please continue to let us know how we’re doing. And watch for our Spring 2009 issue, due out in May, which will focus on the built environment and landscapes of Butte and Anaconda, Montana (in conjunction with the June national meeting in Butte of the Vernacular Architecture Forum); this issue is a collaboration with the Montana Preservation Alliance, and its guest editor is public historian Patty Dean. If you’d like to join our Drumlummon Alerts email list, send an email to that effect to info@drumlummon.org Rick Newby Editor—in—chief, Drumlummon Viewr rnewby@drumlummon.org 77m imue ofDrumlummon V iewr ix dedicated to tbe memory ofMorgoret Regan Gnnr (19227200[...] |
 | DRUMLUMMON VIEWS—FALL 2008 8 Acknowledgmentx Here at Drumlummon Viewr, we remain grateful to three groups of generous folks, those who support our efforts fi[...]tories, poems, essays, reviews, images, and ideas to enrich each issue. Without them Drumlummon V iewr[...]nstitute itself could not, and would not, exist. To see a complete listing of our financial sup— porters, visit the Drumlummon Institute home page (www.drumlummon.or[...]Funders. Our volunteer supporters are too legion to list here, but three groups deserve our utmost gratitude: first, our hardworking Board of Directors, Jeff Wil— liams, Matt Pavelich, Niki Whearty, and Rennan Rieke; second, the knowledgeable members of our Board of Advisors (on the DI home page, click on Drumlum- mon Board of Advisors); and third, Drumlummon Viewr’ contributing editors, who come up with many of our story ideas and indeed contribute their own work to DV (see the journal’s masthead).The writers, think— ers, and artists—from many different disciplines—who share their marvelous efforts in DV’x pages provide the journal’s lifeblood; you will find their names in this issue’s Table of Contents and their biographies in our contributors’ notes. Our gratitude, too, goes to the following in— dividuals and institutions who have helped in myriad ways: Chere Jiusto and Christine Brown, Montana Preservation Alliance; the entire staff of the Montana Historical Society Research Center; Liz Gans and Marcia Eidel, Holter Museum of Art; Barbara Koostra and Manuela Well—Off—Man, Montana Museum of Art and Culture; Debbie Miller, Minnesota Histori— cal Society; Julian Cox, High Museum of Art; Jennifer A. Gately, Portland Art Museum; Wes[...]rson; Patricia Forsberg and Stephen Speckart; and the many others who have offered us story ideas, moral support, and good cheer. We are especially grateful to Jodi Schmitz, the editorial intern from Carroll College who contributed mightily to moving this issue—and all our projects—forward. Finally, our thanks go to Geoff Wyatt of Wyatt Design, Drumlummon Viewr’Art Direc[...] |
 | DRUMLUMMON VIEWS—FALL 2008 1 1 from In the Scatter of the Moonlight, a novel in progress Scott G. Hibbard Army of Utah, Camp Scott, Utah Territory, November 27, 18[...]and have lost one hundred and thirty- four. Most of the loss has occurred much this side of South Pass, in comparatively moderate weather. It has been of starvation. Ihe earth has a no more lifeless, treeless, grassless desert; it contains scarcely a wolf to glut itself on the hundreds of dead and frozen animals which for thirty miles nearly block the road with abandoned and shattered property; they mark, perhaps beyond example in history, the steps of an advancing army with the horrors of a disastrous retreat. ipbilip St. George Cooke,[...]rritory, November 21, 1857 Carl Heinrich carried the carcass over his shoulders. He had dressed and skinned the deer, and had removed its head and forelegs to lessen its weight. His musket lay on top of the glistening meat. “Do you see that soldier there, packing the Colonel’s supper?” Nathan Slater said. Carl Heinrich walked by the dragoons where they settled in at Camp Scott, on the timbered river two miles from Fort Bridger, Utah[...]was not a post so much as a windbreak, tents set in the cottonwoods at river’s edge. Carl Heinrich had been detailed as one of the hunters charged with providing fresh meat to lessen the number of oxen the army would butcher. “Hey, soldier!” Moses Cole called out from tent side. Dragoons milled through the campsite to gather branches for firewood. Their trails traced through the snow to scatter in the cottonwoods, as if defining a migration of mice. “You can stop right here, footman! Put your feet up while we cook that deer forthe embarrassment of makin’ the Colonel eat deer meat!” Moses Cole shouted after him. Carl Heinrich walked toward Fort Bridger with the deer over his shoulders. “Didn’t understand a word I said.Just another Dutchman who fell off the boat.” “That Dutchman was a sergeant over there in Dutchland. He won the Iron Cross, for God’s sake.” |
 | DRUMLUMMON VIEWS—FALL 2008 12 “The Iron Cross. I saw one ofthose once’t. Made out ’a horseshoe nails.” “The highest decoration they give in Prussia. Some general with gold—laced epaulets pinned one on him for bravery in action.” “What’d he do, send you a newspaper?” “When the lieutenant sent me to Fort Bridger yesterday I talked to some infantry They pointed him out,” Nathan Sla[...]sfit,” Moses Cole said. “I’ll bet he talks in one ’a them foreign—made accents you can’t[...]rmy over there,” Nathan Slater said. “Not one of these cobbled together outfits that can’t keep its crackers in the same box.” Nathan broke the smaller branches with a foot brought down sharply. They waited their turn for a saw to cut the larger ones and to buck—up tree trunks that rotted in the quack grass. “He was inthe firewood pile, twigs from kindling from branches to saw. “Why’d they put him ’a horseback? He’ll gather—in half an acre to the pace.” Moses wiped his moustache and watched Carl Heinrich stride offwith the meat and the musket prone on his shoulders. “He could outrun a horse, on them legs.” The horses and mules grazed guarded by dragoons herding in half—day shifts. In the wane of day herders hazed the animals back to the cottonwood bottom to shelter for the night. The riding stock that remained in camp waited its turn for duty tied to high— lines strung in the cottonwood trees. “Them tall guys fall off too[...]id. “You wouldn’t think so with all them legs to wrap around and hook—up underneath, but By God they do.” Moses watched the tethered horses nod, sleeping standing. “Top he[...]We don’t need them foreigners tellin’ us how the world works.” Moses propped a larger branch on[...]’t eat one.” Moses retrieved an axe and broke the branch. “Shove it down a barrel and shoot it, maybe.” He threw both pieces on the branch stack and grabbed another to cut. “Looks to me,” Nathan said, “he can shoot better than y[...]in’ much,” Moses said. “If he’s schooled in the European cavalry he’s probably a horseman, unlike the glorified plowreiners |
 | [...]t I do know that man there would wear a horse out at a walk from here to the Lieutenant’s tent. Look at the size of him. That’s why he’s packin’ meat like a mule, instead of a mule packin’ him.”“He was assigned to the artillery,” Nathan said. “Probably because he was the only one smart enough to understand ballistics and windage.” “Load it[...]r mama must have weaned you before she taught you to read.” Moses split a branch and the pieces cartvvheeled. “She didn’t know how to read,” he said. “She’d always wanted to read, so I learned enough to teach her.” Moses lowered his voice. He rested the axe. “As luck would have it, I taught her befor[...]ned.” “Damn sure did. Chasin’ chickens off the river ice.” Moses looked at the woodpile as though he did not see it. “After I learned enough to teach her, I quit that punishment. Except for when I taught my wife to read.” Nathan twitched as if he’d picked up[...]e was real proud she could read. Read them words of theat the woodpile. His voice stepped away, dampened as if deadened in a tent. “Till there weren’t nothin’ left, on them pages.” He looked at tethered horses, fingered the leather patch sewn with sinew on the cracked axe handle. “Every mornin’, every evenin’ she’d read them words. Couldn’t get enough of it.” Moses looked atto the day she run—off with a Mormon.” Nathan looked as if the panhandle heated in his hand. “Got out of the army after chasin’ Apaches. Had a little money[...]ed Isabella. Worked my daddy’s farm. Taught her to read and she read that Mormon book. Then she took up with the Mormons.” Horses whinnied in the cottonwoods. “Took to one of the elders.Thought him the Lord his—self, all that bible talk, and there she went, straight off to paradise in their land of |
 | DRUMLUMMON VIEWS—FALL 2008 14 Had to been that elder. Snuck it to her.” Moses raised the axe and split the chopping block. The axe hinged at the patch that splinted the fractured handle. He looked at Nathan. “Then I reenlisted, for to hook up with the Army of Utah, and here I am.” Troopers walked paths through camp with armloads of twigs and sticks and branches tofor you,” he said. “You don’t look like the marryin’ type.” “I expect I’ll find her in Salt Lake City.” Moses wiped his moustache. “I can’t wait to shoot a Mormon. For what they done, and for what they’re doin’.” Moses looked Nathan in the eye. “I might shoot two of “em.” “You didn’t tell me any of this.” “I told you now, and you don’t need to make it nobody’s business.” Moses stuck the axe in the standing half of the chopping block and the handle hinged again. Moses studied the bending axe. “Carve a new handle while you’re atthe deer hide offthat Dutchman, is what I’ll do. He’ll have it skinned—off and fleshed—out by the time my stove—up horse gets me there.” Moses[...]r tent. “Make rawhide and fashion a new patch, for to occupy my mind.” “For to fix our axe handle,” Nathan said. He smiled. “Why patch—up the old when you can start new?” he said. His smile faded. “Start over, Moses.” Moses looked at him, then carried his saddle to the high—lined horses. Seventeenth Ward, Salt Lake[...]also may fear. —1 Timot/Jy 5:20 Isabella held the scissors, using the point to sever threads at a corner of the appliquéd apple tree and beehive and intricate signature spelling Sophronia Fox, gaining purchase for the blades to snip the patch from the quilt. She snipped, then passed the scissors to let another snip, and so on until each member present had done her part with scissor blades severing the stitched—in edges. Isabella handed the excised patch to Thankful Everett, President of the Seventeenth Ward Female Relief Society. “Let the declaration now be made,” President Everett said. “In accordance with the bylaws of the Seventeenth Ward Female Relief Society, by majority vote Sister Sophronia Fox is hereby expelled from the |
 | DRUMLUMMON VIEWS—FALL 2008 15 Society for unchristian—like conduct.” With the scissors she reduced the patch to pieces, strode from the sewing circle and put the pieces in the stove, lifting the lid to the firebox with a horseshoe bent for the purpose and fitted with a wooden haft secured with wound wire, the original lid—handle lost when the wagon flipped from oxen panicked by prairie lightning. Thankful Everett held a piece of weatherworn canvas cut from a wagon cover. “We will now stitch this plain white cloth into the quilt, serving to remind us all of the blemish of unchristian behavior. I ask us all to pray that Sister Sophronia regain her good sense and her love of the Lord, and be forgiven by Him who judges all.” Thankful Everett lifted the piece of canvas overhead for all to see, as a priest blessing a communion wafer. “May we all remember that the careful work one may do may be undone, or should[...]s can be obscured by poor judgment, or disrespect for the commandments.” Thankful shook her head. “Sist[...]ewing . . .,” her voice trailed off. She looked at the canvas patch she held, then rested her hands in her lap and looked off. “Such exquisite attention to detail. Such a lovely signature sewn in those bold letters. And now, in this quilt it is forgotten, replaced by this empty and coarse fabric. May she and we learn from this, and be the better for it.”Thankful Everett surveyed the faces of the Society’s members. They looked as if they’d received word that a church had burned. “The Lord’s will be done,”Thankful said. She handed the canvas to Isabella and took her seat in the circle. Isabella snipped it to fit the hole where Sophronia’s work had been, threaded a needle, and took the first few stitches. Each member stitched in turn until the canvas was patched—in. When finished, the quilt looked like a smile short an incisor. Isabella said, “I mean no disrespect, but we’re trying to raise money, so I don’t know why we’re disfiguring this quilt. It will only make it sell for less. I mean, what is our purpose here—to chastise Sophronia, or to feed and clothe the brethren in the passes?” “It’s both. And it’s more.”[...]’ve learned that whatever we do must be done as the work of the Lord or it is done in vain.” “Amen,” Emma Taylor said. “We patch this quilt. We raise money in doing so for the good of our militia, whose purpose is to protect the Lord’s new Zion so His work may be done. We als[...]give Sophronia a lesson she needs so she may grow in spirit. And we also create a visible symbol, if y[...]s.” Thankful looked as if she turned her words in her mind, not looking at the circle so much |
 | [...]dden blackboard. She continued.“This quilt is for all to see, including people who have no idea who Sophronia is or what she did, but the message is there if they care to discern it. This is how we do the Lord’s work while tending to our daily chores.” Emma Taylor, Secretary of the Seventeenth Ward Female Relief Society, said, “I understand.” She chuckled. “The Mormon version of the scarlet letter.” “Something like that,” Thankful said. “Even if forgiven, and the spirit evolves through penance, the deed remains. We learn and we grow and hopefully[...]e say, less imperfect as Christians. We heal, yet the scar stays.This reminds us of that.” Isabella said, “I still say this quilt would raise more money if we had left Sophronia’s patch in. She does such beautiful work.” “Isabella, the Lord will put it in some man’s heart,”Thankful paused. “Actually, he needs to put it in the hearts of two men,” she smiled, “to bid on the quilt because of its reminder of human weakness, and the endless vigilance required to improve as a Latter—day Saint. And, of course, to clothe our troops who guard us against the invaders.” Thankful Everett smiled. “The army of the Pharaoh,” Emma Taylor said. “May the winter swallow them like the Red Sea.” Thankful continued. “I believe that, Isabella. Not everyone does, but I do. As long as we do the Lord’s work, the Lord will provide.” “I must admit,” Isabel[...]did you learn that?” “Why, from Mr. Everett, of course. Our husband, the Bishop.” In the style of the Baltimore Album, the quilt was a patchwork of floral patterns and fruit, birds and butterflie[...]s, signatures and mottos and symmetrical designs. The idea had been to create a quilt to sell at auction to raise money to split evenly between recent emigrants destitute of food and clothing, and Lamanites pushed from their native lands yielding to the encroaching Mormons, and the Perpetual Emigrating Fund to bring Later—day Saints from around the globe to the new Zion. With the advance of the United States army, however, the purpose shifted to raising funds to buy supplies for the Legion wintering in Echo Canyon guarding against the onslaught of the army. The Seventeenth Ward Female Relief Society would sponsor an auction and a dance, with food and enough homebrew to make the men bid when the |
 | DRUMLUMMON VIEWS—FALL 2008 17 were there for her children.” Isabella pursed her lips. She studied her stitching. “To leave a good man like Truman Fox who is doing the work of the Lord.” Emma Taylor shook her head. “The Lord has His work cut out for him this time. Sophronia will take a good deal ofeffort.” “I’m sure the Lord is up to the task,” Thankful Everett said. She rested her hands in her lap, holding needle and thread and a section of quilt, and looked at the women seated in the sewing circle. “Now ladies. We must be careful not to judge. We have acted in accordance with our bylaws, not to condemn Sophronia the person, but her action that is not in accordance with Christian principles. I ask all of you to pray for our sister who loved this Society, and gave it her best work.” “Pray for me as well, sisters,” Isabella said. She looked[...]bella, we know that,”Thankful said. “You left to follow the command of the Lord, and you left a husband who was deaf to his call.”Thankful smiled. “Dear sister. You[...]voice trailed away. “He was a good man.” “Of course he was a good man. He married you, didn’[...]r sister—wife’s hand. “But he was not doing the work of the Lord. The world is full of good people who misspend their lives.” Thankful returned to her sewing. “We came here to have a hand in correcting that.” Emma Taylor said, “Thankful is right, Isabella. You did what you had to do. But Sophronia, and may the Good Lord forgive me, has the faith of a snake.To think of it, at her age.” Emma made a tsking sound with tongue to teeth. “Forgive me, Thankful, but she was an embarrassment to the Church and a disgrace to our Female Relief Society, and I’m glad she left. May the Lord give her what she deserves.” “Emma, you surprise me.” Thankful looked at her. Emma stitched, her attention directed to her work. Thankful’s hands were still. ”You must let go of your spite.” Emma reddened. “Truman Fox would ask that.” “Thankful, I appreciate your leadership as the Presidentess of this Society, but I hear the word of the Lord as well as you, and I don’t need you to tell me what He says.” Emma stitched quickly, her work showing the skill of a practiced seamstress. “Oh dear me,”Thankfu[...]bowed her head and folded her hands, not waiting for a response. The sewing circle did likewise. “Lord, please be with us as we do Thine work in Thy new land. Guide us, strengthen us, help us discern the paths Thou hast for us. Please be with Sister Sophronia and Sister Emma, and help us all to grow in Thy love and understanding. Help us to be the people Thou want us to be. Help us to grow in forgiveness, and to do the work Thou want us to do. In |
 | The women echoed Amen and resumed quilting. Isabella started to hum, then softly sang a hymn and thesewing circle joined and the song swelled in the circle. Second Dragoons, Henry’s Fork near Fort Supply, Utah Territory, March 10, 1858 . . . the teamsters while drunk would knock the heads in the [liquor] barrels with an axe, and, because the mules refused to drink it, flog them for their foolishness. —Wi//iam Drown, SecondDragoom, Uta/J Territory, February 25, 1858 South toward the mountains, on the benches where wind stripped of snow cover, where grass had its back bent, bared[...]an ill—tempered wind, dragoons herded horses so the horses could feed. On the benches where the wind bit, where it picked up snow as a thing of play and left it for coulees to keep, dragoons herded mules and the mules turned always leeward. Where snow calloused over they herded oxen, clustered to break snow crust, and the oxen fed in the broken snow. With teams too weak for draught work, dragoons drew wood wagons by hand to haul in cordwood that grew further away. At the end of day they gathered the animals by the coulee where the Regiment encamped under canvas. They herded at night, growing colder, guarding against Mormons a[...]as tent pins, no salt or coffee.Their tents were the circular Sibleys, walls steep as teepees, sleeping ten or more men. The crowded tents kept the noise and stench of men: snoring and flatulence, the rank unbathed bodies, turning sleeping uneasily,[...]choking on wood smoke, men going out, men coming in. Moses Cole stepped from the tent to breathe. He coughed. He looked at stars solid in their endless heaven and he watched one and then another one fall. He thought of a brace of wagons fired by Mormons pulled by panicked horse[...]d been two years and four months now, long enough for her to become a mother. She could have carried his child[...]o would grow up calling a Mormon, “Daddy.” Or the Mormon elder could have made her a mother. Or it could be both. Did she live in the city at the Great Salt Lake, did she live on a farm? Did she live in a house or a homestead hut? Did she wear bonnets and walk on a tree—lined street? Did she plow with a yoke of oxen carving a field a furrow at a time? Moses walked through camp passing the staggered tents. Twenty or more tents stretched through the coulee |
 | [...]t lengthened, flaring when restless sleepers fed the fires. When he reached the end of it Moses turned to return to his tent and the smoke that layered there. Lieutenant Colonel Philip St. George Cooke tossed in his bedroll. He wondered where they would graze in the morrow, where they’d find feed for the oxen, mules, and horses, these mouths of thousands they herded for the Army of Utah. He wondered at the endless winter, the relentless windchill the thief of heat, and the snow, always the snow, as though the beast of winter were the General Commanding. He thought of Napoleon in Russia and the frozen soldiers. “Push it away,” he said. He thought of his daughter, Flora, married to James Stuart, a lieutenant in the First Cavalry in Kansas. Like himself, Lieutenant Stuart was an officer of horse, a gentleman of Virginia, a graduate of West Point. Cooke chuckled thinking of the change the young man made after meeting his daughter—the beard the Lieutenant grew to hide a slung—under chin and to shed “Beauty,” the moniker it prompted. At least when he grew a beard he grew a good one, he’d allow that. He thought of the wedding at Fort Riley, its military majesty and his beautiful Flora, so young and full of promise, wife now to a life of waiting, wife to a husband’s love of honor. Beauty, Cooke thought. “For God’s sake,” he said. His son—in—law had carried the name, “Beauty.” At least he had the honor to drop it, growing the beard, using his initials for a nickname sparing Flora, daughter of a Lieutenant Colonel, the embarrassment of a husband called “Beauty.” “What gentleman would call himself ‘JEBW he said. Cooke chuckled at the choice his daughter made. Say what he may, he thought, the young man Stuart advanced faster than he had. He thought of Rachael’s radiance that day, so proud of her daughter following her footsteps and the validation it gave. The scars marred each cheek, constant reminder for all to see. Cook winced at the memory. “God damn me,” he said. He placed blame on the relapse of malaria and its feverish thinking, the demented disease that picked up the pistol. Weak with fever the mechanism slipped and the ball knocked out half her teeth in the parlor. “Shot my wife in the face,” he said, shaking his head. “I deserve to be here.” Rachel looked more astonished than hurt at first, and then the pain came. The dental surgeon had done what could be done[...] |
 | [...]0 “What an idiot,” he said out loud alone in his tent. He remembered Black Hawk’s war, the dentist with a practice back east collecting teeth from the Indian dead before rigor mortis set in. For all he knew, Rachael carried teeth from a Sac brave scavenged at the Bad Axe River. He would never tell her what he had seen there. Too much time to think out here, he thought. Too much time with too little to do but persevere. He thought of the passage from Romans that Rachael recited ever since the pistol incident: “We glory in tribulations also; knowing that tribulation worke[...]ce, hope; and hope maketh not ashamed.” “Who the hell thought of that?” he said, and he turned under his buffalo robe. If hope is the best you can do, why bother? His life had been a trail of tribulation, he thought. The waterless marches of the Southwest desert and the oxen with bleeding feet. The Snively affair and those damned Texians. Fremont and his pompous posturing, the humiliating court—martial questioning. Those rumors of squaw killer. Cholera, dysentery, the impairment of malaria. Sick and dying dragoons and always horses breaking down. The slow promotions, detailed to desolate places while a war was won in Mexico. The prairie campaign’s perseverance and boredom. The deep snow and precipice edges pursuing the Jicarilla Apaches. The Sioux at Blue Water Creek, the scalps of white women. It’s been a tiring and trying ride[...]ve gleaned tribulation, experience, and hope like the Bible likes. Not much of a life, he thought, if hope is the highest promotion. Nathan Slater pulled the buffalo robe up and over his shoulders and closed it with an overlap under his chin, the buckskin underside over his coat, hair—side to the outside. It was pliable, brain—tanned Indian style, and it was warm, the heavy hair of the buffalo’s shoulders over his shoulders moving as the wind blew as though living still, as though in kinship with the gathered animals guarded on a bedground bigger than a farm, the hair of the buffalo robe waving in the starlight. Nathan did not know which was noisier—a tent full of men, or bedded oxen. Among this many animals there was always movement. An ox would stand to defecate or stretch. Another would shift, extend a front leg and lay his chin on it. Another would roll to his side while another reversed that movement, ri[...]e pulling legs underbelly. Oxen chewed cuds as if in dreams of green fields. Others groaned and twitched as if they spoke from dreams like the men in tents did, haunted by what had passed and what was to come. The horses were more composed. Some lay down and |
 | [...]ind foot cocked, head hung sleeping. Nathan paced the perimeter watching other herders ride the edges of the bedded herds. He’d ride his stretch and ride back again, walking on occasion to warm his feet leading his saddle mule.The guards placed their fires marking the ends of the collected herds as points of reckoning for the nightriders. The Lieutenant called them “watch fires.”“That’s right,” he’d said. “Watch those fires so the Mormons don’t steal your wood. Don’t worry about the herd. They won’t bother them.” The herders would stop to warm up at the fires and they took turns tending them. Then they’d walk and ride coaxing their shift to pass. Alone under starlight, a March night cold as Christmas, Nathan remembered he’d left the life of a farmer. Young and restless and captured by the romantic notion of the mounted soldier and the name itself, dragoon, as though there were something princely about it. The knee—high boots and black tack, sash and sabre, the grace of the gentleman the recruiter posed. There was the freedom from the farm and its drudgery and the chance to ride rather than drive horses. He remained a farmer at heart, as earthy and intricate as the soil that grew him yet restless for something better that books and splendid houses s[...]an inquisitive itch that farming couldn’t fix. The dragoons he could do, their payroll pay and promised adventure, the horses and the riding of them. The hardship marching surprised him. He’d marched for weeks at a time, often riding far enough to cross a Pennsylvania township five times to a day. He’d seen country he’d seen in dreams and the more he saw the more he missed wooded farmland. Distance didn’t[...]as islands. This marching confirmed no yearning for the sea and yet he seemed like a prairie seaman. At least they had this relief, camped near the mountains as though finally finding harbor. Funny, he thought, he had joined the army but didn’t expect death. Horses by the hundreds, mules that fell in singles and teams, farriers pulling their shoes to use again. Rations adequate to fend off starving but nothing they wanted to eat. Fingers and toes black from frostbite, the wind steady as time. He had it better in Pennsylvania, the comfort of the forest and the close hills, the fieldwork and the meals, the warm bed of a farmstead.The grit required to survive here had astonished him. There had to be something at the end of this that would make the journey worth it. This too was new, this herding of animals like the drovers in Kansas did. At home they had a handful of cows and plow oxen, but nothing like this expanse of animals. It would take an hour to ride around this herd on a horse at a walk, and then the Mormons might get him. He’d yet to see one herding |
 | [...]r said they were there, patient as Indians, ready to kill guards and stampede the transport power of the Army ofUtah. Through a mitten hefelt the muzzleloader move with the mule’s gait and wondered what good one shot would do other than to mark the time of his passing. He’d see the Great Salt Lake at any rate, which the freighters had said was as big and devoid of life as the desert it lived in. He’d see the city the saints had built, and he’d watch over Moses to keep him from doing something foolish. Echo Cany[...]Captain Marcy’s herd, getting them shod, ready for the march tomorrow. He did not bring enough to fill up the regiment and the light battery, and we were forced to draw sixty mules in order to mount all our men. I happened on a very large hor[...]condDragoom, Uta/J Territory, juneu, 1858 A city of wickiups stood at the foot of the mountainsides that defined Echo Canyon. Many were built in the mountain faces as though huddled there. A construction of huts crafted with poles and woven willow gave the look of poverty and pride, a village replete with thatched roofs sealed with matted grass and a mud mix of clay and coarser soils placed to slow snow and its dripping through ceilings heated from the fires inside. Firewood piles stood by some of the huts to feed fireplaces cut in the banks of the canyon side. The comfort of the makeshift village surpassed that of the army’s camp under canvas. Some of the huts had Dutch ovens cut in the clay bank next to the fireplace to bake bread oven fresh as if home had never left these defenders. Strung for more than a mile through Echo Canyon the thin village was freshly neglected, abandoned as though decimated by disease and left for the elements to dismantle. Scouts had seen the canyon when the Nauvoo Legion was posted there and reported the certain annihilation of the Army of Utah if it attempted to bull its way through. “I don’t like this,” Garrison Lloyd said. “Marching into this gauntlet before the dragoons do.” He looked at the slopes and the rock walls of rifle pits spotting the canyon sides. “Aye, to walk in their dust and the messes their horses make, is it? You march with dragoons now, you’ll want the road first, me boy.” |
 | [...]take manure over this.” Garrison Lloyd motioned to the rifle pits and the perched boulders. “We’re easy pickins for a Mormon with a rifle or a rock.”“Oh, me l[...]Sergeant McMurray said. “Tis us who will shoot the Mormons. They have their rocks and we have our cannons, you see.” Sergeant McMurray looked at the deserted works. “Don’t you know they’ve fled for the valley below now. Run to the women, they have. When it comes to killin’ a Mormon’s got no stomach for a soldier’s work.” The canyon amplified the sound of the marching column till the soldiers sounded twice their size. “Tis an easy thing to burn wagons and steal cattle that aren’t guarded. Tis another to face an army of United States infantry. You mark me words, laddy. We’ll have to hunt to find a Mormon to shoot.” Like the country they’d covered since Fort Laramie, that masquerade of a grassland in essence a desert scarcely haired—over with prairie, this was a country to pass through traveling to somewhere less inhospitable. The huts were the exception, an attempt to tame an untrainable beast, as though weather could be gentled with a perception of order. This was tough country with its rock—sided mountains that seemed to fall through the canyon floor, hillsides suitable for seasonal goats, the ground that showed the work of wind. This would be a country where snow was bor[...]ilitia, me boy. We have dragoons who will breathe the fire of hell itself.” “The dragoons have done nothing but eat our rations, and now they ride in the back when the Mormons are up front somewhere,” Garrison Lloyd said. “For the love of Saint Patrick, laddy. If the dragoons had ’a been with us instead of sent away by some general the Mormons would ’a got nothin’ from us.Tis the dragoons we needed.” “Well, those lily—liv[...]ike we do. He don’t like bein’ afoot and left to do a man’s work. Oh, they’ll make the Mormons pay they will.” Sergeant McMurray’s beard widened when he smiled. “Tis a thing of beauty truly, to see the horsemen charge.” The four hundred horsemen of the Second Dragoons halted at the mouth of Echo Canyon. All were mounted now with many on remounts from Captain Marcy’s expedition to New Mexico. At the mouth of the canyon Colonel Cooke ordered a regimental drill[...]paulets when his horse turned, showing promotion to full colonel not yet one week old. Like the ring to a |
 | DRUMLUMMON VIEWS—FALL 2008 24 bishop the insignia signaled an aura of authority, its hint of intimidation. Officers shouted sounding like an army volleyed voices and the rocks volleyed back as though venting what lay wi[...]master and it was a wonder, Moses Cole said, that the canyon didn’t collapse. “Them rocks,” he s[...]me a bugler.” Somehow an order was sorted and the Regiment drew sabre and the canyon sounded as if it split. At the command to return sabre it sounded like train rail fell on train rail for the full defile of the canyon and then, for a moment, the canyon stood still. Then orders were shouted and the canyon shouted back and bugles blew moving four hundred horses and it sounded like the mountains switched sides. Colonel Cooke smiled and he turned his horse and the insignia glinted as though wishing to soar on the pinned wings and Colonel Cooke led the Second Regiment, United States Dragoons, toward Salt Lake City. Salt Lake City,June 26, 1858 On entering the city, we could see at a glance that everything was laid out in the most accurate manner, the city being laid off in perfect squares, every street as straight as an arrow, and fifty yards wide. Ihe houses are built of stone and sun-dried brick, and, as a general rul[...]stories high, each house having about four acres of land in the enclosure, which is loaded with grain, garden vegetables, and flowers without limit. On each side of every street runs a small stream of clear water. . . . Along all these little streams, or irrigating ditches, are rows of beautiful shade-trees; every dwelling nearly has a nice paling fence in front, and many of them apple and peach orchards in rear. —Wi//iam Drown, C/Jingug/er, Second Dragoom,]zme 26, 1858 Ihe streets [in Provo] are very wide, regularly laid out, and run at exact right angles to each other. Along the sides of some of them run small, rapid streams, in which great mountain trout, weighing ten or twelv[...]ong. Ihe children have fine sport throwing stones at these beautiful fish, and trying to kill them. —]eneA. Gave, Captain, Tent/[...] |
 | [...]e Cooke held his hat over his heart as if holding the Mormons of the Mormon Battalion there. This cavalry is as tough[...]ir church and their faith or pushed by their fear of him or fear of bones desecrated in the desert didn’t matter. They had followed, and th[...]er than any they would face. Colonel Cooke nodded at figures in the windows of homes and on porches, standing by straw or stacked wood with unlit torches, the simple weapons of a self— reliant people poised to ignite their homes in final defiance of authority marched from the United States.Colonel Cooke thought of Lafayette Frost, Corporal ofMormons. He saw a sha[...]e thought, he would be with their Legion standing at a home as if standing to horse, holding a torch as a sword of the Lord ready to immolate their city. Colonel Cooke shook his head at the memory of Lafayette Frost steady as steel as the bull closed with the momentum of a locomotive. Lafayette Frost had reenlisted, enticed by the new uniform and the addition of eighteen cents a day to occupy San Diego with the Mormon Volunteers and died there, disease taking the body the desert couldn’t weaken. Colonel Cooke muttered[...]rmy they made.” “Beg your pardon, Colonel?”The voice came from a staff officer riding behind him. “Nothing, Lieutenant. Just looking for soldiers I knew.”The Lieutenant looked as if he tried to comprehend a mathematical equation beyond his education. “The Mormon Battalion, Lieutenant. Extraordinary soldiers.” Colonel Cooke rode at the head of the dragoons and watched with head uncovered. Moses Cole watched also. Nathan Slater rode at his side in their column of horsemen four abreast. “Look at the old fool,” Moses said. Like the other troops Nathan looked at the houses with their yards and porches, fences and orchards. It looked as good as the best he’d seen in Pennsylvania. “These people tried to starve us, and he takes his hat off,” Moses said, as though not minding who heard. The sound of horse hooves filled the boulevard then quit at the intervals that split the army by companies marching in parade formation. In these still intervals the creeks gurgled as though promenading water to trees standing sentinel and to the gardens and orchards of the citied homesteads. “If it was up to me we’d camp right here. Move right in them houses. Eat off them fruit trees and[...] |
 | [...]2008 26 Louis, and these people did not have the material or tools the craftsmen back east had. “Them people owe us that much,” Moses said. The yard fences and the shade trees and the open streets they marched on and crossed over blended the comfort of New England with a western sense of space. Looking east over the tops of the trees and the houses the mountains rose higher than Nathan thought possibl[...]anyway?” Moses said. “He never give us a tip of the brim.” “Hold it down, Moses,” Nathan said.[...]gardens brighter than a Pennsylvania forest full of fall splendor. “Not once,” Moses said. Nathan thought of framed paintings in a Philadelphia museum. “Appreciate what we see[...]g time before we see this again.” Moses looked at the back of the dragoon riding in front of him. “I don’t care about the pretty,” he said. “Just want ’a give these people what they been askin’ for.” Moses bobbed in the saddle in cadence with his horse’s gait. “Just come to do ajob, is all.” |
 | DRUMLUMMON VIEWS—FALL 2008 27 Tu B ’Shvat: for the Drowned and the Saved Melanie Rae Then The girl was radiant. I saw her in the shower naked. Glistening with water, she seemed lit from inside, a woman illuminated. I tried not to stare, then simply surrendered. Alone, I tried not to look in the mirror, tried not to hear my mother: 777e old are more naked tban tbeyoung. Before the camp, she had never seen an old woman naked. One day last week the slender girl flickered beneath me.Three lengths[...]ve yards underwater. She had strength and desire, the discipline to stay down even if her lungs were bursting. There are others like me at the pool, not that old, but already too fat or too thin, trying to stay fit, but already withered. There are others with scars: the woman with one breast, the man who leaves his left leg, his prosthesis, at the edge of the water. The long, green—eyed girl gave us hope, a vision of a human being perfected. My mother weighed seventy—two pounds the last time I dared to weigh her. I fed her puréed peas, strained carrots, tiny spoonfuls of mashed potatoes. I was always afraid. I thought h[...]I bathed her. She no longer spoke out loud, but the voice inside us said: Love is rtronger tban deal[...]ives— chestnuts, cherries, pears, almonds—all the fruits of Tu B’Shvat, the new year ofthe trees, God’s Rosh Hashanah. My father said, God reeks M, [Mr day alzove all otberr. In Israel, cold winter rains turned to drizzle; sap flowed through myrtle and cedar. Here in Salt Lake City, I woke to see new snow on white aspen, the whole world in pink morning light fractured. I envied my mother, the ease with which she moved, free of her body. She waited for me. She said, 77m ix rometbing. By noon, sun shattered of snow, the day suddenly fierce, the blue sky unbearable. Mother opened her eyes wide, loving the light, able at last to take everything inside her. Only thirty—five degrees, but I was hot in my down coat, sweltering. I believed, yes: in this rage of light, the Tree of Life, all life, might be reawakening. I told myself: Rejoiee. I whispered: For your motber’r rake, lze tbankful. And so I was—but more grateful to come home and close the blinds and close my eyes and let my mother go and lie perfectly still in perfect silence until Davia and Seth retur[...] |
 | DRUMLUMMON VIEWS—FALL 2008 28 Davia in the living room, lightly playing one phrase at a time on piano, then turning to the chair to invent an answer with her cello. She plays as she[...]ceful as water flowing, a girl who sees a mirage of herself shimmering across the desert: as soon as she reaches the place she appeared, she is already changing. My D[...]ars old, her whole body trembling. When I put her to bed that night, she lay quivering, near tears, unable to tell me why, unwilling to take comfort. Too much, too soon, a mistake, I was sorry. But the next morning, the trill of the piano woke me, Davia running her fingers up the keys—a ripple of light, the body becoming light, blood clear as rain—then down to the lowest notes, the mind a waterfall plunging. She had moved the bench to walk the full range, to touch every key, to feel the hammers strike wires inside her—Davia finding her first song, Davia in rapture. Now she plays piano, zither, cello—Gi[...]dwig van Beethoven. Now she serenades a doll; now the snow is dancing. She conjures the carnival of Saint—Saens: kangaroos and tortoise, wild asses, people with long ears—pianists, fossils. She plays the songs Dvorak’s mother taught him, the cello strand of “Transfigured Night,” Leonard Cohen’s “Hallelujah.” She loves the cello because it vibrates through her bones, and[...]came first, that night, that morning. She loves the zither because even the wind knows how to play it—as if her gift is not her gift, only the breath passing through her. She lies on her bed in the dark, headphones on, sound searing straight into her skull— she’s safe for all time, sheltered by “The Protecting Veil,” the voice of the Mother of God in a cello,Yo—Yo Ma playing Tavener. She turns the volume down lower and lower, until sound stops, u[...]ring vibration. Davia, seventeen, and good enough for Juilliard, but she wants to live in the wild, meet the snow leopard face to face, hear its still, small voice high in the Himalayas—she wants to follow caribou across mountains and tundra, record the sounds they hear on their way to the edge of the world—Davia wants to sing as elephants sing when they visit the bones of their ancestors. Seth already knows he’ll be a[...]him now, my thin boy with narrow shoulders, small for his age, climbing the ropes at school, proving himself, faster than the other boys and able to squeeze his skinny hips through tight spaces, Seth Betos, unafraid of smoke—filled tunnels—our beautiful savior, b[...]ze with desire, eleven years old, my boy, singing the Kaddirb, walking into the flames, healing the wailing mothers with a song as he lifts their babies from the embers. My tbildren/ Let [be nigbt begin;[...] |
 | [...]er died with a crumbling spine, bones too brittle to hold her. Starvation, Doctor Lavater said, all tl[...]e hair—my husband’s friend—he didn’t mean to be cruel. When I bathed my mother,I imagined her[...]sixteen years old, thirty—one kilos, my mother inin the Vistula River with seventy other women just like her, to even tbe bank, [anuary 1945, tbe war loxt, our final talk, rulzlime madnem.The camp sat wedged between the Vistula and the Sola, a swamp, a land of floods, soil impervious to rain and melting snow, marl two hundred feet thick, crumbling clay, impossible to drain and farm—but the Nazis still believed they could make everything in the world useful. Day by day for four years, they sent the women to the fields—hundreds, thousands—marched them five by five out the gate while the band played the rousing March of Triumph from Aida, marched them for hours, for miles, past deserted houses and evacuated villages, set them to work uprooting stumps or digging ditches, building roads, dredging fish ponds to spread the muck with their own muck as fertilizer. If a stone was too heavy to lift, a root too deep to dig, your shovel too dull, the clay too resistant—if you stopped, if you staggered, if you reeled, dizzy from hunger, the Kapo beat you with a stick and you found the strength or died there. In the end, my mother’s captors contented themselves with one simple project: to move the stones, to even the banks, to make the river straight, to force the Vistula to flow more smoothly. I see her bones, all their bones, glowing white through their skin, washing away in frigid water. Soup was Goal, Eva said. 7771'}: ax[...]aineal me. My mother lived because she was strong for her size and not too pretty, because she stood st[...]omewhere. She lived because life itself was proof of rebellion. One day she collapsed and lay in the cold unconscious. When the whistle blew, she did not rise, and two other wom[...]recall, whose names she never knew, who whispered to her in Czechoslovakian or Polish, used the last of their strength, their love, to drag her back to the camp between them. My mother lived because the river ran cold, because frostbite, because fever, because too weak to march as the Russians approached, because left to die and instead liberated. Eva Spier became Eva[...]ghter: my mother lived fifty—eight years after the war, twenty—three without my father—t[...] |
 | [...]en she couldn’t sit; one stroke took her desire to eat; another stole her voice in every language.Night after night, my mother liv[...]know that my mother did not tell me, words I hear in the voice of her violin, Bach’s “Chaconne” playing on ba[...]d witb banger, Ifelt my own banger. I praired God for your noire, your flerb, your fatifor fear I eoul[...]ody. Night after night, my husband lies beside me in this unstable darkness. He sleeps as children sleep, in complete surrender. He sleeps blessed, because he[...]nd, famously patient. Doctor Liam Betos knows how to slip titanium ribs into the bodies of children with scoliosis so that they can breathe and walk, free of oxygen tanks and wheelchairs. He is not vain.A man bad to build a titanium bibe before anyone tbougbt to put ribr in a buman. Liam’s children teach one another to do somersaults and cartwheels. They hang by their knees from the monkey bars at school, roll down grassy hills in the park, then charge to the top again, laughing. If Doctor Betos sleeps in peace, he has earned it. This morning I kissed t[...]ve him, my good husband, and I was unafraid, calm in the lavender light, no need to shield myself against it. I walked to the pool alone, but not lonely. Mother comes when she comes. I cannot choose the day or the hour. Birds flew tree to tree, gathering twigs and hair, fur and feathers,[...]hedge, a hundred hidden sparrows sang, and I felt the sound, all their bodies in my body trembling. I smelled damp earth beneath melting snow and heard every seed, shells ready to split, green shoots quivering. God, bere, in all tbingr: tbe birdr, tbe rong, tbe rilenee, tbe[...]loudr, tbe rpaee betweeni tbe old terrier tugging at bir ebain, tbe band witb wbieb I toueb and rootb[...]e, wine, wbeat, earobiar tbe pomegranate we found at lartiar rweetpearr and nutx and appler. God wbo r[...]m wonder. I slipped, I almost fell, bedazzled by the thought, as if hearing God’s Word, the seed in my heart, rupture for the first time. Mother came, light as light.[...] |
 | [...]31 YEr,forty7”our and m tired, and too weak to walk maven Math, and fumbling in my [Jody witboutyou. I was glad to see the green—eyed girl at the pool. She restored me. Her beauty seemed simple today, almost clear, not hers, merely the glass for God’s reflection.I knew her name now, Helen Kinderman. Sweetly she’d given it to me last week when I asked her. She spoke softly,[...]ooked suddenly small and bewildered. I loved her for this, the absence of all arrogance. Today, everyone looked perfect. O[...]atter? Carl Ancelet pulled hard with his left arm to compensate, and his right leg, his one extraordinary leg, kicked up and down and side to side, as he glided down the pool. A dark—skinned woman swam on her back, pr[...]ening lush, buoyantly healthy, pink suit clinging to swollen nipples and navel, tight pink cloth expos[...]th two bald women, ones whose hair had fallen out in the grip of chemotherapy, ones healing now with her, their guide, their hope, because she had lost a breast at thirty—three and was not afraid, because she gave them a vision of how they might reclaim their strength in water— Louise, still alive at thirty—seven, and now her hair grew long and w[...]urpose, stroked his smooth head, suddenly ashamed of this indulgence. We were whole, each one ofus, and all of us together. I remembered my father’s blessings: for lightning and thunder, for the beautiful ones, a narrow road through red maples, green dragonflies and white tulips, for lovely girls and strange—looking creatures: Bar[...]b’riyot. Blessed are You, Adonai our God, Ruler of the Universe, who makes the creatures different. Kristina Everly spoke to her deaf twins from across the pool, hands leaping in light, voice blessedly silent. How lucky they were to speak this way! I watched Ricky and Ryan dive deep to tell secrets underwater. Idris emerged from the tunnel of the dressing room, white towel wrapped like a skirt a[...]e and before her second, Idris gave me a tiny cup of espresso at his coffee shop—warm and delicious it was, bitt[...]ood; he believed me. But tome bark, he said,free for you, any time, really. I didn’t come. I was afraid of him, his beauty and his kindness, the way he said my name, Margalit, so |
 | [...]LL 2008 32 lightly, as if it were not my name at all, but the word for his favorite dance, [be Margali[, and as he spoke[...]e was bright, hair black, skin olive. We met only at the pool—he seemed to know why—but I was always glad on days like today when Idris chose the lane beside me. Two more appeared, the last to join us, Samuel Killian pushing his wife Violette in her wheelchair. I loved to see him: stooped old man, thin skin speckled with[...]hful husband, delicate and determined, every bone of his sternum visible. Fragile as he might seem, Samuel had the will to wheel his tiny, white—haired wife to the edge of the pool, lift her out of the chair, and ease her down to the water. I thought what a blessing it was to swim with them, what a gift that they would allow it. My father taught me to swim before I learned to say no, before I knew fear in any language. He could teach anybody to swim: little girls crippled by polio, soldiers with stumps instead of legs, old women terrified of water. My father said: Wby be afraid of [be [bing [ba[ boldr m? My father said: I ’m rigb[ bere; I ’ll walk in [be wa[er berialeyou. When Helen swam below me today, I found her foolish and splendid, extravagant in her strength, but not vain, not driven. I loved[...]flowing. When she slowed, when she lay still on the bottom, I thought: some new challenge, some watery meditation, the mind making thein my mind how I said it. I confess: I grew vaguely irritated. She stayed too close to the edge. Despite her depth, she distracted me, and s[...]ip turn. I forgot how lucky I was, how privileged to swim with these people. I forgot about coconuts and pears and olives, all the fruit at home, waiting to be cracked and sliced, the endless gifts waiting to be opened. I forgot about God as wine and swallowed a mouthful of water. He left me sputtering, separate from all things, trapped in myself, pitifully human. My awe for the girl grew hard, a pit ofshame sharp in my belly. I swam over her three times before I thought to go down, before I felt her as I’d felt the birds, before my mother said, Sbe neealryou. A trick, I thought, this voice in water. I did not believe. I did not trust her. Dive, she said, and I obeyed, but the breath I took was quick and shallow. I had to rise again and gasp, and dive again to reach her.I thought I’d find Helen, green |
 | in sign, in bliss, that there would be no struggle.ButI touched her arm and I knew; I knew then already. Limp, the girl, water—logged, heavy, no breath in the lungs and so she floated on the bottom. I took Helen Kinderman in my arms; I wrapped my arms around her.I kicked hard, and we rose like this, not joyfully, together. Then the others came, xofmt, as if they’d felt my grief move through the water: Idris, the closest one, already on the deck, taking her in his arms, lifting Helen away from me; Kristina waving furiously at the lifeguard, trying to make that flushed boy comprehend the wild silence of her language; then another guard, a girl with a[...]red— headed girl with powerful thighs like one of those miniature gymnasts; and Louise Doren touching Helen’s feet, believing the one who’d almost died could heal the one not living. The flustered boy yelled, commanding us to step back, me and Kristina, Louise and Samuel, as if we had no part in it, no place or purpose here, no desire—running now, the guards, telling Idris to set her down, gently, gently; scolding us with their voices, not the words themselves, but the tone, the inflection, the implication we’d done her harm, the insinuation our touch was violent. They knelt beside her—the boy, the girl, these two, these children.The fierce little gymnast pumped Helen’s chest, an[...]pple legs weirdly bloated. Stop. I wanted someone to stop this. But nothing stopped. In her chest, tiny bones cracked; from her mouth and nose, water spurted.Then the boy had his mouth on Helen’s mouth, and the girl pressed hard with the heels of her hands, and Helen’s bones broke and her body surrendered and there was hope the lungs might heave, the heart clench, the love of life return, the delicate pulse throb in her neck again. Where was the manager? Out back, smoking a cigarette? On the phone, scolding her befuddled father? What did i[...]re or why, legitimate or foolish? She’d left us in the care of two teenagers who had done the drill ninety—nine times but never resuscitated[...]one, I raw 17er. Or maybe it was Helen’s fault for swimming underwater so many times, for teaching me, Idris, the rippled boy, Samuel Killian, the buoyant woman—all of us—how strong she was, how ridiculous we were to worry. I wanted to rage at Helen, God, the manager. Wbere oreyou now? Wlmt are you doing tlm[...]o firemen and a paramedic descended, dark birds in black jackets, fast and graceful, called by God, |
 | [...]L 2008 34 terribly efficient. Helen belonged to them now. They had paddles to jolt her heart and a syringe full of epinephrine. Her body rose and shuddered and stop[...]r rboreil knew i[ ax roon ax I [ouebeal ber. Now the jittery manager and her quick guards herded us to the locker rooms, told us not to shower. Drem anal go bome. Pool eloreal for [be day. Come barb [omorrow. Tomorrow, and tomorrow, and tomorrow. Violette sat in her chair, cap curled up like a crown, damp red towel like a cape around her. Crippled queen! I wanted to kneel before her. We didn’t go home. We clustered outside, though the day had gone dark, though the wind whipped icy snow into dancing funnels. The pregnant woman sobbed, blaming herself. I raw ber[...]p until Idris put his arm around her. She wanted to touch me because I’d touched Helen, because she thought I was good, because she believed I’d tried to save her. I let her believe; I let them all believe what they wanted. Carl looked in my direction, but his focus went far beyond, to the trees, to the snow on the mountains behind us. Louise and her two friends p[...]been Krim'na or Samuel or V iole[[e. She touched the place where her left breast once was to remind me: anyone can drown or save or fail Or yo[...][oo la[e, Ialrir [be one wbo wai[eal. She meant to be kind, but her words pierced me. She drove me[...]ir job. I nodded. Bu[ we were [bere, wi[b Helen, in [be wa[er. I didn’t say it. She wrote her phone number on a little scrap of paper. Call me 1f you neeal rome[bing la[er. I thought God was here, in this room, still alive but unable to help us, revealing himself to me in Louise Doren. I couldn’t bear Him, His grief, H[...], pomegranates and grapes, three fat pears, a jar of black olives, all that fruit, Hir fruit, in my kitchen. And then Louise closed my door, and I was alone, completely, and everything in the house scared me: fruit uncut, wine unopened, Moth[...]h rolled tight, Mother’s white on white scroll, the Tree of Life embroidered in satin stitches, a wedding gift from |
 | [...]ed, never once folded. I smelled Helen Kinderman in me—soot of adrenaline, burn of chlorine—we shared this: one scorched body. I wanted to wash her away, the smell, the memory, the thing that had happened but couldn’t be, and I tried to climb the stairs, butI was too weak to stand, too light in the head, and I was afraid of the water, my father there, dead of a heart attack at fifty— seven, Leonard Lok crumpled in the shower, alone, two hours—my father who might ha[...]ard a cry, if he hadn’t hit his head so hard on the tile. Even now, today, he might live—if onlyI could climb the stairs, if onlyI could reach him. How can tbis b[...]el eyes were almost gold, because she scared them.The doctors thought if they could sterilize a girl li[...]bearing only their secrets. Any day you might be the one, or the one of a thousand chosen. Beeuure you rerirted, beeuure[...], beeuure you beld your breutb, beeuure you [bore to rtuy under. For two hours the water ran cold over my father’s cold body. You[...]eeuure you were foolirbibeeuure you didn’t bide in time, beeuure you didn’t believe, beeuure you c[...]d ur out. Our good Cbristiunfriendr delivered ur to tbe roldierr. Ybe midwife wbo brougbt me mfe into[...]obed me now, deep inride every opening, reurebing for rturbed gold, luminous peurlr, glittering rubier.[...]Kuturinu Szubo’piereed me. Ar if I were notbing to berigout, dog, few, rtrungeriur up my aunt Lilibe bud not bubed tbe tbreertiered wedding tube for Kuturinu’r duugbter, or if my motber bud not re[...]? Ybefumilyjewelr were inride, it? true, but not in my bodyifour gold ringr, wedding bundr, ull we’d ever bud between ur, four tbin ringr bidden deep in tbe belly oftbe doll my fiztber brougbt me obrro[...]etb, u red tongue, tiny dimpler; rbe looked reudy to rpeub, tbin pink lipr ligbtlypurted, tbe p[...] |
 | [...]e badgolalen bair, xilby bair, buman bair eurleal in ringletx. I would eruxb ber now myxelf to xtop remembering. My mother’s uncle Tamas died[...]st, because he was a carver, a craftsman, because for a time, a short time, Bertok Spier’s clever hands proved useful. Long ago, he’d carved an altar for a synagogue in Vienna. He carved headboards with vines and flowers, cradles that never tipped, caskets without nails. In silence, in delight, he carved nutcrackers and puppets. Bertok Spier carved the delicate legs of chairs and tables. In sarvar on the Raba River, no one asked, no one cared, if these legs belonged to Jews or Gentiles. For his son and daughters and nieces and nephews, he[...]s. Once he carved a tiny whale, a fine filigree of myrtle with a little man inside, a man you could[...]a miniature Yonah.How can tbis be? Even Bertok the carver couldn’t explain how he’d done it. In the camp, he extracted gold from the mouths of the dead, found emeralds stashed in the bowel, sapphires the soul didn’t need, diamonds his neighbors had sw[...]ua, Tzili, judit. Her cousin Datiel lived because the sun struck his face and he looked stronger than h[...]ugh like them, almost a soldier. He wheeled carts of the dead and almost dead. He heaved them into ovens.[...]quil anal wbo xball be troubleal. Datiel survived the war and hung himself twenty—six years after. They arrived at night on the train. Work would make them free—if they were quick, if the wolf dogs didn’t kill them. Somewhere in the eerie fog, an orchestra played Hungarian Rbapxoaliex to soothe them. Areyou mad? Ix tbixpomible? And then they began to see, yes, a piano and a cello, a violin dancing in the air, in the mist, and a woman with a baton, standing very str[...]weird black dust everywhere falling. Music muted the cries of children, and they thought: Iftbe musie aloexn’t xtop, anytbingianytbing at alliix bearable. My mother’s grandmothers died[...]because he hobbled behind them. Aunt Lilike took the hand ofa child, a little boy lost, a waif abandoned. Lilike and the son of a stranger |
 | [...]eaure your rboer almor[fi[ and you found a pieee of wire [0 [lore [bem, beeaure you r[ole a rpoon fro[...]eorner, beeaure you fiziled [o r[and [bree bourx in [be freezing rain ax [be guardr ealled your ridie[...]em.One day my mother thought she would run into the buzzing fence and end it. A song, it was, electricity in wire, a sweet, high hum, the Mepbifio I/Val[z tenderly tempting. She didn’t care about her own life or the fifty women the guards might shoot in retribution. I dared God [0 aeeme me of murder. But she stepped outside the barracks into the light and the sun on her bare arm felt warm, and the sun on her skin saved her. Another day, later, near the end though she didn’t know it, my mother moving rocks in the river thought, So eary [0 go down, ro eold, ro rwee[ [o rlip under, but twilight came and the sky turned pink and lavender beyond the trees, and a prayer began to pass among the women, a whispered song between them, as if in a single breath they’d all remembered the day, the hour, Sbabba[, the holy night, the queen, the bride already here, radiant among them. They had one choice: to live as long as possible, to let God hold them in the river. Hungarian, Greek, Czeeb, Polirbi Li[buania[...]and Godga<ve ur eaeb an ex[ra roul, a boly rpiri[ forin [be wa[er, rilen[ women, floa[ing Jewr, free a[ lar[, raved, delivered, bu[ [be wind in [be [reer and [be wa[er o<ver roeks were [be pray[...][bis be? You lived because your bones heard Aida in your sleep, and the beat of the drums kept your heart beating. My father said, E[...][0 kin bir mou[b and eyelidr. Fa[ber, didyou wai[for God? DidHe kisryou asyou |
 | [...]2008 38 fell? Didyou die afraid, or rurrender in wonder? Helen, I wife“, I bimed you: as Idris lifted you out of my armx, I premed my lipx to your legito taxte, to know, to love you. I do love you. Two hours gone since w[...]er than death? Motber, are you witb me? I thought of Helen’s mother, the words she might hear, her husband the first to know, the one to tell her, the terrible sound she might make as slowly she understood him. Do the dead die when they die, or only when we believe i[...]e I knew it, and all that time, if I imagined him at all, I imagined him walking in the water, in the world, beside me. The police found Helen’s father first, Peter Kinde[...]own, and when he saw them, he was afraid, but not for Helen—he never thought, It’x ber, xbe’x gon[...]ugbter. He thought accidental overdose, a mistake in a prescription, a stranger dead somewhere or in a coma, his fault, or the fault of one of his technicians. He made the stuttering policeman say it three times. Drowned, today, tbix morning, Helen. He walked from the drug store to the library, thirteen blocks in the cold without hat or gloves, and the wind bit and he liked it, the small hurt, the swirling snow, the distraction, the drifting in and out, thein relief and terror, grieving now for another man, feeling him, the one he didn’t know, the father of a child missing. Ob, Helen/ She was always the most sensitive of his children, the quiet one, Helen who came from the womb with her eyes wide open, just a few minutes old and already watching. She would understand his sorrow, the hours of pain when she didn’t come home, when he began to take it in, when he couldn’t breathe, when he had to invent words to tell his wife and somehow find his other children. Peter Kinderman climbed the winding stairs to the fourth floor of the library because even the glass elevator looked too small, the air inside too close, too much like water—the fourth floor where you can see paintings by Fra Angelico or read the words of Mahatma Gandhi—where you can visit Saigon, Macchu Picchu, Wounded Knee—where you can climb Denali. The copy of John James Audubon’s Birdr of Ameriea lies in a glass case, protected. If you took it out, it would stand three feet high and be too heavy to steal. Sixty pounds! Ob, bow Helen loved it. Cla[...]my birtbday, not our anniverxary, and bere be ii in tbe middle of tbe day, Peter looking bandrome and rad, t[...] |
 | [...]LL 2008 39 be’x not rad beeauxe be’x eome in time for luneb, like tbe dayx wben we were firxt married,[...]jay and Karin and juli, wben tbe day wax too long to be apart, wben be bad to eome, rometimex tbree timer a day, just to look, juxt to xee tbatI was Killl bere, Killl bix, Killl real. He took her outside to say it, so she could wail into the wind, so she wouldn’t have to hold it in her body as he held it, so the cry wouldn’t splinter her ribs the way his ribs were splintering. I was not there; I did not hear the sound my mother made when she found my father in the shower, when she understood she’d lost him too,[...]Sunday morning, late summer, and Mother had gone to the hospital to play her violin for the children. Leonard Lok slipped free of his body fast to follow her, to hear her play, to see Eva swaying to the songs inside her—one more time, my love, my dar[...]is holy sparks scattered. She stood with her back to the windows, face in shadow, bright glass blazing behind her—Eva Lok playing her violin for the children, giving them her wild joy, the miracle of survival in these strings, an endless hymn of praise, a vision of their own perfection—Eva playing Kodaly’s Dances of Galanta and Marosszék, each one a fusion, a rond[...]playing with her beloved Zoltan, imagining him, the teacher who visited her school, who believed eve[...]n’t ba<ve breatb; let your body feel it. And so in his spirit, in his name, Eva taught a simple song to these children in wheelchairs, the ones without hair, the ones without fingers, the ones with fluttery hearts and failing kidneys, the burned boy with a patchwork face, skin sewn from the skin of others. He’d made a collage of himself, a picture pasted together: right ear of a pig and tail of a peacock, open eyes of an owl, closed mouth of a seal. He offered it to my mother when she came, a gift, and she saw who it was before he said it, and she touched his left ear, the ear that was really his, the soft ear, the ear that could still hear and flush and feel, an[...]ix xixter torebed tbe drapex, beeauxe tbey wanted to xee a wall of fire, beeauxe tbe xixterfurled berxelfinxide, and tbe brotber tried to rave ber. My father blazed in the window behind Eva. As light, he fell on ba[...] |
 | [...]2008 40 witbout a witnem? How can anyone die in ber own bed, or bix own xbower? How can a twentyrtworyearroldgirl wbo learned to xwim before xbe walked drown in a pool? How can you xurvive [be worxt and not liv[...]ack porch, transfixed by their own reflections. The next day, I saw one struck by a van, and I knew her, I remembered her, lighter and smaller than the other two, hungry like them because of the snow, desperate, and so they’d come down from the hills into the city. She leaped away, a miracle, unharmed by the van, alive in the moment. But later, I was sure I felt her in the snow, hidden in the park by the river. I looked for her; I don’t know what I meant to do—lie down with her, as I lay with my mother, float away at last, give myself to the water? I was certain she would die that night, th[...]My mother who lost everyone she loved rocked me in her thin arms one day and said, I bave you and Liam and Setb and Davia. My mother whispered, My life for tbix, God bar merey. My father and his sister Antje lived because their mother had a cousin of a cousin in America, a man with a farm and a wife but no children. Miklos Zedek agreed to take these two if they could learn to milk cows and pluck chickens, if they weren’t afraid to twist a neck and break it, if they promised to love mucking stalls, shoveling snow, heaving thir[...]eome after. She meant when they’d saved enough to travel, enough to bribe, enough to secure visas. She packed their finest clothes: A[...]lining. Worthless, she knew: they weren’t going to wear silk and lace on a farm outside of Buffalo. 31979210: wbat did it mean, and wbere wa[...]rousers and handkerchiefs though Antje begged her to stop, though Antje said: On [be boat, everytbingy[...]sang as she worked, peculiar melodies known only to her, giddy and bright, then suddenly mournful. Ironing was perfect bliss, folding her children’s clothes the piercing joy she’d keep forever. Their father[...]x. And they were good, very good, and they slept in one room, in one bed, at the back of the house where the rain came through the roof, and the heat never reached them. Their father wro[...] |
 | [...]1 Conxulate bar not approved our applieationr to immigrate. We’ll try again in four montbx. Keep your faitb in ur. We’ll be tbere. His scrawled note at the bottom of the page sounded like a whisper, a secret sputtered at the last moment before he could scratch it out or regret it: Better we bave to wait. Your motber’x been xieb, notbing xerioux,juxt rome fluid in ber lungxixbe’ll be well again wben xbe xeex bl[...]ve. Sbe rayx don’t worry. Their mother died on the train. Their father died in Dachau. Soon, after, delay, don’t worry. You[...]eauxe even if God was deaf you wanted your motber to bear you. My father carried three photographs to America: Greta and Hevel Lok six days after they married, a clear alpine lake and snow—covered mountains in the distance; Hevel as a child in short pants, a boy holding a butterfly on his finger; Greta Erhmann walking through a field of poppies, a hopeful girl, conceiving two children in her mind, dreaming her life to come: I did; I raw you. Hand—tinted, singular a[...]heir whole lives: together, apart, before, after. The artist had flushed the girl’s lips and shoulders, had revealed heat rising beneath the skin of cheeks and fingers.The poppies glowed, lit from inside, translucent yel[...]s these pictures were, they were not as strong as the visions in his mind, the last days, the last hours, Mother ironing perfect creases in his trousers, Mother holding Antje’s cape, dancing without music, swirling the long gray cape into a person. My father remembered his father on his knees the day the blond boys of Vienna became Nazi accomplices. They wore swastik[...]ed their little dog—whips.They wanted Hevel Lok to scrub the street, to wash away the Austrian cross some rebel nationals 1ad painted.The doctor had known these three in their mothers’ wombs, had felt Dieter’s appen[...]set Emil’s fractured legs after 1e leaped from the tree house, listened to Hendrik’s 1eart and lungs, laid his naked ear on the little boy’s bare chest when he had whooping cough—because the stethoscope was too cold, because he didn’t want to hurt 1im. Dieter, Emil, Hendrik! Hevel Lok wanted to say their names, to call them out of themselves, to remind them who he was, the one they knew, the man who oved them. My father’s mother loved her children enough to et them go, to believe, to trust, to lie: One day roon we will all be togetber. My father the Austrian orphan became an American soldier, a liberator of Mauthausen who saw the dead—in pits, in the quarry, ones forced to |
 | [...]008 42 leap, ones half—burned, ten thousand in one grave, hundreds never buried. He saw how hungry they were, the dead, limbs bent back, impossible angles, humans[...]llies. Even now they cried and wasted. So bungry/ The dead wanted my father to feed them. Each one was his own mother. His broken father lay in the pit, whispering the Kaddirb ten thousand times, then starting over. Leonard Lok stared across the open grave and saw his unborn child on the other side, his daughter ready to leap, Margalit silently wailing. He had never lo[...]and where was it? Antje wrote: 121 ineber ofrnow in Bafialo [bir winter andr[ill rnowing. He wanted to be there, under the snow, with her, with them, to sleep without dreams and not be dead but never wake from it. He stayed behind to work in displaced—persons camps in Austria, then Germany To his sister Antje he wrote: I [bink I can be meful[...]tters. Antje wrote: People go over Niagara Fallr in barrelr, [o ray [bey did, [0 prove i[’rpomible.[...]e foolish men who risked their lives on purpose. The ones returned from the dead told him stories. They lived by chance, by grace, the sacrifice of another. Beeaure I lied wben [bey arked y” I e[...]a needed a eellir[; beeaure romeone elre bad died in [be nigb[; beeame I rpoke German; beeaure I priek[...]reoured [beir [oile[r, and [bey weren’[ unkind in [beir boure, and I eouldn’[ ba[e [bem, and rome[...]e, rome[imer I rueked milk pumped from [be brear[ of bir mo[ber, and I war alwayx afraid, bu[ rbe never raw and rbe never killed me. They told of the ones set free who died anyway, hundreds a day, thousands in every camp, because the soldiers, the good ones, their liberators, gave them meat and c[...]too much, too fast, and their bowels twisted, and the food that promised life became the poison that killed them. Sometimes he sat with the children while they ate, teaching them to take a little at a time, to trust that there was more: chicken soup and bread[...]destroyed, Eva, a girl who still loved her life, the thin thread of it, who weighed thirty—four kilos, nine pounds more than the day she was liberated, Eva who gave bread to the birds, who said, Enougb [o rea[[er on |
 | [...][be ground, enougb [0 xbare, imagineThe crumbs on the ground and the birds at this girl’s feet were life, all of it, all he needed forever and ever. If she could choose life, who was he to deny it? When the bread was gone, the birds pecked her bare feet, and she laughed, and[...]children.Imagine a love like this, here, after, in this place— imagine a life where laughter is possible. To Antje he wrote: I ’ll never leave ber. But he[...]while Eva played her violin, while light fell on the stunned faces of fifteen children, ones outside of time, ones caught in the rapture. Light was all the weight they could bear, light the only touch tender enough not to hurt them. If my father had lived, he might have taught some of these children to float, to swim, to walk in water when their legs were too weak to stand, when the frail rigging of their bones wouldn’t hold them. Children like t[...]e body lover life! How [be body wann [0 beal/ On the last day of my mother’s life, I saw the sores on her feet closing. How can [bis be? I w[...]red and twenty, old as Moses, and still be afraid to leave this earth, still cling to your precious body. At the top of the mountain, you might insist God kiss your eyelids. You might surrender, yes—you might forgive the one who gave you life to lose—but still weep, still wish to touch the body, the face, the mouth of every one taken before you. Four hours gone, and even I who held Helen Kinderman in my arms can’t believe it. She was radiant. Last week, I saw her in the shower naked. Today, she floated on the bottom. She distracted me. I started my flip turn too soon, and my feet missed the wall—no push, no glide, no rest for the weary—and I saw her again, the second time, just moments after the first, and I blamed her. I didn’t love her then, not enough to sense despair or know her sudden weakness in that moment. I swam to the shallow end and back, and I was slow, too slow, because I was tired, and I saw her the third time, right where I’d left her, twelve fe[...]er, and I think I was afraid, but I didn’t want to be afraid, so I was angry instead and I sputtered[...]er said, Sbe needryou. And I did dive; I held her in my arms, and I understood how it was, how it will[...]her away from me, and I loved her as God loves—in helpless grief, in terrible pity—and then the others came, mfizfi: Louise and Violette, the firemen and paramedic, the shaved boy, the swollen |
 | DRUMLUMMON VIEWS—FALL 2008 44 woman, the one—legged man, the unborn child—and I loved them too, and I knew that what had happened to Helen had happened to all of us, and forever. How can tbis be? There are a thousand ways to die, any day, any hour—yet one child lives, one little girl devoured by the wolf cuts herself free of his bowel and walks out of the woods into the sunlight. One woman in a pit moves, and another one says, Can anybody bear me? A wife pulls her husband from the shower in time, and a doctor makes an incision just big enough to slip his fingers inside, and this man, this doctor, this human being, holds the heart of another man in his hand while he repairs it. Arire, my darling, my beautiful one, my daugbter. You ba<ve reen Godfaee to fizee. Now all “firing is over. Now it is time to forgive. Now it is time to rurrender. Love ixfiereer tban deatb. I ret myre[...]d beeaure a woman bungrier tban you, one too rieb to rwallow, gave you ber roup and bread, and you raw tbat rbe war God, ofiering berrelf to you even as rbe lay dying. I unrolled the white tablecloth with its white satin stitches, and my mother and father appeared, smelling ofin the distance—owl and elephant, ram and raven: life[...]bour. I imagined Davia walking from Rowland Hall to the McGillis School, five steep blocks, to wait for Seth and then walk two miles home, together. Every day she goes. They could take a bus, but never do. Time to tbinb, she says, and berider, 1min bim. She will[...]ow she can’t explain it. A child doesn’t need to hear a story to feel it. The story is there, trembling in the body and the blood, in the wind through the pines, over rocks in the river. The violin lies in its case, but the zither plays itself, and the song swells unspoken. Let me rpeab now, my ebild[...]saw Karin and Juli Kinderman coming home too, on the same bus, but not together, a kind of agreement they have, to pretend to be strangers,Ju.li a freshman at West High, Karin a senior. They’ll find their parents in the living room, and they’ll know their loss before[...]isters will wonder why their father let them stay in school today, why he let Juli dress in drag to play Hamlet, why he let Karin learn to pose questions in Italian.Are you afraid?Areyou bungry? Wbo iryourfavorite raint? Sball we go to tbe opera? They’ll rage. How could their mother |
 | DRUMLUMMON VIEWS—FALL 2008 4 5 allow Karin to eat her lunch in peace while little Juli, Prince of Denmark, sneaked outside to lie in the bed of a truck, to get buzzed on cigarettes and blow smoke into the mouths of her two boyfriends? Forever and a day, Karin and Juli will blame their parents for these terrible hours, macaroni and cheese, hot as[...]onda Jean, has called her home from her honeymoon in Hawaii. When she heard her father’s voice, she[...]. And perhaps she is right—perhaps he imagines the tiny red bathing suit she wore, the strapless dress, her near nakedness at this moment, but the words he speaks are soft, and in the breath before the cry, all transgressions past and still to come are by a sister’s death forgiven. Helen,[...]ours gone and Jay Kinderman, serving his mission in Hermosillo, walks a dusty road at the edge of the city, hoping to save one soul today, hoping to win one convert. He does not know. He cannot imag[...]r sisters. He hears Helen’s mocking voice above the others, Helen, three years older, calling him Elder Kinderman, and he laughs at himself, atat last, as if she has whispered: I[’.c okay. Do i[...]anion is sick today—heaving, dehydrated, afraid to leave his bed, afraid to drink the water. IfJay liked Elder Mattea better, would they be more successful? Something to overcome—in time, if possible—part ofthe test, part of the challenge: surrendering to love long before you feel it. He is forbidden to work alone. All day, he has been disobedient. Not one crime, but a crime committed moment by moment, street to street, hour by hour. It would have been right to stay with Jared, good to care for him today, to watch over him as he slept, change the sheets a third time, fetch the bedpan or a doctor—it would have been generous and just to boil water clean and sit with Elder Mattea as he sipped it. But there will be other days to learn this kindness. Today has been a gift[...] |
 | DRUMLUMMON VIEWS—FALL 2008 46 Helen has come to walk this scrap of earth beside him. He sees a small Indian woman moving toward him, slowly gathering herself out of the dust until she becomes a shape he recognizes. He counts, he tries to count, all her skinny dogs, all her skinny—legged children, all the mottled chickens that lead this strange procession. And he thinks, Now, today, [bis ix [be boar, and forto him, the failure of practiced words, the hopelessness of his precise Spanish. He knows what his sister would do, knows she would walk in silence with this woman and her seven skinny chil[...]ickens, knows Helen would walk side by side along the tracks to the Rio Sonora. His throat is too parched to speak of God and salvation. Even the chickens refuse to squawk. It is better to go home with the woman and her children, to offer the rice and beans and corn he always carries, to drink their water unafraid, to trust, to keep his faith, to help them cook this food over an open pit, to sit, to eat, to share this meal. Jay Kinderman knows he will do this—for Helen, with Helen. He will dance with enchanted legs. He will learn every song the children want to teach him. And he will be the one swayed; he will be the one converted. My ebildren/ Let [be nigbt begin! Mayyou all forgive me/ Davia opened the door, and here they were, alive, both of them, home, my precious ones, to help me slice pears and crack coconuts.I touched[...]n’t know it, if they’d been conjugating verbs in French or memorizing the names of tribes, learning to spell, to say, to imagine Hobokam, Tani, Zapotek, Yaqui, Eyak, Gwieb’in, Kuna, Maarai, Malagaray—if they’d been watching a film about birds: snow geese in flight, dancing cranes, emperor penguins emerging from the ocean. Oh, if they heard now, how foolish and blessed it would seem, this life, all of it! Liam returned to us, just in time, just before dusk, in the hour of twilight. We blessed the wine of every season: white, pink, rose, red. We drank it down, the year to come, the year behind us. We blessed each fruit. We ate because God needed us—our human love, our frail bodies—to restore Him, the Tree of Life, to give God life in the world. Everytbing] 17a<ve iryourx/ How slow we are to learn it. We ate pomegranates with shells because[...]it with pits—because fear makes a stone, sharp in the belly. We ate figs and grapes |
 | [...]apples—we devoured them whole because God longs to enter us whole, to become one with us.We sang as trees sing: Ebyeb arber ebyeb, I am wbatI am beeoming. And the silence between words, our breath, was the fruit of God unseen, too sweet to taste, the fruit of life, ethereal. Three deer came to the back porch and stared inside and were not afraid of us. Later, our children passed some secret sign[...]Davia rose and Seth followed. Our daughter began to play the piano, low and soft, in a rhythm impossible to repeat, moonlight through fluttering leaves—the wind, and then the water. I was hearing notes, but Davia was listening to the space between them, hearing the song inside her song, the first words of unborn children. Davia was waiting for the one word, the note before the note where she might join them. I was afraid to lose her, but she trembled with pure joy, the bliss of finally going. And then it came. I don’t know[...]. A single bell rang clear and high as one by one the low notes faded. Davia dove. Davia concealed herself as water. Imagine the song you would sing if you loved the mud, the weeds, the rocks rippling you. Imagine your joy if you refl[...]owed them. Imagine if you had no choice as creeks entered you, if you wound slowly through silent woods, then with delight roared down a narrow canyon—imagine the wonder of it all, how you’d laugh and leap as you ceased to be, as you emptied yourself into the ocean. Never again, never again I, never will I o[...]Davia’s voice, life beyond hope and fear, proof of love, God unfathomable. Seth brought his fingers to the keys in a jubilation of sound, three times Davia’s speed, but with asto[...]illiant rain, water bouncing off water. I looked at my husband’s hands, the hand that holds the knife, the hand that slips a rib into a child. I felt them here, the children whose lives he’d saved—Sophie,Joseph[...]y—Nina, Dorothy, Matthew, Eric—I saw each one of them and all their children; I saw fathers and mo[...]oned. You lived beeaure you ebopped fallen treer in a nearby forert. One day you prayed ax you walked[...]. Everytbing bere reemed bind Notbing bere wanted to billyou. 77m war bow wind tbrougbpine answered‘[...]e more day, one more bour? If tbe eloudr are part of God and part of you, wby ean’t tbey be good? Wby ean’t tbey b[...]d Jay Kinderman is learning Yaqui Deer Songs from the children, songs to carry them from here to over there, from this world to |
 | DRUMLUMMON VIEWS—FALL 2008 48 the flower universe. 777e deer look a[ a flower. 777e barb is ri[[ing under a [ree and ringing. Wi[b a elm[er offlowerx in my an[lerx I walk. 77m ix [be [ru[b you mked for. Dremed in flowerr, I am going Never again I, never willIon [bix world be walking. Somehow he has to get back to Hermosillo. Surely Elder Mattea has exposed the depth of his betrayal. How will he explain what he saw here in the wilderness? I bave earx [o [be wildernem, ax I a[...]ar a voiee bebind me raying, 77m ix [be way, walk in i[. Is this the truth they’ve asked for? Here in [be wildernem, I am killed and [aken. The four boys who have all become little deer brothers laugh at him, his stiff attempts to dance as deer dance.There is a song for his failure: You wbo do no[ bave eneban[ed legr, wba[ are you looking for? There is sorrow: 777efizwn will no[ make flowerr. There is consolation: Wbi[e bu[[erfliex in a row are flying. Helen, if [be bu[[erfliex ru[...]one more day, one more boar? My children climbed the stairs, and their enchanted father followed. But the music did not cease. The song surged through wood and wire, a wild river of blood, the throbbing pulse in my skull and pelvis. I had to rise, or die there. I came to Seth and Davia in their dark rooms to kiss their mouths and eyelids. They allowed it; t[...], my children who are not mine, who do not belong to me, these two who belong to God and rain and river, who saved me with a song, who found the secret chord, who held me even now, floating on the surface of their music. I kissed them, and I left them; I let them go, my darlings. I came to my own room, the room where my husband lay on the bed, not undressed, not sleeping. I opened the window to feel snow fall: everywhere, snow— six inches si[...]rciful snow, silent snow, snow that would be fast to melt, snow that in the dark seemed endless. Liam rose and stood behind m[...]against him; I let my husband gently rock me. And in the hour that came at last, in the new day just beginning, I began to speak, and he began to hear me. My mo[ber war alive again [oday, bu[ dy[...]ia, and I eouldn’[ [limb [be i[airr [o rave you in [be xbower. 777en you all tame borne wi[b[...] |
 | [...]Cbildren witb metal ribs elimbed trees and leaped to tbe ground witbout breaking. Samuel eased Violette into tbe water, and my fatber walked in tbe water beside tbem. God appearedas Louise Do[...]starving woman wbo ofiQ’red ber soup and bread to my motber. God beeame wine, and we drank Him. Edi[...]ai, El Olom, El Kbai. Berto’k Spier made a eofiin for bimselfwitbout wood or grief or nails. Lilike saved tbe son of a stranger, and Juli Kinderman erowned berselfPrinee of Denmark. Karin answered every question: I ’m no[...]played ber violin wbile a burned boy slipped free of flayed skin to emerge as owl, and pig, and peaeoek. Vonda jean l[...]and tbeir daugbter Helen tame bome witb open eyes to eomfort tbem. Hevel Lok pressed bis ear to a ebild’s [best and beard tbe boy’s blood roaring. All tbe bungry birds of Europe landed at Eva Spier’sfiet, and sbe fed tbem, and sbe lau[...]tben be left us. My motber’s bones wasbed away in an iey river, but we were not afraid beeause tbe[...]and tbe doll named Anastasia split ber own skull to spill ber seerets. Our ebildren beard tbefirst w[...]tbey gave me strengtb, and I took Helen Kinderman in my arms, and I kissed ber leg as sbe rose, and al[...]even now, Jay Kinderman begins his long walk back to Hermosillo. Witb a eluster of flowers in my antlers I walk. I bear tbe wilderness as I am[...]te. There will be repercussions and restrictions, the ritual of repentance or even a return home—depending. And[...]ho will understand him? Only Helen. He was called to go, and made to follow, and the children taught him a song, and the woman built a fire, and the food they shared gave life to God inside them, and they danced with enchanted legs, deer with flowers in their antlers. Helen will understand when he says: Nobody wants to die, but sometimes little deer brotber ofilzrs bimself to tbe people. In tbe wilderness, I am killed and taken. I am not a[...].” Ob sweet sister/ Ybis is tbe trutb you asked for. * Please note: the translations oflines from Yaqui Deer Songs appear in Yaqui Deer Songs, by Larry Evers and Feli[...] |
 | DRUMLUMMON VIEWS—FALL 2008 50 The phrases have been rearranged and juxtaposed (and occasionally altered) in Jay Kinderman‘s mind to create his own deer song, a prayer of praise and wonder. He hears the words of the prophet Isaiah too, strikingly in tone with the deer songs. |
 | DRUMLUMMON VIEWS—FALL 2008 51 In the Grip; Chris Nicholson Man it a xign in furmit qfw/mt e/udex lyim. —Martin Heidegger Amid our infinite pillow talk while my heart was still at its height, Miss Jens once asked me when I fell in love with her exactly Without even thinking, I to[...]014]) defoudre that night we met last May: a bolt of lightning, love at first sight. Strange as it may sound, a truer re[...]er [aid eyex on you. I’ve never confessed this to Miss Jens, or to anyone else for that matter, but I am all of her ex—boyfriends. Even those who were never her boyfriends—useless suitors begging for a date, strangers calling out of the blue, forgotten acquaintances sending shy letters[...]man and boy who has loved her, simultaneously and in succession from the third grade to this day, constitutes the past and continuous present of my heart. There’s nothing crazy about it: just a bunch of normal guys in the grips, a bunch of guys who happen to inhabit me. If you approach it from the right direction, the metempsychotic mechanism isn’t hard to understand. It’s not that the boy in the third grade became the adolescent in the eleventh became the college professor, etc., until Miss Jens met me,[...]at a single, common spirit has possessed each one of us in turn, and moving on has established a certain con[...]men and over continents as she flees before it. Of that life called my own boyhood, I have but drab, unmoving memories at best. Whole years have been forgotten. Real life is in these lovers I’ve discovered through Miss Jens. Their stories overlap my own like snatches of another music played at odd moments through the day. And this love, if you can call it that, is a[...]nd: each thoughtI might have called my own points to her. Don’t worry—I’m not going to bore you with a complete history of our affair (it would be as tedious as anything else that pretends to be complete), but as I tell this story I’d like to relate a few of those old loves so you’ll see the forces in motion. The bell rang for recess and a tumble of dry leaves skittered and hesitated over the asphalt just past the school exits. The crust ofgrass in the schoolyard dipped and bobbed where the lawn had been scraped |
 | DRUMLUMMON VIEWS—FALL 2008 52 away by the tussle of school children, then it opened up in a baseball field toward the ditch on the far side ofa worn and spacious acre. There, on the other side of the yard, was a chain link fence meant to keep the kids out of the thick, brown water, but the fence had holes in it—and the holes were what saved us. Every other recess, cro[...]balls ofvarying size and air pressure but always the exact same red would soar over the fence into the thick branches of the willows along the ditch banks. A very hard or deliberate kick sent the ball all the way over both fences to the golf course that ran along the ditch’s north side. On the far side of that fence, old men in sleeveless, v—neck sweaters and plaid shirts would play through among the blue spruce and mountain ash of the seventh hole. The greens and fairways were well tended without being lush.The golfers gave of a reified happiness, an intent and complex serenity that was foreign to the schoolyard’s barbarian melee. So foreign, sometimes a loose pack of third graders would stand there briefly, fingers curling on the links ofthe fence, to watch the old men pass, before the pack took off again, shrilly calling out for adventure, reinforcements, or an adversary. One day, in the middle of the schoolyard’s hue and cry one kid in the third grade stood stock still to watch the young Miss Jens as she came to school for the first time. Her family had just moved into the mad, high house to the north of town. She was on her mother’s elbow in her ratty clothes, the foof of her bangs like a ray of sun—blonder then—her skip—to— my—loo legs propelling her in always a new direction. Even then her fingers were light. The pencil in her hand just turned and turned. And as for that kid, that kid was me: the first time I saw her I had a feeling. Recess fo[...]un, because boys against girls required everybody to chase everybody else or try to block and if they ran you down, they had beaten you, and then we all switched sides. Out of everyone, Miss Jens had legs. I saw her go after[...]rls and she grabbed him and they tickled him half to death and he just laid there gasping on the ground like a wounded animal. Wow, my friend said, r173} flirt. From that day on, Miss Jens was my pick for the Kissing Corner. Most kids didn’t know much abou[...]hey did they didn’t like it. When people kissed in the movies, we all covered each other’s eyes, and groaned and shouted, Ir it over?!, almost a parody of ourselves. Which is why the Corner— between the drinking fountain and the cupboards where we kept the glue—was really just for pretends, and the boys would hold the girls and the girls would scream and if kissing was out of the question altogether they would just hug. To the surprise and horror of the |
 | [...]2008 53 entire third grade, I started getting in some smooches. Miss Jens blushed. Now, I had been a bug on and off for several years before I met her. Each recess we would spread our wings and soar screeching across the playground, descending as locusts on some patch of grass, stuffing dirt and weeds in our mouths like starving circus animals that eat[...]y are being watched. If we ate with gusto, it was to prove to the girls how glad we were to disgust them. Our faces smeared with dirt, dandelion leaves chinked in our teeth cracks, we would rise with a cry and su[...]less bugs than winged monkeys from Oz—soar off in search of new prey, less crowded pastures, giving the impression, at least, that we had something better to do. Once I met Miss Jens, though, I didn’t feel like eating dirt anymore. Another fantasy took hold. In an avalanche of daydreams, I became something more human. Each dream began with an abduction: The place and the hour varied, but usually a band of kidnappers dressed in black jumpers and ski masks would scale the porch on our house, loom briefly in the bedroom window, snatch me from my bed and hustle me back to a white van parked up thethe bed of the van when I was tossed in. From there we were driven to their hide—out in the woods and held in a small, stark room. Still tied up and gagged, we couldn’t communicate except by the warmth and movement of our eyes—an ideal situation for two third graders incapable of small talk. The action would be drawn out in negotiations between the villains and local authorities, and punctuated by grisly threats to our parents, who, like Miss Jens and me, naturally grew closer during the abduction, and probably talked a lot more. Each abduction peaked with a shoot—out, the woods crawling with federal agents on leave from the stack ofcomic books in my bedroom. In the heat of battle, during a lapse in our captors’ guard, Miss Jens would free me, cutting through the cords with a rough— edged rockjust loose on the floor. All we had to do then was make it out of the house and across the no— man’s land (her speed guaranteed this) before we could be held as human shields in the kidnappers’ getaway. While fantasy is all fine and good, dreams run their course.I knew the kidnappers would never come and save us, and decided I had to act: In a jeweled box lined with purple velour, my mother kept her necklaces, bracelets, and earrings. Standing in the shadows of her bedroom while she was still at work, I found a thin gold ring with a rock on it, a delicate thing with hooks at the corners that I’d never seen her wear. Like any trespass— sneaking into the closet to poke at |
 | DRUMLUMMON VIEWS—FALL 2008 54 The next day during cleanup, I gave the ring to Miss Jens’s friend Katie and told Katie to give it to Miss Jens, who took it and put in on her middle finger, where it didn’t fit as[...]that afternoon, when we were putting on our coats to go, she stepped in front of me, which she never did, and said Hey. I mean, [bank you. I swung on my backpack. The bell rang in the hall. So she said Goon/lye! and so did I, to walk home kind of whistling, floating along with that backpack full of books, deaf to the shouts of kids playing dodgeball on the blacktop. That evening while my mother was going crazy looking for her ring, her engagement ring, she whispered to herself, I didn’t say a word. My little brother was by the TV, and so was I. I knew he thought she was mad at something he’d done, prolly didn’t even know[...]t about it. We both got into our pj’s and ready for bed. Then the Jenses called. It was about their daughter’s d[...]0 [bank you [bank goodnem/ Mom said, and reached for the car keys. Left without a word and barely a glance at me. During the long minutes while she was out, I went upstairs to my room, slowly, and thought of nothing to do. The dresser, the bookshelves, the bedposts smirked under their reddish, yellowish stains. Dust rose from the carpet and I coughed, for the next half hour shuffling dumb action figures around in the dark. If I had to thank somebody, Victor would be it. Miss Jens and I met at his birthday party last May. The party was in a smoke—stained bar near the Seine—narrow at the front but flaring out in back, full of knotty pine, smudged brass, and dusty bottles lined up on the moldings—since Victor’s apartment was too cramped, his friends too many for that sixth—floor elmmbre de bonne where he liv[...]30 just a couple months before me and that called for a celebration. Miss Jens walked in and sat down on the low stool next to me bright as a marigold, odd as herself (thinking[...]smiled like he was handing me a prize, between us the sometimes solidarity of guys. “I don’t think you two have met.” “You’re the scientist, aren’t you?” Miss Jens said. “No. Why?” “Oh, you look like a scientist, you know: the jaw, the brow,” and her fingers made a study in the air to trace the jaw and brow, “Well, what do you do?”[...] |
 | [...]“I see,” she said, “and do you fly south for the winter?”“Sometimes. For house calls.” (“And bird calls,” Victor aga[...]ut you, what do you do?”I asked. “Oh, I stay at home,” Miss Jens answered, and added gaily, “Don’t do anything atto Realizations.” “Such as?” “Well thethe carafe, “Here, have some wine,” and poured us[...]get out more.” On that note we stood, turning to other friends of Victor’s, and with a nonchalance that said I ’ll talk toyou man, we mingled away from one another in the beery air and steady racket of the party. Didn’t speak again for the length of the evening. When she got up to go, though, I followed her out of the humid brawl at the back of the bar into the fresh May air, the cool attention of night. “Do you mind?”I said. No reply. So we began walking towards the nearest metro a few blocks away, soon riang on the same nonsense in the same tone, not walking toward each other or away, just talking out ahead of ourselves like two people riding next to one another in a car, driver and passenger, our minds and mouths two spinning pairs of tires that would not touch or cross. The streets were lit a low sodium orange—shadows in the doorways, chic heels clackering here and there on curbs—each sidewalk a stage waiting for its actors while the audience files in and mills about. When the conversation paused, the pauses were pregnant. A beginning. And as we walk[...]e whisper, 8173 ix all tbingx good. We were close to the metro when Miss Jens stopped. She smiled at the breeze blowing off the gardens that bloomed darkly in the shadow of a church downtown, their hedges exhaling[...] |
 | [...]t?” she asked. I stood still then and breathed in—boxwood— glancing at her. Slender, light—eyed, slightly smiling, Miss Jens was radiant in the streetlights, and she had dyed her hair. Red, she[...]ed with blonde highlights. She wore a white shirt of light cotton and blue jeans and long boots. A living trieolore, latter—day Marianne. For it must be said: Everywhere that Miss Jens went she stood out. You could spot her across the room. In the street were certain menflttuned to a beauty more noble than mundane—who craned their heads as she passed. In bars since (I have seen it), strangers and drunks will walk up to her simply to say thanks for stopping by. Merei, they say, mem'. That first night I just saw her to the metro. At the entrance, limned with the fluorescent day that burned on underground, we paused. I gave her my phone number, and, not to be outdone, Miss Jens gave me hers. In her eyes were drawn the liquid ounces of my loss; pain fiddled and the future danced: It would be better 1f you tailed me in tbree weeks, she said, I ’m bury rigbt now. —What can you say to that? It’s better than nothing, that’s what. Any port in a storm, any molehill on the Russian plain of days. Nevertheless, as I walked back through the orange—lit night to that bar near the Seine, I could feel the river water lapping, slow as life, at my sudden heart. “Even a hint of hope,” Stendhal wrote, “is enough for the birth ofof those natural phenomena whose immediate and overwhelming consequences seem to outweigh the cause. Yet basic science dictates that however implausible the origins of a feeling may be, our judgment of its truth must stand or fall on what is manifest among lovers, rather than those eternal criteria dear to the skeptic or the fool. Well, reader, here is the toadstool army, here are the barns of ash. Month in month out all through the summer I pursued her, until she finally broke down and agreed to meet again. I called and called, wrote and wrote regularly—careful not to do so more than once a week. She wasn’t hostile, but for reasons only Miss Jens can know, she kept me at arm’s length. Sometimes I think she even forgot[...]en, she sensed that something wasn’t right. But the heat of the season waxed, then waned again with fall, and so[...]ther women, but it did no good; they meant little to me; one evening with Miss Jens had ruined the rest. By my calculations, I’ve obsessed over Miss Jens about two months for every one we’ve loved—with such balance sheet[...]? And with what tools, if any, can we bring them to fruition? |
 | [...]olid understanding that love is nothing more than the promise of loss is essential to that exercise known as the love letter. For the love letter, billet doux, that sweet ticket to another’s heart, presumes at first a distance. Then, at a second stage, with the clumsy trestle of words the letter tries to span that distance, peering all the while at the cleft below, which yawns between two wills and th[...]t must stave off with each successive reinvention of feeling, is a canyon echoing with the letters’ songs.Now if this is true for love letters, it is ten times truer for verse, poems intoxicated with late nights dreaming on the rails, crossing countries that pass by in shadow, yearning for this woman whom you know to be alone. That was my case. For I was forced to travel, and had to court Miss Jens from afar. Work had sent me from city to city by train; my thoughts remained with her. After weeks of torment, after dozens of nights running one or two lines over and over through my mind until they finally were sound, the poem that had tyrannized me assumed its terminal form: hand in hand on the dimpled street our swollen, dogworn eyes did meet[...]d drive. and i was a silver platter and she was the claire de lune, then i was an ocean liner and she was the fey typhoon, raining herself upon me to a drumbly tumbly tune. above she flees above sh[...]th her nightbird eyes; her wingbeat tells me just to wait but not too long but not too late. for time is a gravelly song and singing an expectation, decked out in ballads long on heavenly gyration that tell of my claire de lune and her distant castigation. “not yet!” the words are like a hell! because, asunder, dry’s the well and long’s the road; because, in part, this waiting’s a punishing, dry a[...] |
 | DRUMLUMMON VIEWS—FALL 2008 58 from looking for my Claire de lune my dimpled eyes are dreary. for the moon is a softer sun whose home is fey and far from the gelid grass and frozen ground of earth, whose light you are. A love letter, a poem: It aches to be written and aches to be sent, it overflows the brims. And once it has been sent, the aching becomes one of expectation. With what eyes will it be read? How[...]at was too far ahead. Before anything else, I had to decide whether to send it. By then, Miss Jens and I hadn’t even k[...]not that would actually be a “date.” And yet the poem sat there on my desk like a chunk of my own flesh, loud and red. Whatever existed between us was germinating, and I tried not to kill it with an excess of emotion, so those feelings stayed pent up inside, flying on their trapezes before an audience of one while I planned the next step. ******* W hen mine uncle come with the clinkend money, we up and hit the road to beaches so as to swindle his contrition, flooze a little, and inflate my years. One of the world’s favorite people, mine uncle, he’d weekly sent me letters, for ideas grew out of his head, outstralling inspiteof a baseball cap that read CATERPILLAR. For example: “Let’s drive the fifteen hours,” he said, “to the pied cities that march on amber ocean and we’ll see what women do there when we whistle.” — “But in the garage is a whole animal,”I said, “elksteak for months, and why not butcher thethe mountains, the carcass, my grandparents and my mother, who received a note. Aboard the stinkhole Buick, amid his junk and leavings, mine uncle turns to me and says: “We are masters of time, son, not of space.” (Coke cans rolling by the pedals, deep and mingled strata of hamburger wrappers and receipts across the backseat, a tennis racket, a television, a smell leaking from the trunk.) Fast as a bomb through stillness and the highway flying underneath I ‘magined to myself that high city ’mongst the clean clouds in a movable light where mine uncle might be king and dignified, time crouched at his feet. And so our flight wound roadlong up on[...]teaus and farm acres before finally curling down the far gorge so like salvages we could fall on some town or other where the freeway knotted and then hurried on. Hardly time for truckstops. Beside us birds the color of dirt flew like dirt clods through the air above |
 | DRUMLUMMON VIEWS—FALL 2008 59 aspen and stands of pine, sparrows and starlings arching forward on i[...]we were, sagging and swinging up again, as though the air and road were both traversed by swells themse[...]on that straight fleet cruisesome fleeway high in the afternoon a heat dream shimmered forth on the shoulder, tripping up the traffic with her thumb and wearing a man’s shi[...]o I yelled STOP! whereon mine uncle did. She ran to catch up with the car, then looked us over, —Howdy,I said. —Hi, the girl. —Where to!? mine uncle kind of yelled. —Seattle. What about you?! —We’re going to Humboldt,I said, then Frisco. —My alma mater—hop in! mine uncle yelled, which she did: climbed into the backseat with her bag where I’d cleared a spot, wrinkled her nose. Don’t see a lotta you gals on the freeway! he said. —Oh yeah? We just don’t have to wait as long for rides. —Bet you meet some weirdos! —Hitch—hiking, she said, has restored my faith in people. Plus I have a knife. —That’s what I mean! mine uncle said. I looked at him, turned: —Where you comin’ from? —Bac[...]York? mine uncle. Everybody’s got a mouth! And the car did us the favor of saving the conversation even if we didn’t have something to say every second, and the counties unfurled. —Isn’t it funny, Miss Jens said, how your handwriting changes? (@iet.) Today, for some reason, mine was round like a girl’s. —[...]l’s butt, she said, if she had a hundred butts. In a row. —But you are a girl, I said. —W 1at does [but have to do with it? she said, and laughed to herself. Day wore on but easy while Miss Jens watched it pass, her 1air covered with highway, eyes full of illusions, skin shiny with a silken grain, which seemed to sharpen my mind. The backseat smelled of old oranges anc the sun was shining like it might teach us how to sneak while dusk crept on its belly through the timberlands. A wind so cold it was clean and to roll down t1e window was clean and my lungs filled up with the whole joyful obligation of air. —How long could it take, mine uncle said, til we spilled out and scoured the country for a while? Show me a grief that doesn’t deserve a wandering! A moon, the mountains, Buick—Miss Jens |
 | [...]ALL 2008 60 dozing on and off. Viscous skiffs of snow flashing through a dark city of trees while mine uncle, to keep himself awake, fiddled with radio and muttered, waving his hands, of a trek through Mexico and of the Amazons before the Spanish won, and the volleyball champions of nubile Tehuantepec who reign on even now, and how one summer he had lingered where the night was put to rest and the sea slept foglit by the watersides, dreaming he heard heels rapping on flagstones with an insolence that in the evening boded well. Those sweet faces armed him r[...]n his alonehood and go figger it didn’t fight at all. —“We are not here for the world to sicken us,” mine uncle said, looked at me, and winked. But I was looking at his forearms covered with minuscule tattoos, and[...]ack when he was broke but tatooloving, which used to happen late at night on the weekend, he would stop by a place he knew to see what they could do for a dollar and twenty— five cents (which went a lot farther then), and in their kindness they had drawn him all these little flowers and grimacing insignia that billowed up from the knuckles like the bored erratic scribbles of a ninth—grade notebook, in which he claimed he could read at least a chapter of his life. In that moment at a crossroads west ofthe car careened, its front wheels crunching over the curb of the lot as we skidded and raked through gravel and dirt up to the bare, used and dimlit porch where a herd ofto card here.” So we unfolded from the car, and as I came round the front I thought the wheels looked wackled. Then this bar walked in, beer moldering on its breath over layers of decayed piss and abused varnish, its walls jumped[...]posters, its jukebox bragging an extinct species of rock and the local boys roud and lowdy. Momentous entry as the bar hugged us and we dazzled before a tiny stage[...]nial drunks, who jammed there by themselves while the tables whispered their appreciation and ridicule or ignored them in the hinter nooks. Three wanton beers from the bartender, at which point mine uncle presented himself to a woman named Candy, who was pretty once and single enough it seemed. —Lotta people in here, Miss Jens said. —Too many, I said. —Middle of nowhere, too. —Nowhere to go. . . . , I said. She nodded, set her bag again[...]e xtmngerx, you will part. Miss Jens looked over the crowd. |
 | at me with what seems to be an established expression.—Death is funny, for sure. —And all this. . .. —Gone, I said, th[...]just now, she goes, where I flushed my body down the toilet. —Just pooped it out? —Like a baby.[...]ler when you take it off. Like clothes. I looked at her and for a second thought she was a ghost. Miss Jens wasn’t tethered very tight to this place. She looked at me again. —How long do you think you’ll be on the road? —Kinda depends, I said, a nod toward mine uncle in mid—carouse (or was he gesticulating?, or wrest[...]. Coupla weeks? —Do you think a swing north on the way back? —Dunno,I said, becoming afraid for mine uncle, around whom a scuffle widened like a[...]Cbrirt/ Hey now! as he was being grappled toward the door by two thick men, a couple friends ofCandy’s by the looks. Uncle gathering speed. —Know how to fight? —He just wants you to go, not t’fight. —Right. You comin’ with?[...]e long. Tell him thanks. So I left because I had to and that’s howI saw her when I saw her last, ru[...]lot, barren as phone calls, where his hat was on the ground and he was explaining to the gentlemen that it had been Candy’s idea and he hated to dance and anyway it was none of their business what kind of steps he knew. Made sense to me, but I didn’t matter; they walked back inside, but not before one spit. We stood quiet in the dust, a thousand stars staring down like fish eyes in a flood, and mine uncle’s own flushed face, burned gaze fixed on the porch still, wanting from the bar what the bar wouldn’t give. I got in the car. Leaving Lil’s, the unperturbed Buick spat, turned, groaned and gained hopefully in speed until it swept humming through mountainous[...]g cities somewhere. Mine uncle, bruised and alone in the light of the dash, had lost his gab. To myself I thought I’d be long time alone, and curled up by the window to mull. Dreams rose all around and I walked[...] |
 | [...]ite setbacks, Miss Jens and I started talking on the phone more and more. Once I had returned to Paris, we began to go out. We met for coffee, then for wine; we went to a play, then a movie; one imperceptible thing led to another. The real turning point, if there was one, came about two weeks after. According to my journal entry from October 27‘1“, this is how it went: j was leaving, and already in the lobby, when I pulled myself together and told her i wanted to kiss her. “i want to kiss you,” i said. discussion ensued. kiss beg[...]s. says she’s light—headed and leans against the wall. says she might need a glass of water. between the first and second floors, she collapses, a nose[...]pass and i’m shouting her name. finally we get the elevator open and on stop. i pull j to her feet and she’s coming back to lucid. in the apt she sits down heavy on the couch. i get the water, the oj, an avocado, salt. “don’t think it’s your kiss. that’s happened to me before.” a pale—faced hour goes by. she wants to go home but can’t walk straight. “nothing has to happen,”i u n say, leave whenever you want. s[...]lking and laying there restless. get up, take out the clock batteries, go back to bed. at five, insomnia. my one pillow given to j. she shared it at the end. that’s when i told her i had a poem. “sort of rhyming couplets,”i said. “i want to hear it,” she says. i recite it to her. “that’s good,” she says, “i’m kind of shocked.” “i meant to send it weeks ago.” “i’m glad you didn’t.” we eat some breakfast and she’s about to go. says she doesn’t know how she feels. leaving today for england. back sunday. so, with a deeper knowledge of one another, a deeper uncertainty. |
 | DRUMLUMMON VIEWS—FALL 2008 63 Shortly after the fainting episode, a period of long talking began. It was a new species ofin the act of love as Miss Jens rose above me, sculpted as an antique Venus and her hair in disarray, I perceived that we were of one flesh. And we attained a mystic union parallel to the carnal. United, I knew her and she knew me in some essential way, and we knew something beyond either one of us by virtue of that union. The whole issue of mind control or osmosis aside, I felt we were in synch. Even now, now that we’re “taking a break,”I will be thinking of her at the same moment that an e—mail from her arrives. Even though Miss Jens is of two minds about me, we remain one. Can you blame[...]ry minute with her last fall? I look back and see the precious hours as proof that this everyday existence is not our only life, that we are not limited to the quotidian, that a sister life and sister soul await. The air thickens, nights, heady with low laughter and the scent of limbs. It was that second of all our double lives, the one that sidles up to wink at the workaday, that gave me meaning during the months I was with Miss Jens. As I rode the metro to her apartment, I told myself, I am on [be way to my [07233. As it would emerge from underground, the aerial line, I saw the leaves fan quick and shimmering, the buildings whose every line, balcony, roof was du[...]derailed, had recovered its promise and a plot. At a no—name concert early in the winter, leaning against a rail inside some pub near Pigalle, I watched sparse couples stumble and entwine on the dark floor, almost despite the band that strummed and hollered loud and lost through Jimmy Buffet covers. While Miss Jens went searching for a bathroom, my ears wandered and I forgot the music, looked around. An old guy up front with gl[...]theart would cross under, laughing; they had lost the beat but didn’t care. He wore his paunch so nat[...], hair on my nape. Her warmth. Froze me. I looked for the old man, but couldn’t see him. The music, galumphing and awry, confused with the blood in my ears. Because for years you wait for that touch, you wait so long your body forgets wh[...]with a girl one night you come home. Like a river in you starts rushing deep and fast back to the place it used to know. So I turned to Miss Jens, took her hands, and we joined the other couples on the floor. |
 | DRUMLUMMON VIEWS—FALL 2008 64 The next day Victor called. I’d dropped out ever since Miss Jens and I had started dating. “So what’s the news with Miss Jens?” “It’s babies forever,”I said, “we’ll be announcing the wedding soon.” “Oh yeah? Does she know that?” “I haven’t told her, but we have a kind of unspoken understanding.” “How unspoken is it?” “Pretty unspoken. Don’t mention anything to her,”I said. “But I can tell by the little things, like the way she nuzzles.” “My God! I’m so jealous![...]Love’s got its downsides. Makes you talk crazy, for one. Everything else goes out the window.” It was like that. Week after week inexhaustibly I slipped deeper in. All our roller coaster happiness, happiness so sudden and strong it feels like a grief the way it splatters in the chest, began to rattle the rest of my life.Take the office, for example: a dead—end job, maybe illegal, defini[...]re I was, like a congenital idiot, half—smiling at my desk till noon. The happier I felt, the less I could concentrate. In the morning I’d show up unshaved, unwashed, unfed and out of breath from the mad dash between her place and work, but somehow[...]re a blackout last night?” Still, I’d prefer to be fired for loving well than for almost any other reason. Sometimes you’re faced with choices like that; it’s time to go and love will do the trick. The situation at the office naturally grew worse: I was wearing my spare shirt too much, the one that lived in my brief case for days when I came running from chez Jens. Three or[...]ve nose. I knew she was probably talking about me the way she talked about everyone else. Can you rmell[...]she’ll ask whenever a certain colleague leaves the room. Can you rmell Mm? she’s probably saying even now. But listen to me and I’ll tell you something: that stink was the smell ofa man in love. Life barreled along carefree and flushed for most of November and December—the love, the stink, the coughingflnd then I went home for the holidays. I had been letting things slide with a[...]lear eyes and lo, vacation came, sent me packing for ten days |
 | DRUMLUMMON VIEWS—FALL 2008 65 or so, and gave me the space to reflect a little on the state of my life. Now Christmas is a carnival at my parents’ home, a booming Montana reunion which, in its chaos, is situated somewhere between a cross—town football game and a war of the worlds.There is too much food, too much noise, too little space, and a spirit of rumbling inclusion and activity that succeeds for a week at least in making all of us—aunts and uncles, brothers and sisters, gran[...]ily again. Nonetheless, I had found a little time for myself and was thinking about my life with few regrets when the phone rang. It was Miss Jens, calling me from across the ocean. “I’ve been thinking,” Miss Jens said, “I need a break. I’d like to take a month off. Maybe we could see each other a little less in January.” “What did you have in mind?”l asked. “Well,” she said, “I was[...]ust not talk,” and she laughed that curt giggle of hers which indicates how much she feels this to be desirable as well as true. A giggle of embarrassed sincerity, an appeal. “I’m glad we have a couple more days to discuss this,”l said, as it was still the last week of December. In situations like this I stall and think, “Avoid[...]out it more when I get back?”l proposed, hoping to somehow put the idea on hold and freeze her heart before it drifted too far. “Well,” she said, “I would like to see you when you get back . . . perhaps one evening.” The signs, of course, had been everywhere. As far as Miss Jens was concerned, commitment called for a modal verb, an arm’s—length if and when. Discussing our couple in the future tense required that we shift into the realm of the probable, or improbable, rather. Despite the joy and playfulness, the tenderness and care that looked like they might c[...]ad trouble making long— term plans. Example I: The Conditional. Once she said Ifwe’re rtill banging out in a little wbile, we xlwulal go to Rome togetl7er. Hanging out in a little while—our couple. Or another time: Wbe[...]next rpring, if we’re rtill talking, I 21 love to meet tl7em. Example 2: Pet Names. We never calle[...]they implied were out. If we ran into someone on the street, I simply introduced her as Miss Jens; if pressed, later, I might say we were “an item.” Only in my thoughts did I call her beloved, talking to her aloud I would say my little malady, or mypetite alireare, because I felt it calmed her and gave the necessary space. For her part, Miss Jens referred to me as The Pain, or Such a Distraction, and I knew why: I was at her place six nights a week. By invitation. |
 | [...]nd her constant wanting that, Miss Jens would try to pull herself away. Handing me a cup of coffee in the morning, she might say, Please, juxt tell me I ’ll never reeyou again. —Wl7at if I tame lzaek in a year? —Ma,ée it two, anal don’t forget your keyx. Or sometimes late at night if she was tossing in her sleep, I’d crawl over and whisper in her ear, 113 over. I/Ve’re tbrougb, just to reassure. We said our goodbyes every morning like they were the last words we’d ever speak. Breaking up several times a week was the only way we had to say I loveyou.If I left through irony’s door, I came crawling back in through absurdity’s window. Parting ix rue/.77[...]Or imagine we’d made love and were just sitting in bed. Like a heroine doomed in matters of the heart, Miss Jens would toss her hair and say: I don’t expeetyou to wait for me. So I said I wouldn’t. Then proposed that we not wait for her together. Her eyes brightened, and she kissed[...]nce I met Miss Jens, I’ve experienced a rebirth of sorts, reborn down a rabbit hole in a Wonderland all her own. It seems she doesn’t feel the same, though, so I’m going to ask what exactly I mean to her, and why this sudden distance, just as soon[...]M elan ebole’, black bile—that humor which, in excess, renders one pensive and withdrawn. An aca[...]hey go no further towards purging our poison than the theories of Hippocrates. Such contemporary ten—den—eier amount to a chemical reeducation, a contingent, punctual remedy of symptoms while our discontent abides. For cause, as Kant argued, is fundamentally mysterious. We are subject to wider determinations. And to locate the deepest causes of that morass called the mind in the serotonin reuptake inhibitors of its synapses is too mechanical and complacent an[...]urotransmitters, another says neuroses, I say All of History. Put another way: Is melancholy a disorder of the individual in time or a disorder of the world? And if it were the latter, what would they prescribe? Yet I digress[...]ll you about my dear Miss Jens? She was fresh off the boat when I saw her high in the amphitheater on the first day of zom—century French literature. She did not figure on the rolls, so I approached her after class to enquire as to her presence. She said she would be an auditor. Who |
 | DRUMLUMMON VIEWS—FALL 2008 67 was I to refuse? I had been working on the book for several years when I met her: it was to be a treatise on melancholy, a sequel to Burton’s Anatomy examining the biles that beset our age.The idea came to me as my wife was dyingfl work exploring heartac[...]rdeal amid mail—order brides, cellphones, spam, the technicization of society, the mechanisms of propaganda, violence, guilt and alienation which coopt us at every turn.To abstract me from the sufferings. Like most such undertakings, it remains unfinished, due to both the grandeur of its predecessor and the quagmire of its subject matter, rendered all the more acute, I’ll acknowledge, by my special aud[...]aquiline and Roman. If you have ever seen Ingrid in Cukor’s Garligbt, then you have a fair notion of Miss Jens, for she is determined and limited by her fear. A creature given to sudden moods, gazing at you one moment as though you were her salvation, the next like a frightened animal frozen in your sights. Keeping this always in mind, I undertook her education. Miss Jens had a penchant for languages, and with a little guidance after class she was soon reading her assignments in the original. We read Gary’s Clair de femme aloud, a simple exercise in enunciation. After a month of those sessions, she started coming all dolled up, dressed in a series of 1950s get—ups. I would see her and sense my professorial persona begin to crumblefl larger economy of feeling opened up. Once she arrived looking like Marilyn Monroe, in a turquoise skirt and her hair bobbed just so, bubbly and coquette, as though she thought to inscribe herself in my own boyhood. Indeed, for moments, I wanted to dance. Epiphenomena of a tease, she stopped reading halfway through the book, complained of boredom. So what do you think I did? I told her to sit down and get to work. Miss Jens, lovely creature, was also frivolous and forgetful. When she wanted to be. So sunny when she smiles, her cheeks bunch up[...]ng those Swedish honors, standing near Rossellini in the dinner hall at Berns. (NB. Pronounced “Berryman.” Like the poet. Americans put a “burg” in it in every sense, for we are without culture or the possibility of it.) I sought to correct this happy illiteracy in Miss Jens, at least. And yet her very sunniness would distract me from the task at hand: the thorough restructuring of her intellect. Arm/fa, deridia, luxuria—sloth—a deadly sin whose condemnation saw a vogue in the late Middle Ages among engravers such as Durer, Dinckmut, Bosch. To call it laziness would be to mistake its wider applications, notably in the domain of melancholy and its depths. I do not accuse Miss Jens of media, no, but rather myself. In regards to my work I was lax, both in |
 | [...]68 Miss Jens’s instruction and my writing. The chapters of the new Anatomy slumbered in grubby sheaves, moldered in boxes, overspilled their files until they were unapproachable, impossible to think of. Thus it was I who sinned in my way, for I lost control. Miss Jens was no help. Had she n[...]could I articulate it. Nonetheless, she enrolled in my courses one after another, following them as assiduously as she could for the next four years. And if she had just stayed a little longer, I might have grasped her, convinced her to devote herself to a life of thought. Instead, I saw her traipsing across the greens after class, admirers in tow, to be regaled with attention and anecdotes in those horrid cafes near the square. I knew her carefree ways, and felt the twinge of the Pisan judge, his moglie stolen and seduced. Miss Jens bad need of melancholy. That much was clear. Contrary to popular chatter, the black bile is not an emotion, and even less is it a disease. It is a mode ofbeing, a way to go and meet the world, a way to flee it. I would hazard that it is the precondition ofa philosophic disposition, which is by far the most noble, the most correct, the only possible bulwark against that which awaits us as human beings thrown into the world. To begin, I instructed Miss Jens to pronounce words properly, in English as in French. If she had trouble with the gender of nouns, it is because she did not care enough to learn. The world, I said, is a hard place, and it is harder when one thinks. Yet you mmt think.I endeavored, at length, to teach her the dry and circular art of thought, knowing that once she graduated she would need me, a stern provider, even more—for how was she to learn? She was not made for this world; she does not appreciate it. Which is why I proposed. We would live in supplementarity, I said, not short—circuiting our differences, but building a new ethics out of their collision. Her feelings would develop and c[...]d have her freedom.I believe I made that clear by the end. So three days after Miss Jens received her degree, we were engaged to be married, and to her parents’ delight. “With an endowed chair!” her mother said. In her father,I sensed the understanding that there was no one who would be more indulgent of her foibles than I. Her whole life was ahead of her: Latin, Greek, Europe, an assistantship, peer—reviewed journals—in a word, philosophy. Yet six months later (one week before our wedding), she was gone. Of course I know why, and I am not bitter. We may have a relation of nonrelation now, |
 | [...]ect she’ll be back someday, knocking on my door for counsel as she used to, asking for a translation of this or that. She was simply too young, too irresponsible, to spend her whole life with me, she said. She wanted tohave “fun,” and I could not dissuade her. I[...]ssion. By now you know me. You see this imbalance of desire, mine outweighing hers. Since Christmas it has only gotten worse. Either Miss Jens does not know how to love, which I doubt, or she does not care to, which I fear. The first three weeks of the new year have been a wash. Lethargy . . . I haven’t been able to get out of bed. Day is just a grayer form of night. In love, but lazy, I am a bear half hibernating in this den of a studio on the square east side of Paris, where every morning the whole room is coated in a gray light t1at says: Don’t [Jotben Don’tget up. [mt go bark to deep. Before me a year of mornings, as inexorable as a bowe movement, where I’ll wake up and the first thought wi be, I’m going to die one oftbere dayx. And the second will be, ant’r [be meaning ofmy life? And the third wi be, You didn’t med to tbink tbere tbougbtr. The fact of the matter—but how to separate bitter fact from bitter feeling?—is t[...]hree times (—threeI), and I haven’t been able to get a straight answer out of her about why we don’t talk any more. She shudders at the word couple. Still, she does call once in a while. “How are you?” she’ll ask. We’re[...]ng more than we should be if we’re not supposed to be talking at all, but even the chatter has died down. And what can I think? In the wake of our last year’s love is a lone water skier who has lost his l[...]ins afloat. He floats without sinking. Hangs on for dear life. But the strangest thing is, the tow rope isn’t even there to grab onto. He’s holding onto nothing and yet he stays there in our wake, close enough to wave to us. This is love once love is gone. When I first got back, I knew enough to at least check in with Victor. He and I have known each other for years. I owed him Miss Jens, among many other things, and I needed to talk. And Victor is, by all indications, a genius. The only thing that impedes his brilliance is his worry: he worries too much, the smallest things perturb him. Even he knows this, but that knowledge only gives him more to worry about. Last he told me, he’d decided to cure his anxiety with alcoholism—psychoa[...] |
 | [...]70 As far as I know, Paris has two pool halls in the whole city, both of them on the Right Bank. One of them doubles as a tango ballroom, so it doesn’t really count. That’s where Victor and I were, in the pool hall that didn’t count, him with a bottle of psychotherapy in each hand and me with the pool cue, when I told him about Miss Jens: that she hadn’t called in days, that there was no end in sight, that I was despondent. We stood with our backs to the horseshoe bar, our faces sinister as Christmas, half red from the neon beer insignia on the walls, half green above the table’s brightly lit felt. Carlos Gardel was crooning Mi Buenor Airer querido in the background as couples turned, squeezed and faltered on the dance floor to our left. Victor stood at the edge of the table and stared. Like a pool shark confronted wi[...]d sign.” La ventanita de mix taller de armbal, the tango ran, “By the way,” Victor says, distracted, “have you hear[...]nk I have that. I never know if I’ve had enough to eat. Sometimes I’ll have dinner and I’ll stil[...]de nuevo boy volver a eontemplar “You’ve got toat all and then I’ll wake up starving in the middle of the night! What do you think I should do?” En la e[...]igure out what you need and measure it. Doesn’t the government have some kind of website?” unapromemy un rurpimr “I don’t know if I’d trust the government toin mind?” “As a matter of fact, I—O.K., look, forget it. How about Weight Watchers? They should be able to tell you what a guy your size should be eating. They’ve got all the calories figured out.” Mi Buenor Airer[...] |
 | [...]mdr pena ni olvidoooo. “Yeah, me neither come to think of it. How bout some chocolate?” “No, I don’t[...]haven’t bombarded her with letters like I used to, it’s because I’m tired of making a fool of myself. Victor says I should try to see her as much as possible now so as to tire of her more quickly, but I’m not up for it. Lack the will. Still, I’m beginning to wonder if that wasn’t Miss Jens’ very thinkin[...]if it wasn’t her sabotage. My grandmother, on the other hand, thinks I should play hard to get: Women need to conquer, too, she says. Of course everyone gives that advice and no one takes it. Who has the strength? Sidenote: every time Miss Jens decides it’s time to be on her own again for a while, she makes a visit to the dentist. Last time her crowns, delicate things in the best of times, broke under the stress of the separation (she clenches her jaw to hold her tongue). This time it was a root canal. So during the very maybe month of January, against my better judgment, I sent Miss Jens this note: You get cavities for company and tedium for tea, and doubt has come to dinner bearing glad’s apologies. Lonesome in the evenings, did you ever second guess the thoughts that made you think that we should see each other less? Next day, she responded: Cavities for company—the most delightful guests! I cannot chew or drink hot tea or bite an apple lest The most delightful pains go shooting round about my[...]annibal! Indeed, Miss Jens is a man—eater, but of the most delightful sort. Like her, I too practice a kind of cannibalism, of which this chronicle is the proof. Sometimes you eat your love and sometimes your love eats you. If I bring up that snippet of correspondence, however, it is to drive home another point: Miss Jens charms me. She is most comfortable at play and least comfy in couples. In or out of love, however, her aim |
 | DRUMLUMMON VIEWS—FALL 2008 72 is to please and to please absolutely, which invariably provokes a disastrous response in the object of her attentions: i.e. total infatuation, desire to possess, and finally rancor. Her crime, if she commits any crime at all, is one of excess. Pursued by this surfeit of love, Miss Jens moves from place to place and from boyfriend to boyfriend, unable to escape herself or her admirers. She’s looking and looking for respite somewhere. I hope she finds it—that’s one of the few hopes I still cling to. Miss Jens is at once Io and that angry goddess, chasing herself through Greece to Egypt (the land of exodus serving suddenly as a refuge). In her particular case, refuge is perpetual exodus, for she is uncomfortable with her gods. And yet her g[...]fectly matched: mine being gods ofloss, hers gods of departure. The second night I spent with Miss Jens after we’d decided not to talk took a turn both painful and unforeseen. It[...]sguised as love, whose ulterior was only revealed to me by morning. Perched on the second floor, Miss Jens’s bedroom looks over a small street deep on the Left Bank. The bedroom has one window whose shades cut the walls with their striations as long as there is light. Outside: mold on the concrete, drear on the asphalt, the clamor and piss ofdrunks. Inside: a bed. So at the end of night, a long shipwreck of inattention, Miss Jens rolled over and laid her body next to mine. The dawn had turned a deeper shade of blue as the sun crept round, and the stripes cut daintily across a drawing on her wall[...]and I lay drowsy and tense (what could it mean?) in a dark hollow ofthe bed, she on her belly and I on my back, when she turned to me and said, Motber Nature playr tritkr. 8173 [ms 4 way oftritkingyou. That wasn’t just to break the silence after sex. She meant that she hadn’t intended to see me, but, voila, couldn’t help herself. Sbe[...]nto drinking lemonade,I say, wben I ’m bot. But to myself I thought, Minjens ix wing me for my body. To formulate and admit that too often in the days that followed caused me a sorrow, so I tried to block it out. This inability on Miss Jens’s part to either completely quit or completely join me has left me in ruins. What food is to Victor, I am to her: she’s not sure how much of me she wants. In the back of my mind, though, where things do work out, I say to our phantom children: Your motber war only after me for max, [mt] made a detent woman out ofber/ A sop for loneliness, a body for lust—I’m willing to provide those services as long as there is love, for the feeling transforms the act. We cannot hurry lovemaking, or shrink away from[...]ome quiet wrong. We cannot gaze with cold eyes on the beloved without him ceasing to be. The stone light I see in Miss Jens’ gaze tells me that I am no |
 | DRUMLUMMON VIEWS—FALL 2008 73 longer—in those days during Christmas, she somehow routed me from her mind—the defeat, unbeknownst to me, was total. A desirable outsider, at best. Since I have realized that, of course, we rarely succeed in bed. I am not responsive—for impotence is simply the man’s way of saying, Idon’t like [Ms anymore. Sterility does the job, too, but takes longer. When I mentioned to Victor how Miss Jens was using me for sex, he didn’t believe. Bulk/bit.” he shouted[...]ur pre—Christmas romance seemed unreal. Already the spirit was moving on. Speculations aside, every time we met ever since I began to love Miss Jens, I thought it would be the last time we’d see each other. Finally I was right. The last time was when, after two attempts at sex without love and one without arousal, she came to my apartment to visit for half an hour. With her, a complaint: Me: Want so[...]e. Me: It’s already made. Miss Jens: Oh, well, in that case— Me: Sugar? Miss Jens: Sugar? I’m[...]ing very well. My throat’s hoarse. Me [pouring the coffee]: Oh yeah? What is it do you think? Miss Jens: The Vicissitudes. Me: Ah! And what do you need for that? Miss Jens: . . . More VicissitudesI? And[...]scribed as desperate, maniacal even. Time seemed to unravel then like a thread that had lost its spool. A doom unending as the Paris winter brooded over us in my Spartan room. I didn’t know what to do, so I handed her a mug and sat down on the couch. After a silence, she continued: Miss Jens: The literature of the East has much to teach us, don’t you think? Me: Oh, I think it’s been said, most of it. Miss Jens: I’m talking about the other literatures of the East. Me: I see. Miss Jens: Yes. I’m thinking in particular of the |
 | DRUMLUMMON VIEWS—FALL 2008 74 one that instructs us in the art of letting go, non—attachment. Me: Have you been talking to your brother again? Miss Jens: No, I’ve just been doing some reading and thinking of you. Me: . . . Are you leaving me? Is this how B[...]ns: Don’takeitwrong. I’ll be here if you want to talk. It’s not like I’m walking out of your life. But I think I need to leave this couple dream for now. In the weeks that followed, little transpired between us. We were grinding to a halt. By the time February rolled around, Miss Jens had decided to prolong our separation indefinitely, though she would occasionally break down and call, perhaps out of guilt, perhaps from genuine affection.I thought of those calls as her little gifts, gifts of atonement and farewell, a final dose of the poison I adored. Her voice still echoed in me sweet as ever, but it was a voice of leaving. If those weeks of deepening solitude have taught me one thing, it i[...]aths.Jet trails disappearing among clouds. It was the end of the end. Our chronicle spent, the will to write exhausted, I have nothing left to give you but two last notes. Again, taken from my journal: Februarylz‘” in with the odds and ends i sent back to jfl blouse, some stockings, a hairpin and a deod[...]t I’m not tbinking ofyou, but [but 1407:? want to be. Mart/13'd nothing reminds me of her like a phone call from her. she calls and my[...]ed by a hopelessness. i have asked her, politely, to stop. |
 | DRUMLUMMON VIEWS—FALL 2008 75 from The Miterxbed Yearx, a novel Russell Rowland Exactly one week after my wedding, I waded out into the early morning dew, shading my eyes from a semicircle of sun. A voice from behind and to my right startled me. “Excuse me.” I turned tofor only a second, I could feel his strength all the way up my arm. His body looked like a series of fists, muscles bunched and piled up on top of each other, testing every seam in his sky blue western shirt. Even his head sat on his shoulders like the largest, most imposing fist of them all. His hair was a red stubble, and he peered up at me through the cloudy lenses of wire—rimmed spectacles that magnified his blue eyes. “I guess you’re looking for work?” “That’s right.” His smile was mischievous. I also noticed, behind the murky lenses, that the whites of his eyes were clear, like egg shells. He was a bit older than most of the men who showed up at our door, though probably still in his twenties. There were several other things th[...]t this introduction. First, a man who was looking for work in our parts rarely showed up at 5:00 in the morning. And second, if he did show up at 5:00 in the morning, there was a good chance he was either st[...]acArthur had even shaved. He didn’t have a hint of red whisker on his chin. “Where you comin’ from?”I asked. “Well, I’ve been working for a man near Belle . . . Tabor.” He had been twisting a gray felt cowboy hat in his tight fists, and he now tugged it onto his head. “And?” “Well, I’ve been working there for several years, and that situation has just run its course, you might say.” My respect for this little man increased tenfold with this state[...]w Garland Tabor from REA meetings, and he was one of the more diffith men I’d ever met. “Walk with me,”I said. “I need to get my milking done.” “You can’t get your wife to do the milking for you?” I chuckled. “Funny you should ask. I just got married a week ago, and I offered to milk the cow for the first month we’re married. A little wed[...] |
 | DRUMLUMMON VIEWS—FALL 2008 76 “Every morning at five.” “Well, congratulations,” he said.[...]y come,” he said. “Well, you’ll fit right in here. I’m Scottish myself,” I said. “I thought Arbuckle might be one and the same,” he said in a perfect Scottish brogue. For the rest of the walk to the barn, and the time it took to milk the cow, I asked Oscar MacArthur the standard questions I’d ask any prospective hand[...]handshake that this man had a job. Although most of the ranches had become more efficient since the war, with improved machinery and better irrigation, they had also gotten bigger, with so many people leaving in the thirties. Those of us who stayed acquired land in chunks. So there was a lot of work to do. The bigger ranches needed haying crews, harvest crews[...]men who organized these crews, moving from place to place, earning most of their money during those seasons. There were also the sheepherders, but this was a solitary life, more suited for older, often eccentric men, who were more comfortable being alone for weeks at a time. If a young man was a good, steady worker, the ideal position was to hire on as a year—round hand for one of the bigger ranches. So ever since the war ended, young men had been appearing at our door, sporting a three—day stubble, and carrying a satchel filled with work clothes. Many of these men were fractured somehow, if not by the war, then by a lost love, or the loss of their own family place. They were generally hard on the outside but tender souls, unable to shake off a harsh word. The pattern was often predictable. After working like their lives were at stake for the first few weeks, something would rub them the wrong way, and their productivity would drop in small but steady increments. They would disappear for three or four days, and come back with the battle scars of a bender. We always asked them to leave after these episodes.There were other places that were more forgiving, but we didn’t need to tolerate the unreliable with so many prospects. And of course, there were also a fair number of shady characters, who showed up with remarkably bad haircuts, and shaky references. We usually turned away the boys who were obviously just out ofto thieves only a couple of times, for one simple but mysterious reason. Despite spending |
 | [...]most anyone, my father possessed an amazing knack for spotting a man with“a nose for merchandise.” Countless times, I watched my father talk to a man who said all the right things, bore calluses in all the right places, and had all the right gear. Dad would never look a man in theto keep my mouth shut. Sure enough, there had been at least five instances where word came back that t[...]Dad about it once. “All you gotta do is listen to their voice. If they got something to hide, they sound like they got something to hide.” I tried to figure out what he meant by this, but I could ne[...]d without hesitation. “Didn’t make it through the Depression.” “Sorry to hear that.” “Took her own life,” he offered, an unusual confession to someone he barely knew, I thought. I didn”t know what to say. “It was a horrible thing to do,” he continued. ore u ever onew 0 ever ove[...]her,” Oscar said. “I really can’t blame her at all. From the time I met Sadie, there was something dark and powerful working away at her. Something a hell of a lot more powerful than her—or me. There wasn’t anything anybody could do to make that poor girl see the good in the world.” “That’s tragic,”I muttered. “It is.” Oscar stopped. “It is tragic. Because the world is a beautiful damn place.” “Yes it is[...]mbarrassed by this sentiment, and couldn’t look at Oscar. “I got a proposition for you,” Oscar said. “Let’s hear it.” “How ’bout I milk that cow for you and we won’t tell the missus.” MacArthur jerked a gnarled thumb toward the barn. If I hadn’t already been taken in by this man, his method of asking for a job certainly would have done the trick. “Well now, Mr. Oscar MacArthur, I just might be interested in that proposition, but how much is that little dea[...]w about six dollars a day?” I laughed. “What the hell kind of negotiation is that?” “Oh, are we neg[...] |
 | [...], do I have a horse . . .” Oscar pointed toward the house, but the horse wasn’t in view. “Patsy is more than just a horse. She’s[...]ix it is.”We shook, and I swear, my hand hurt for the next four hours. Oscar went off to take Patsy to the barn and get her fed and watered. When I came back to the house and sat down at the table, Rita took one look at me and asked, “What are you smiling about?” “Was I smiling?” She set a plate of eggs, bacon and fried potatoes in front of me. “Like a circus clown.” “I think I just hired the best hand in the county.” |
 | [...]h You get a milion guys come home like that, all at once, and a milion women waiting, and whattaya think will happen? It’s hot times in the maternity wards, and up go your suburbs, and up go your freeways, and whoopdeedoo. There for the first ten, twelve years after the war, about all I ever did was swing a twenty—eight ounce framing hammer. This was out in Bremerton, Longview, out on the coast where I happened to be for no better reason than that’s where I’d mustered out of the Navy. Your postwar economy was an awful sweet deal for a man who’d managed to avoid that matrimonial bliss, and I was driving a two—tone T—Bird, the Town and Country model. Built my own hi—fi out of parts I got through a mail order catalog. We’d throw up one of those GI—financed crackerboxes, frame it at least, about every two or three weeks, and I was[...]transit or whathaveyou, finish cement if it came to that, and so on it goes, and I’m building. Only time in my life I ever made more money than I could spend. Course, I had my diversions, too, couple of bad habits. Drank quite a bit, like everyone did back in those days.Tried golf for a while, if you can believe that. Like Ike. Mostly, though, it was work. Oh, every once in a while I’d get a wild hair and run my Ford ou[...]hat particular V—B, what a mill—and you watch the needle swing right up to one thirty—five, watch it hang there. You got the top down. I knew a few girls, too, and almost every one of ’em liked to cruise. That Philco was the best radio ever made, and here’s a blond with a big, boozy grin, sitting right next to you, maybe a few bugs in her teeth. You get the picture.I had forearms on me like Popeye, had a little bit of a savings account and a brain no bigger than a walnut, and, all in all, I was doing okay. Then one day Mrs. Schaeffer grabs me as I’m coming in from the green grocer’s or whatever, and she directs my attention to that oak stand she had out in the hall where she’d leave the mail for her upstairs tenants—she knows I never get anything from the post office, not even bills, so she knows I’m not likely to look for it, and so she shows me something’s come from Miss Moira Houlihan in Elisis, Montana. It’s addressed in pencil, in letters so tiny they look like hieroglyphics; must’ve taken Moira about an hour to do this, and the end result is that you’ve got to squint real hard just to read it, and that’s her signature, really, some strange shit like that. She knew where to get me cause I used to send her a check every Christmas and a note every time I moved, but it’d been at least a couple years since she’d |
 | DRUMLUMMON VIEWS—FALL 2008 80 bothered to write back. I didn’t mind. I rarely called her anymore—you’d call her and be tired for a week after. See, my sister was demented. I knew she couldn’t help it, but she was goofy in ways that had started to kind of irritate me. Can’t help it, and she can’t hel[...]his deal. And it’s not a letter Moira’s sent, in fact I don’t get so much as a note tothe birth of another Qlentin Houlihan on the seventeenth day of April, nineteen fifty—five? Mother: Moira Houlihan. Father: Unknown. They stamp the baby’s foot print on those things. That’s wha[...]t. That little footprint. Looked like a sea shell to me, the way it was turned in on itself, the way it was, you know, perfect. So I went down to the pay phone on the corner and tried to call Moira and congratulate her. Maybe congratulations are in order, maybe not, but I better call. So I call over and over for about a week and never do get an answer, so then I think to call Potter Blixt, who I haven’t seen or heard from since the day in forty—two when we shipped out in different directions, and I ask him if he knows w[...]my sister. He tells me he thinks Moira’s still in the old place, but he hasn’t heard anything about a[...]o current. Says he only sees her a couple times a year. They live in a town of five hundred people, and I remember Potter as a[...]g. I’m wondering, among other things ‘What is the deal with this baby?’Pretty soon, her phone’s not ringing at all. I let that eat at me, and it’s hard to even believe it now, for a good solid year before I finally decided to take a drive. Back when we were growing up, back when the sawmill was still running, there were four saloons doing good business here in town. We had Doty’s Grocery and Feed, and those four saloons, and the auto parts store. My folks owned the Aces. Somewhere along the line they’d got to be their own best customers, and a lot of times they’d sleep down at the bar. They’d come home to shower, Mom to pick up that week’s issue of Look. As far as anybody raising Moira, I suppose that was me. Afraid I did a poor job ofit, too, the way things turned out. We had a pretty good time, though—I think—when it was just the two of us in the house. We’d get ourselves up and off to school, fix our own breakfast, fix our own supper. I’d even read to her sometimes when she was still tiny. We didn’[...]r own. Mind? We liked it. Moira was Suzy Sunshine in those days. Really. Sweetest person I ever knew. I think it was right around the time she got her first period, though, t[...] |
 | [...]ringy—her whole problem might’ve been one of those female things, who knows?flnd not too long after that I’m off in the service, and then I’m deployed out on the South China Sea when I get the news that Mom and Dad have passed, one right after the other, like they loved each other.I think Moira must’ve been awful lonesome for an awful long time. And I don’t think she was made for it—course, who is? She was too screwed up to get out of town or to find somebody to treat her good, and so there she was, waitressing at the Stop N’ Eat for years. Worked there, I guess, until they finally closed the doors, and that place was a greasy spoon atto her and even tease her a little bit, but she never claimed to have any love life, and after a while I quit asking cause I didn’t want to embarrass her. Later I get the lowdown and find out she’d had all kinds ofboyfriends. About half the males in Elisis have been her boyfriend for twenty minutes or so. She should’ve at least charged for it, but I guess all she wanted was the attention. By the time I got home she’d even run through that phase, and she was too used up to be a fallen woman anymore, or a harlot, or whatev[...]alling it ‘home’now. Jesus H. Christ. This is the last place I ever thought to be found, and I remember rolling back into town—hadn’t laid eyes on it since Ensign Taylor took me to Butte for my physical—and you’re away from Elisis any amount of time, just any amount oftime at all, and all you’ll see by way of change is what’s collapsed or caved—in since you left. Oh, I guess they’d built the new grade school by the time I came back, but that thing was ugly toto brick and ash overseas, but there is no fixing what weather and neglect do to this town; and we sure never got the relief they sent to Germany and Japan. You know, we’ve got forest for hundreds of miles on all sides of us here, but right here, right here in this valley it’s just high desert. Sage brush and cheat grass in clay. Lot of nothing, really. Even so, this is country you can develop a taste for. But not for Elisis. Elisis—god—all— Friday, this town is a firetrap. It’s an eyesore and has been forever. So, in spite ofmy better judgment, I came back. Certainly hadn’t come to stay. And I drove up Aeneas Street to the Houlihan household, scene of my odd little youth, and I saw it was still wearing the same coat of paint Dad stole from the WPA, which I remember as gray, and the siding’s twisting, and cupping, and pulling away from the wall, and on the porch I find a box trap with a cat and a porcupine in it. They’re dead. They’re reeking. Immediately overhead of you, just under the |
 | DRUMLUMMON VIEWS—FALL 2008 82 eave at the gable end, you got a wasp nest as big as a basketball. And it’s busy, and I am ready to turn tail and run and not look back. But I don’t. I knock at the door, I call in. I crack it open and call in again. Nothing. Then the wasps drove me inside. So I’m in. I step through the mud room and on into the house, and there’s Moira, she’s been sitting there in her recliner all along. I get around in front of her, and she’s awake, seems happy enough to see me, and I wonder if she’s gone deaf and that’s why she wouldn’t answer the door or the phone, why she let it get cut off that way. A cou[...]t feel like saying anything yet. But she did want to hug me. She got up out of that chair, and when she did I saw where she’d left a little trench in the Naugahyde, it’s an impression of her spine. Moira was bony, skin around her eyes l[...]asn’t thirty years old, and already every tooth in her head’s been pulled, which I happen to notice cause she can’t for the life of her keep the plates stuck to her gums even just to breathe quiet or try a smile. She does want to hug me, though. Wants to kiss me on my cheek. She always was sentimental. But I was there to see about the kid, and he was nowhere in sight, and what I had seen so far was not real pr[...]her boy. Is he here? ‘Nap,’ she says. It’s the first word out ofher mouth, but it’s enough to get her started, and then she’s off on the subject of poison. There’s poison in every innocent thing: potatoes, and rhubarb, and[...]rvested after noon. She tells me there’s poison in the municipal water supply. Few minutes of this and my brain is Jello, and we never did get around to ‘hi—how—are—you—how’ve you been?—ho[...]theories on bad air. Wonder anybody’s survived at all as far as she’s concerned, and she goes on about it seems like forever, and the whole time I’m getting more and more wound up about this kid; I didn’t think at that time it could be healthy for a child to be sleeping so much during the day. I didn’t know about naps. Didn’t know about children generally. Knew they were loud and I liked to avoid ’em. But I can also see my sister is way around the bend, and I can see that she must make for a very uphill mother. So it’s a relief, a big relief to me, when the little bugger finally swaggers out of the bedroom. All two feet of him. He falls down every other step—just, plop,[...]s him up, and I didn’t know that he’d be able to walk, or what he’d be able to do at that age, and I certainly didn’t think he could be much of a person yet, but he makes straight for me—kid’s already learned to mostly ignore his motherflnd, he makes straight for me and he puts his fists on my knees. He’s got fists like dough. And he looks me up and down as much as to say, ‘Who the hell |
 | [...]a hero, don’t you know? Oh, yeah, they gave me the Bronze Star. For valor, no less—I’m twenty years old, about as useful as a blister, and I happened to wander on deck one morning to throw some garbage overboard, see we weren’t stowing garbage at that time because the enemy already knew where we were, they knew exact[...]they didn’t like it, and along comes a flight of Jap fighters and strafes Manley off the aft twenty millimeter guns; they smeared the poor guy against a bulkhead, and since we’re in convoy we’ve got air support, and our boys get[...]rs and run ’em off, but they’re no sooner out of sight than we’ve got a pair of kamikaze coming at us from out of the sun. So there I am on Manley’s gun, and I’m firing. They come at you from behind, you’re sitting on a hundred and forty thousand barrels of aircraft fuel, you’re north of Okinawa, steaming for the Imperial Palace as far as they know, and if they manage to get even close to the Guadalupe before they blow up, then up she goes, too, and it won’t be down with the ship, it’ll be up with the ship, and not a glob of grease left ofher, or you, just flame and black smoke. Thoseoilers ride low in the water when they’re heavy. What a fat target we were. So I’m firing, and my first burst takes one of ’em out, but the other one is all over the sky, and I just can’t find him, and what I’ve been for the last cruise and a half is a messman down in the scullery, a greasemonkey in the hold, and this is my first firefight—I remember my old training a little, remember I’m to stay off the trigger til he’s in my sights, I’m supposed to fire and let up, fire and let up, keep the barrels cool, keep the mechanism from jamming, but I can no more stay of[...]than . . . and I’m firing; and he’s all over the sky cause they don’t give ’em any flight training to speak of, don’t even teach those boys how to land, and I’m firing, and his propellor has that same oily shine to it as a dragonfly’s wing, and the kid’s got no ammunition, nothing but himself and that plywood airplane and the fuel inthe ocean, and he sinks just short of us. So the next day I’m at sick bay with what I think is the worst case of strep throat I’ve ever had, but the corpsman happens to know I’ve been in combat, and so he tells me my throat’s just raw from the screaming and the smoke. Screaming? I wasn’t screaming. Sure, he[...]lf. Well, I did not shit myself. I did what I had to do when I had to do it, and I got promoted back |
 | DRUMLUMMON VIEWS—FALL 2008 84 up to petty officer again, and I got that medal, which I still have somewhere, I think, and all of it together was pitiful little to show for being twenty—three months seasick. I was not much of a sailor, and I’m still not much of a patriot. But, there you have it. You do what you do. I got to Elisis, and Moira really gave me no choice in the matter. That boy left me no choice at all. Nowadays, I imagine, there’d be a pill for what was ailing Moira, but in the fifties you really didn’t want to make a big thing of it if you thought somebody was a little off, cause they were taking out pieces of peoples’ brains back then. Had a gizmo they’d[...]s home. That, and they were shocking em damn near to death. You had some hard, mean psychiatrists around in those days. And I’d have to say, can’t help but freely admit it—Moira was of no earthly use to anybody, but she was also harmless, so I couldn’t see her as a ward of the state. You hear how Warm Springs is really pretty nice. A nice setting for it. Bullshit. There’s wire over the windows, and I don’t care how pretty the mountains are. Oh, but Moira had turned spooky, especially when you weren’t used to her. Spooky, and that’s putting it mildly, and I just knew if she was left on her own for very much longer then she’d fairly likely end up in the booby hatch. Or somewhere. And in the meantime she’d be that baby’s whole world, that’s what I couldn’t hack— the thought of my sister talking to that boy all the time about thalidomide and arsenic and nuclear w[...]ould be so unlucky,I knew that much. I went back to Washington where I could get a decent price for my car, and I sold it. Sold my truck, too, and bo[...]I rounded up all my tools and headed back. I had the idea I’d get things sorted out. The first thing I did, my first and worst mistake, was to buy that Zenith television, big old console model; we got the one channel of some crummy airwave, picture and the sound were both like something they poured through sand, all static, and that thing was on from the farm report in the morning til they played the national anthem at night. Then she’d be staring at that test—pattern Indian. So you’d switch it[...]y, and throw a blanket over her. She didn’t ask for much; you could never call her demanding, but you damn near had to dust her. After that teevee came in, Moira was there and breathing, and that was abou[...]wn man with a paper route. Had my panel truck and the contract for delivering Mimouliam from Dog Lake to Hog Heaven, rural delivery, and there wasn’t much money in it, but it wasn’t much work, either, except in bad weather, and we generally made our little bit every day of the year, that’s how many |
 | DRUMLUMMON VIEWS—FALL 2008 85 issues they printed. In those days people relied pretty heavy on their ne[...]nd that’s why we got no vacations, no vacations at all, but I never figured I needed any—the job had one big advantage—I could take Qlent along. We rode right around a half million miles together in that panel truck, quite a bit of that at thirty miles an hour, and, but for the money, it was the best job I ever had. You’re up in the timber, you’re out in open country, you’re all over the place every day, and in winter you got your tire chains going ching—ching— ching, and in summer you throw open the windows and smell the rain in the sagebrush. About as much as I ever wanted, and I believe Qlent kind of thrived on it, too. We had the radio, of course, and he taught himself to sing, and sometimes he sounded like whatI called[...]g like a couple English choir boys, he could make the sound of a French horn. That’s the kind of traveling companion he made. Taught himself to yodel, too, which, if that’d been anybody else in there, that would’ve drove me crazy. Thing I liked about him, one of the things, was that Qlent was a real quick study. When we first started the route he was still in diapers, and so we had that godawful diaper bucket, and sometimes toward the end of the day when the diaper bucket’s half full and the heater’s going full blast and the windows are up, that’d get a little ripe in there, give you a headache. Wasn’t too long, t[...]Between coffee and gravel road, a man can piss up to twenty times a day. But the point is, I liked it. We got used to each other, and when you get to where you’re easy in somebody else’s company, always easy, that is a rare thing, and there you are, you’re living the best couple years of your life, and you don’t even know it yet, but[...]little his whole arm’d completely disappear up in there. Then, before you know it, it’s kindergarten, for Christ’s sake. Man, how I hated the dayI had to turn him over to Mrs. Whatshername. What was her name? Anyway, the old girl led him away very gentle, she must’ve done that for the little ones many hundred times, and there’s all the other children, lot of ’em scamps, running around in their socks, and Qlent’s looking back at me, and he’s fine—I’m not, though, I am not at all fine; I know he’ll show ’em what—for, I know he’ll shine, but up to now he’s been shining just for me, and I am every bit as jealous as a mother might be, and I’ve got no desire at all to share him. None. I like it best when he’s mine— all—mine, and even though I know it’s kind of ugly of me, I can’t help myself. Mine—all—mi[...] |
 | [...]. But I’ll tell you this much, after he started in school and got among other people, Qlent never sang another note that I ever heard.So then it was the Christmas pageants and the plays and the concerts and the May Days and the two hundred other deals they liked to put on every year, keep everybody busy and distracted, and I’d talk to his teachers every so often, and I’d bake cookies and make fudge, and of course this routine really put the kibosh on that paper route, so I dropped that and put together the cabinet shop.I did cabinets and upholstery. Built the shop just behind the house, that way I could be covering a couch and have bread in the oven, too. Betty Crocker had nothing on me in those days. Also, I wanted to be handy when Qlent came home from school. The business really took off then, maybe even more th[...]and then I did good enough thatI could knock down the folks’ house—what a mausoleum that was, bat shit six inches deep in the atticflnd then I built us a new windbreak on the old foundation. At least I put ’em in a decent house. Anyway, with Qlent in school, I just went back to work. It’s what I do. It’s what I am, and some I know are proud tothe little motor in him, too. He’d be at one thing or another pretty hard all day. He ate[...]burnt it all up. Kid could get himself around six of my big caramel rolls all at once, no sweat, and he’s lean as a whippet. He never had much use for toys, never had many friends, not when he was a little guy. I bought him a bike, but he liked better to run, and he’d be up Skunk or I’d hear he’d been seen way—the—hell—and—gone up in Mill Pocket. That Qlent. Had a range on him like an elk or something. About the time he hit the third or fourth grade he started to look like what he’d be as a man, and that’s when the daddy mystery got cleared up: he is the spitting image of Delbert Oslavsky, got exactly that same Qlarterhorse build on him, same face, same hair—from the physical side, anyway, he’s picked himself a good sire. I’m sure I wasn’t the only one to see it, but no one ever said a word, at least not to me. Not to Qlent, as far as I know. And I wonder if it was too obvious to need saying or if. . . . Ijust know that I myself never said a word. You’d pass the guy in the street, run into him at a game or a rodeo or parade or somewhere, run into him all the time, and you’re with his son, and the man doesn’t even have the good grace to be embarrassed, or try and look away. Nope, Delbe[...]ot a catch colt, and he doesn’t care one way or the other. I might’ve been afraid of him. Maybe I was afraid of getting carried away and getting my ass kicked. Oslavski wasn’t much of a man until he was in a fight. |
 | DRUMLUMMON VIEWS—FALL 2008 87 The thing to do was shoot him, really, but that would’ve been beside the point. But, anyway, Qlent was a restless boy. At times it sort of hurt to see it. He wasn’t like one of these mutts who can’t concentrate; you could slow him up with food, and now and then he’d stop to read, and once he got fascinated with rocks he’d stop anytime or anywhere to look at one, he probably knew the name of every rock in the ground. But when you think of him, the way he was as a boy, or always, I guess, in your mind’s eye he’s on the move. Except I also remember how his mom would wave him over to her chair. She’d glom onto him, grab his hand a[...]nd then he’d stand there beside her, kinda have to lean in sideways the way she’d get him, and she’s hanging off him, and she’s got her mouth half open and she’s glued to Green Aerer or some happy horseshit. Qlent’d stand there for as long as she wanted him to, never complained or even fidgeted. He’d just[...]y time. Sometimes he’d brush her hair. She had the prettiest, healthiest head of hair. Moira did at least keep herself clean, and for that I was very grateful. Imagine if I’d signed on for that chore, scrubbing her. No, but she kept herself clean, and even kept herself kind of nice for as much as she’d wasted away, and I have to give her high marks for grooming,I suppose.I always wanted to forgive her, but I couldn’t. There was nothing to forgive, so where does that leave you? Most of the time I thinkI must’ve treated her like a piece of expensive furniture, cause, you know, I just couldn’t muster any more feeling for her than that, and I didn’t want to give her an opening to get off onto fluoride or one of her other topics. She hated anything she considered chemical. But Qlent’s growing up; Qlent’s of running or at school or in his room, and pretty soon I’m Moira’s company most of the time, and she’s mine—I gotta say, there were[...]on or something, but why? After a while, what’s the point? She was just as happy to be ignored, and she took very little interest in me, I can tell you. So I had my stack of National Geographer, and I read every page of those many times. Guys with hoops in their noses, you know, fishing with blowguns—I[...]stereo I built and built on and never did get it to play right—thin soup, pretty fucking thin. And poor Qlent built himself a trestle bridge out of popsicle sticks, that thing eventually took up two whole walls of his room. One Christmas I found a locomotive, too[...]as a very narrow gauge, and we put that up on top of the structure, damn near to the ceiling. He had his chin—up bar and his dumb bells in there. You’d look in on him, and there he is reading that War a[...] |
 | DRUMLUMMON VIEWS—FALL 2008 88 and was snowed in thirty pages, completely flummoxed by those people’s names. Names and titles, not for me. Anyway, unless you liked your television, and you liked it going full blast the way Moira did, you kinda kept to your room. Wasn’t long before that arrangement[...]I built ’em, but somehow I’d done a good job of soundproofing the walls in that house. I could go the track meets, and I could go basketball, but after a while I couldn’t stand to watch him play football anymore. You’d see Qlent rock up onto his toes, and you know he’s about to fly. Out on that field he’d make those other boys look tired, make ’em look like they came to watch. He was so much faster, and shifty. You just knew those little sonsabitches probably wanted to hurt him. The ball is in his hands every play, and I’d want to go down to the sideline and yell at his coach, ‘Give him a break, would you? Don’[...]solid lick. I was all right with reading about it in the newspaper the next day. So now he’s popular, but since he’[...]’s ever been, all these new friends are no boon to him. If it isn’t a girl on the phone it’s a recruiter, and Qlent’ll be nice to em, he’s pleasant enough, but he’s never on for too long. What’d I call him, elusive? He was alone whenever he could be, and I saw less and less of him all the time, and here it is getting closer to graduation, and I’ve started to wonder, way too late in the game, I’m wondering a little bit, ‘What have I got myself into?’I am not looking forward to the me and Moira show. I’m getting the preview—in many ways Qlent was gone before he ever left. You know, we stood two years there of visits from assistant coaches, and head coaches, and alumni, and a whole herd of people who probably never before or since set foot in a class C town.That was hell for all of us. There you’d be, trying to be polite with some poor guy at the kitchen table who’s been sent to get himself an athlete, and the guy’s eyes keep flipping over to that specimen in the living room, and some of ’em even try and sweet talk her. That must’ve been real strange duty; plenty lined up to do it, though. So it was a little odd, after all that, that Qlent gets a scholarship at Berkeley, California, a full—ride scholarship, and just for a score he got on some test. For years they’ve been telling me at school that he tests out unlimited—unlimited potential, they say, if he ever breaks out of his shell. So he tells me he’s decided to go down there and study Anthropology, which I ’ve heard of in my Geograpbitr, but I’m not real |
 | [...]is, and I’m still not sure after he explains it to me. They study human beings? The nature of human beings? Can that be right? Anyway, anthropologist was not everybody’s idea of local—boy—makes—good. They all wanted to see him play ball somewhere. People around here were a little ticked off at him because of that—like it was any of their business what he did or didn’t do. Then, and I don’t think it was even two weeks after we got news of that scholarship, Moira died. Just died for no particular reason.I came out one morning and there she was cold in her recliner, and she must’ve had about the gentlest death there ever was, but she was still dead. We took her out to Lonepine and planted her next to Mom and Dad; we took the recliner and the Zenith, which was still going strong after all those years, we took those out to the dump, and that was that. Came home to a big hole in the living room. That living room was still Moira’s territory for as long as I lived there, but, let’s face it, I[...]nt felt about it; he never said, and that’s not the kind of thing you ask somebody, but I knew the next time I had to let him go, he’d be long gone. I wouldn’t hav[...]last spring he spent with me he was running track for the pure hell of it, and he was far and away the fastest schoolboy in the state. He was running the hundred yard dash in under ten seconds, seemedlike he took about ten[...]you see how their faces quake every time they hit the ground, they hit so hard, and most of ’em look quite grim, like it really costs ’em something to go so fast. But Qlent would smile. Might be a little harder to spot it when he was really hauling, but he always smiled when he ran. Smile and pull away, and it was the greatest thing I ever saw. Course I also had the walking pneumonia that spring, and those track meets did not do good things for it. I was sick that spring, sick all that summer while Qlent was of fighting fire, sick when he went down to school. I stayed sick for about a year there, miserable and puny, and just barely able to work. Geeze, I felt like a plowhorse: And I’d got into some trouble with the IRS. Many years earlier I’d made a mistake in my book keeping, an honest mistake, and I’d und[...]g it—with penalties and interest, it turned out to be a very substantial sum, and then I made it muc[...]ack up and hired a lawyer, a guy who told me from the start there was nothing he could do about it, but[...]that interest is compounding, or whatever it does to make it get so far outta hand, and before[...] |
 | [...]’em everything. Bless their hearts, they agreed to settle for everything I had. I managed to hang onto the house until that next summer when Qlent came home for a bit.He looked like a gypsy. He’s grown himself quite the hank of hair, and it’s tied up in a silk rag, and he’s relaxed in some new way. I think maybe he’d found out down[...]nd he’s got some girl with him wouldn’t dream of wearing a bra or, you know, disappointing him in any way. He tells me that now he’s gonna travel[...]tudy, he says. He’s with a traveling collective for independent study and community development—which is to say a bunch offootloose hippies, and one of’em hasn’t got his scholarship anymore. He st[...]bout a week, and then they went south, and I have to admit I was so embarrassed about losing the house, and about not having any way to help him out down there at school, it wasn’t all that bad for me when he became a college dropout. That’s when I should’ve got out of Elisis, too, that was probably my best chance, but at the time I told myself I didn’t have the oomphta or the cash to go anywhere, which was really pretty true, and I got set up in my little trailer out by the highway, one of those things like a guy might take up hunting, ab[...]s every time a semi goes by. Was I feeling sorry for myself? Yes. But I did have the same post office box, and I had phone service with the old phone number, and at leastI was where Qlent could get in touch if he needed. Eighty—eight—oh—one. O[...]another has had this same number here ever since the Elisis Telephone Company was formed. Big deal. All it shows is a lack of imagination. I think that’s what kept me in town, I could never come up with a clear idea of anything better. But, little by little I put myself back together. For quite a while there I lived on macaroni and postcards that took months to get here. He’s in Honduras, he’s in the Yucatan. At first he’d just tell me where he was at, and how the food was, and once in a great while I’d get a picture, but it was never a picture of him. After he’d been down there a while he started to throw in little bits about imperialism, and this—that— or—the—otherism, and I am just praying I don’t catch a whiff of Moira in this stuff. Police states, he says. He don’t li[...]o does? So why would you go so far outta your way to go be in ’em? At least I’m getting my postcards. He’d call every Christmas, but that was like shouting at each other from either end of a tunnel. I didn’t ask what he was doing, and he never offered to tell me. I hoped he was doing nothing. Nothing, I[...]m him, but I never sent him any back, never tried to, |
 | [...]e there long. After a while there was no politics in his letters, and he was back to telling me about the birds and the plantain and the way they made their local dishes, sometimes the fish in the sea, and these are some wonderful letters, but yo[...]’s opened ’em already, they didn’t even try to hide it, they’d just rip that envelope open and[...]’s getting by down there, and here I am rooting for him to be as shiftless as possible, hoping he’s a drifter, and maybe that’s all he’s up to, but I don’t think so, cause he’s got a serious side, that damn— near saintly side to him, I’ve seen it a few times, and who knows what kind of Latin bullshit could happen to him on account of that? I read the news.I know how they are. Those bastards got a lo[...]they can hide their dirty work. So I had my heart in my mouth, a little bit, the whole time he was down there. It was around in then that I got myself involved in a minor shack—up with Phyllis Comes Last. I was in the house on Pine by then, had a place to keep her. Phyllis was a Blackfeet gal, and she’d drank for many years on her looks; by the time I got to her she was drinking on her pretty laugh. She had a talent for convincing you not to take things so serious, and people liked to be around her. She’d walk out of thehouse with a nickel in her jeans, come back two weeks later and she’s been drunk the whole time, even if she hasn’t ate, and she’s been to parties in three states. I never got in her way, so she liked me. We were actually a pretty sociable couple, considering I was half of it, and we’d go over to somebody’s house for dinner and wind up sleeping their floor. My liver didn’t handle that too good. Phyllis, I liked.The freight that came with Phyllis, I just couldn’t pay. She was in Elisis purely by accident, and once I gave up on her she had no reason to stay. Eventually she was up in Canada— she was a Blood or a Piegan, I don’t remember, but a part of the tribe that was eligible for their health care system up there. Last call I go[...]id she was all worn out inside. She didn’t seem to be too shook up about it, though. In the meantime, I just went out and busted ass, an old man working like a young one. At some point your back gets to be a whole different deal, and it takes you about a day just to get over a day of doing rough carpentry. But that’s okay. I built the Sherwoods their pole barn, remodeled a couple pla[...]After Phyllis, I had few expenses, and I’m back at it, and, as I say, little—by—little I got wel[...]d again; had a standing deal with Garney Fronapel to keep my freezer filled with grass—fed steak. Around in then was when I first started doing my carvings, too, and when they got decent enough that I could stand to look at ’em, I’d go |
 | DRUMLUMMON VIEWS—FALL 2008 92 to the craft fairs and sell ’em. I was doing a lot of bears’ heads at first, and then I got on to my rowboats with the miniature oars; those were very popular. Sold those first few things for five, ten bucks apiece, and I thought I was making out like a bandit, to get paid anything for goofing off, sure, I’ll take that. So, anyway, you’d have a lot of hippies at those events cause they’ve all got the same basic idea as I do, try and sell some kinda[...]ng, and every so often I’d catch some kid outta the corner of my eye, some kid with a certain way of walking, kid with a mop like they wore back then,[...]me up short. I don’t know why. I had my eye out for him even when I knew he couldn’t be there. Eve[...]orked his way north again. He was a longshoreman in New Orleans until he turned somebody in for cockfighting on the docks; he sawed logs down around Medford, and for a good while he worked a fishing boat out of Sitka. And if he still never stayed put for very long in any one place, at least I usually had a good address for him, usually he’d even have a phone—and you don’t want to intrude, but you write, you call, you kinda wait to hear about what he saw down there in the tropics that makes him sound so old sometimes, b[...]at, doesn’t talk about much, really, if it has to do with him. I’d slip him a few bucks from time to time, and he always sent it back. Said he was pro[...]ht’ve been true, but I’d been living so close to the bone for so long I had no need for any extra. He used to come to see me in Elisis . . . well,I guess he came twice. Once he came with another one of those hippy girls, and the next time he’s got a dog he picked up on the road. Crippled dog. He came to ask me how I’m doing, and, to tell you the truth, that gave me a little case of the yips. How’m I doing? How am I supposed to know? You want a bear head? You want a little boat, got some toothpick oars in it? Really, I’m just itching to ask him . . . what? I don’t know. He is in some ways his mother’s son, and you get the impression that for all his smarts and his big heart and everything,[...]ft away on you some day, and without ever leaving the room. I guess I wanna ask him, ‘What’s eating you?’ Strikes me he might be inclined to check out like Moira did. So that’s why I started to think maybe it’s up to me, maybe I better do something. I didn’t have the slightest idea what it might be, but one day I threw a war bag in the truck and drove out to see him. He was in Seattle, or close to it. Had a maintenance job at a hospital. Had an apartment. And what I d[...] |
 | [...]She’s a doctor’s daughter, and kinda full of herself, you know the type, and that whole apartment is just filled wi[...]own dolls, clown posters, got some clown shoes on the end table. Again I say, to each his own, but there’s limits to that. Harlequins, she called em. Creepy. But she doesn’t seem to be doing Qlent any harm that I can see, she’s even kind ofa hand on the tiller forin heifer dust about twice in my whole life. She wants to know what he was like growing up. ‘Busy,’ I t[...]ow she’d take that? Who knows what she’d make of it?She says they are very happy together, that[...]h other so well. She understands him? Well, bully for her. I’m thinking she might better understand how he tends to take off. Qlent tells me he’s saving money to go study computers, and that’s practical, that’s more of a plan than I’ve heard from him in quite a spell, and I should be pleased to hear it. He’ll have all the work he wants, I suppose, and never dirty his han[...]that computer thing I felt like I’d been kicked in the belly, and I remember when he said a couple month[...]t then he got a job fixing coffee machines. What in the hell? Seemed like kind of a step down for him. And [[7372 he tells me he’s marrying Rebec[...]she know about this?’, cause she doesn’t seem to me like the kind of girl to settle for any kind of mechanic, much less a guy fixing coffee machines[...]g me. I’m not too impressed. But here he is on the phone, and he says they’re getting married. I could hear some kinda silly—ass chimes in the backgroundflnd he tells me he’s asked her father for her hand. Her dad said okay. They’re getting married. Well, whattaya do with that information? Got in the truck and drove on out to Seattle again. Rented a tuxedo, even had to rent the shoes, which, to my mind, t1at’s about the same as wearing somebody else’s underwear. Who knows who’s been in them rented shoes? But I bought some black socks, and I went ahead anc wore ’em. And at this wedding you got the groom’s side of the aisle, which is me and the crew of a coc boat and some little dark gal who doesn’t have a word of English, turns out she’s a net mender, comes from Portugal—and on the other side you got Rebecca’s peop e. A lot of’em. These are people what we would’ve c led swells in the old days, and the presents they broug1t . . . it was ridiculous. There was a lot of those envelopes tied up in silver twine, you knew what was in ’em. They got married, anc her dad, Dr. Merton Detwiler, gave ’em a cottage sitting on five acres of |
 | DRUMLUMMON VIEWS—FALL 2008 94 Vashon Island, piece ofofthe rheumatiz, got your arthritis, and there’s more hair growing outta your nose than grows on top of your head. You get ugly, is what you do. Real ugl[...]gh, I’ve been an artist, and I’ve got no room to bitch. An artist. Me. Just tickles me pink. I went ahead and put a lot of windows in my kitchen, tore those appliances out and put ’em in the basement where they belonged, and I sat down and[...]pretty serious. Out come snakes and snowflakes. In time I’m doing hummingbirds and geese and about[...]guess you could call it—there’s this species of spruce up in the Thompson River country, and I can buy it a thousand board feet at a time, buy it as cheap as pine because I buy it raw. If I cure it right, cut of short cants and kiln cure ’em, I can do almost[...]e always colors up somehow and it takes on a life of its own. There’s been a surprise in everything I’ve ever carved. So here I’ve sat, whittling, and you look down at your hands, and they’re like your pals, the guys who actually know what you’re talking about, and you can get just as lost in that as anybody ever got lost in liquor. I’ll take it, though, believe me. I’ll take my addiction over most others I can think of. Before I know it, my stuff’s in the shops in Missoula and Kalispell and Bigfork, I mean the nice shops, and even in a few little museums, places where they really know how to light it so you look like a genius. And they give me good money to do this—who would’ve ever thought? Hell yes.[...]ay, and I’ve called no man boss—unless it was the tax man.I don’t see where I can complain too mu[...]fine. There was a time there where I just kind of let him alone while he was making a success of himself. Took quite a while, I have to say, before I figured out that’s what he was doing. I didn’t expect the thing with Rebecca to work out, and maybe that was wishful thinking, but you got a fart in a whirlwind and a rich girl—who would’ve been optimistic about the chances for that. I was wrong, though. They both prove[...] |
 | [...]his own company, and he’s training other people to fix ’em; then he’s selling ’em; and then he’s selling the damn things all over the world. He goes to Switzerland all the time. After a while I’ve got quite the collection of business cards on my corkboard, got some from Reb[...]he had her dress shop, a flyer from when she ran for city council. They’re busy people, so I leave ’em alone, and he’s always saying to come out and see ’em, to come on out. But I don’t.After they had their kids, I started getting a steady stream of pictures, too, which is all right cause those kids are gorgeous, and I’d send the little ones their checks on their birthdays, fifty bucks a whack, which may be kind ofajoke to them, or it will be soon, but I keep track of their birthdays, Christmas and Easter, and that’s about as much of the year as I pay any attention to. ‘Come out,’ he says all the time, and I know he’s proud of what he’s got, what he’s done for himself out thereflnd you can tell he’s real proud of those babies—but I still never go. I got a camper and everything, and I go everyplace else, drove all the way up the AlCan and back, twice, but for a real long time I never got out to see Qlent and company. It was silly, and I’m no[...]n you live by yourself it doesn’t take too long at all before you’re weird, and I was kind of an odd duck to begin with, and I really can’t imagine anybody should have to put up with me. So he says ‘come,’and I say I’ll be out when I’ve got the garden put up, when I’m finished canning, which, to tell you the truth, I rarely do that. He says ‘come,’and I[...]ta phone calls back and forth, but, one thing led to another, and I never saw him for nine years. Finally he just sent me a plane ticket and a note to say he was sorry he hadn’t thought of it sooner. That forced my hand, of course, and a good thing, too. I’m a little ashamed of the wayI get. One way or the other, it’s always been Qlent who grabs me by the scruff of the neck and shakes me out of it. So there he was at the airport, waiting for me, and he’s got a hundred—dollar haircut and[...]ll em. I won’t even try and say how good it was to see him. But then we get to Merton. He’s brought his little boy with him, and the kid’s a Hoolihan through and through, except he’s better looking than the usual run ofus, and I guess I’m supposed to get that family feeling for him, or something, but I don’t, cause in the flesh this kid is very hard to like. He’s an asshole, this Merton, and that’s about all I remember from the airport. I count on my fingers and figure up that he’s seven years old. I don’t remember anything at all like |
 | [...]96 this from when Qlent was seven. So we get in the car and I give Merton this chain I’d carved out of a single piece of stock—the thing’s two feet long, twelve links, and these[...]e—moving links, and it’s been a week’s work for me to carve it. That chain hits the floorboard about as quick as Merton can pitch it down there, and then the kid’s jazzing his little electric pinball machine, some little deal he can hold it in the palm of his hands, but it’s loud enough you can barely hear yourself think in there. Qlent asked him a couple times to turn it off or to turn it down, but the kid says no and keeps right on with what he’s d[...]d there I am, riding along with ’em, trying not to look disgusted. We got on the ferry out to Vashon, and Merton wanted to stay in the car. He wants to sit there and goose his thingus til the batteries wear out, or until I kill him. Qlent, of course, has to sit there with him. But I didn’t have to, so I got out and went on up to the upper deck, as far away from Merton Hoolihan as I[...]hat boat, and I’m standing there, catching rain in my mouth. I can see where if that brat was mine,[...]night.I hadn’t been missing a goddamn thing on the Merton score. So then we get to the ferry landing and the kid’s gone to sleep.I count my blessings. We do the ride to Qlent’s place without saying much. I make a few[...]r had any. I just sit there hoping he’s not mad at me cause I can’t stand his kid. Now, this property of theirs didn’t look a thing like I remembered from way—back—when, when the doctor bought it for ’em. Qlent tells me him and Rebecca unwind on the weekends by doing their own landscaping, and there’s not an inch of their ground that hasn’t been planted and pruned and prettied up. It’s a little fussy for my taste, and a lot more yard work than I’d ever do, but you’d have to say it was nice. And that house. Somewhere under there was the cottage they started with, but it’s been remode[...]stle. Must be four or five thousand feet wrapped in cedar board and cedar shakes, and it’s gussied up in some kind of copper trim that was new to me. I’d never seen anything like it before. Ins[...]floors and marble countertops and about an acre of windows looking out over the water. That one wall’s like a great big movie s[...]rges and whales and schooners and all kinda trach in those windows. Then Rebecca comes downstairs with little Daisy on her hip. The females of this family are something else, I tell you. I gave Daisy her angel, cause it was what I’d carved for her, and that angel’s head goes straight in her mouth, and as soon as Rebecca’s con[...] |
 | [...]shot. Qlent’s been telling me this one might be the apple of my eye. He might be right.So then we had a drink, or in my case a couple. Some kinda real pricey bourbon. Tasted so good and hit me so hard, I had to excuse myself before supper was ready, and I can see where they were making a production out of supper. I smell salmon on a grill somewhere, but[...]near as hungry as I am tired. So Rebecca shows me toin their house, but she lets me in that room, and I get in there and see where it’s been all set up for me. Everything they think I might like is in there, including a set of very fancy Japanese carving knives, and some pieces of cherry wood and walnut. There’s a card on my pi[...]m’s mine, she says. It’s here whenever I want to use it, for as long as I want to use it. I got a lump in my throat so big I damn near puked.That was a fine note to pass out on. That next morning I rode into work with Qlent, and he apologizes that we have to take the ferry again. Hell, it’s something he has to do every day, why should I mind? His business takes up the best part of a three— story building smack in the middle of downtown Seattle. You got your showroom on the ground floor, repair and fabricating over that, and on the top floor there’s offices. We breeze through the whole deal, and it’s, Mr. Hoolihan this, and Mr. Hoolihan that, and everybody’s just delighted to meet me, like I’m just the most wonderful geezer they ever saw, and every place we go Qlent solves some little problem for somebody, just fixes it on the fly. You can tell he’s been good to these people. You can also tell he’s in charge, which is a little different face than I’ve ever seen on him before. When the tours finished and all the introductions are over, he takes me to his office and makes me the best cup of coffee I ever drank. No, he says, it’s errpremo[...]is straight, I suppose. All I know is, I may have to start using that machine he sent me. No wonder he can work so damn hard.The stuff’s like some kinda tasty rocket fuel. Then he settles in to make phone calls all day. He apologizes about that, too. No problem.I take a little walk around Seattle. Got in the wrong part of it, of course, and some wino mugged me, and he damn near conks me over the head with a pipe before I can convince him, no, I don’t have a credit card. Guess I’m the last guy on earth without a credit card. Then it’s back out to the island and another nice dinner. I get the impression they do this every night— you got pasta and a big old salad and a slab of pig in |
 | [...]IEWS—FALL 2008 98 sweet and sour sauce, and the kids are set up with their own separate meal. The[...]nd system that pipes that sticky dead—guy music to every corner of the house, which is not so tough on the ears after you get used to it. Rebecca opens up a forty—dollar bottle of wine like it was so much Kool—Aid, but I figure I better lay off the booze. Drunk or sober, I still don’t have a thing to say for myself. They’re trying so hard. I’m just wishing I had one interesting thing to say. Next day I stay home with Rebecca and the kids, and we’re out in the yard, and I fix a gate for her, and then I get to playing hide n’ seek with Merton, and I find o[...]that night Qlent comes home late and takes us out to a restaurant. They treated me like royalty the whole time I was there. I was wishing I’d done a little something to deserve that. That was my last night there, and while Rebecca’s of giving the kids their baths, me and Qlent step out on the deck. The stars are out, kind of unusual in that part of the world. So I take the opportunity to tell him how proud I am of him. It’s hard to explain, but here he is, he’s made enough money to retire already if he wants to, and he’s been all over the world and ate things I’ve never even heard of, and he’s almost got his head down about it. This is what I remember about him—right from the beginning, nobody ever had a lower opinion of Qlent than Qlent did. He was always so terrible easy to embarrass, and I remember that was one of the things that made me so awful tender about him. He’s kind of a heartbreak, and neither one of us really knows why. So I tell him I’m proud of him. Tell him I”ve never been anything but proud. He tells me he wants me to come and live with ’em. We both know what the answer to that’ll be, but I am kind ofweak in the knees to get the offer. After that I started visiting every so often. Watched those kids grow up a little bit at a time, and that was good fun. Merton turned out to be a whizbang lacrosse player, and I caught a couple of his games before he graduated. Daisy just kept living up to her name. Meanwhile Qlent’s getting richer and richer and not a year passes when I’m not a little fonder of Rebecca. That whole bunch out there, they’re the reason the sun sets in the West as far as I’m concerned. But also . . .I don’t know. I’m on the phone more and more with Qlent the older he gets, and more and more he wants to talk about old times. Then one day he calls and asks me to meet him out at the Elisis airport cause he needs to get in some twin—engine time. He’s been flying a few years now, and he’s just moved up to this Beechcraft. That’s a damn short runway, I[...]nough, two, three hours later there he is, coming in over Baldy. He makes his approach and sets ’er down on the apron, |
 | [...]but he finally gets stopped with about ten yards to spare before he’s through the barb wire and out into somebody’s pasture. Qlite the little landing. And he gets out, and he comes over to the hangar, and he tells me he’s got a confession to make, he really didn’t need the hours that bad. He just wanted to see me. What’s wrong? Nothing, he says. Nothing[...]e, then, I tell him, lunch is on me. But he wants to know ifI could do him a favor. Wants to know if we could go out and drive some of the old paper route. Well, sure. One thing I’ve got a lot of is time.This country has changed a good deal since he was young in it, or some of it has. Sprinkler systems. They managed to put water on dry ground up at my end of the valley, and there might be fewer people here than there used to be, but those who stayed make a half decent livin[...]not so godawful poor as people around here used to be.There’s a lot more cows on this ground, I’ll tell you that. So we swung by the graveyard to visit Moira’s grave, and then I thought I’d head up toward Niarada, cause that’s about the same as it always was—except Niarada itself is gone. You got the same old gravel, same old sage brush, but no place to even stop and buy a Coke ifyou want it. It’s empty out that way, which is why I kind of like it. And we’re riding along, and it’s just us and the coyotes, the way it used to be, and I look over, and there’s something about the way his head sits on his shoulders, or something, I don’t know. He’s the same. He’s that boy who knew every tune, and I’ll bet he knows ’em to this day. But he’s also the man who don’t sing ’em. Yeah, we rode out in the lonesomest country we could find. Rode ou[...] |
 | [...]me; Michele Corriel Edward Hopper once said Years of chasing he wanted only to paint sunlight on houses — sunlight on the side of a house. how much better can a life be Was it the dry hot slant spent.that bubbles paint on wood, the hardening rays that meld browned pine needles underfoot — Or the soft creamy morning light welcoming a moment of reflection before coffee and traffic, before the sheets cool off— days’ brave unfolding crinkles. Maybe it’s the last shot dusky, fiery, withering — grasping onto the rim like a serpent to a ship burning final thoughts onto the porch. |
 | DRUMLUMMON VIEWS—FALL 2008 102 Nocturne Phil Cohea The drug that made me sleep this far has faded and its two A.M. In a dream of war, fires catching the nearby homes, I wasn’t myself breaking the windows of the dying; my friends for whom I wept I didn’t know. Outside the snow hardens, two days off: Thanksgiving. Harvest[...]ay clean. Cold stiff carcasses pass through town in the pickups of happy men. A real war smoulders far away in daylight through a constant haze. There Abraham f[...]all. Here, cold air, clear under stars, reveals the breath of life, how quickly it disappears in a rifle shot or a stranger passing near hunched in a coat without speaking. I hear each car appear, distinct, out of the unknown dark, driver unseen, destination lonely and a place to freeze. |
 | DRUMLUMMON VIEWS—FALL 2008 103 I know no one to call but me at this hour. I know no one in The Middle East. How can a place be a direction? How in the middle? If I look that way across America sleeping, an ocean writhing, the sun on African hills, I see only my neighbor’s[...]r nor do they tick. I feel time now. I’ve grown to bear its effects. And even to play with it at times. I’ve traced it in sandstone made graceful by wind, eons piled, dried and slashed where The Bible counts for nothing, no prophets ever walked or evil gods or[...]hadows do not move indoors where Kocopelli pauses in his dance along my wall to play a run of crazy notes. This is The West, far West. Where does direction start? Somewhere east but short of the war, some place from where wars are directed. Awake, I know the missiles will not come, the kids next door are dreaming in peace, safely north. No cars now for minutes, only me and the refrigerator, breathing easy, the quick movements of my pencil, rest made possible by my warm[...] |
 | [...]Five Poemx Paul S. PiperHer Scarf How thin the needle? How hard the thimble? When they meet does it matter? Betwixt and between the wind tugs her scarf. Blue arcs from her. YMuS forfim Harrison There is more beauty in the human sky than these clouds thick with rain can write. There is more love in this bear ofa dog slobbering my old man’s face than the waves can fathom as they froth the shore. We all live in our own stupidly blinking |
 | [...]common sky. Meager we praise luminescence, mourn the fact that the largesse of our passion only increases territory. In the darkness between stars music fills our ears equally to the brim, spills over as the birds of morning drink. Yesterday Morning In this poem is a clock A simple clock set in a brick tower, black hands drifting over the white surface. We see the clock through the cold white clouds of breath that accompany our words. Sitting on a bench, talking, the moon still gripping the horizon, not wanting to leave. Everything stalls. The grackles seem frozen in air, their calls like beautiful flutes. And then the black hands again |
 | DRUMLUMMON VIEWS—FALL 2008 106 scrape the clocks surface, and I’m sure I can hear it — the gritty music of time passing. The moon loses her grip and disappears, and I have stopped listening to your words, listening instead to the fragile breath that births them. Sculpture Salmon of copper tube; koi, bright orange against the umber cobble, light dapples the gravel paths and boardwalk, and the musicians: iron, one holds a fat guitar, another a flute, the third an accordion. They each wear elegant hats. In the valley below brakes screel. The valley below is stopping to listen — the music |
 | DRUMLUMMON VIEWS—FALL 2008 107 invades the air. Again it seems like everything is slipping away. This is the song the musicians play, the song where the valley stops and listens, the song where everything is slipping away. Lumen I There is nothing sad in this opening only the voices I can’t hear behind the ones I do. A bird falls into the body like a stone that falls through water finding no surface to fracture no surface to rest on. There is a need to rest no wanderer that does not resist the house ofbones no bones that do not ache |
 | DRUMLUMMON VIEWS—FALL 2008 108 with the insubstantiality of words. This house is for those travelers who migrate both ways and stop in the same place thinking it is the center of their journey. |
 | [...]e-Quart Zip-Laden" I packed carefully, loosening the strings on my guitar as required for high altitudes and placing small amounts of liquids and pastes— deodorant, hair gel, Anusol[...]te, nasal inhalant, sun block, skin lotion, etc., in a Zip—LockTM bag, which I would place in a pouch of my carry—on suitcase after I had gone through the security check. Before I arrived at the security check, I took off my shoes, belt, glasses, jacket and watch so that I wouldn’t hinder the other passengers, and I carried the Zip—LockTM bag and my boarding pass in my teeth to facilitate a smooth inspection. As I placed my belt, jacket, watch, shoes, glasses and briefcase in a plastic tray to be x—rayed, a security worker saw the Zip—LockTM bag in my teeth. “This bag is too large,” he said. “It’s at least one half ofa gallon,” he said. “It should be a quart bag,” he said. While I waited for my shoes, belt, watch, jacket, and glasses he stared at my Zip—LockTM and its contents. |
 | DRUMLUMMON VIEWS—FALL 2008 110 You might be able to purchase a smaller Zip—LockTM bag at the gift shop, though you would still have to throw away several of your small containers of liquid,” he said. “I probably don’t have time to run through the airport with no shoes and my pants at my knees,”I said. “So why don’t you put my large Zip—LockTM and its contents in the trash, except perhaps for the AnusolTM, which I encourage you to keep for your own purposes,”I said. Intimutiam qflmmartality I went to the poetry workshop because I had received a flyer that said it would cost one hundred and fifty dollars to eat breakfasts, lunches, and dinners for three days and attend lectures by famous poets. After I had driven from Natchitoches, Louisiana to Boulder, Colorado to attend the workshop, a woman with long blond hair who was we[...]from India told me that there was a mistake on the flyer and that the price should be one thousand five hundred dollar[...]ty dollars. When I told her how far I had driven to enroll in the workshop, she told me to talk to a man in a suit who was standing nearby. The man in the suit worked for the Prudential Insurance Company. The Prudential Insurance Company was financially responsible for the poetry workshop. |
 | DRUMLUMMON VIEWS—FALL 2008 11 1 The man in the suit told me that the Prudential Insurance Company was very sorry about the error and that they would allow me to attend if I paid them one thousand dollars more. So I paid them one thousand dollars more. At the first lecture that I attended, a famous poet read to a large audience from the sample of my poetry that the flyer had requested. He said that the poetry was written by someone who was trying to have a voice but didn’t. Then he quoted the last lines of William Wordsworth’s “Intimations of Immortality” and said that Alfred Lord Tennyson had written them. Whale Hag So when we stop at the Co—op for a couple ofOld Milwaukee tall—boys, the girl says Pabst pints are just a buck, so I say[...]aded, and that reminds me we’ve got sixty miles to go, so I say better make it six of‘em—that’s three apiece, one for every twenty miles. Why don’t we go whole hog and you and me get us a couple of Frito Big Grabs, you say as she sacks up the pints. You’ll get more for less, she says, if you buy a whole bag, and hey, you get two for the price of one. Well, sure you say, you better throw in a couple of those, but no more deals or I might have to propose. |
 | DRUMLUMMON VIEWS—FALL 2008 112 About the Money I’m happy that you enjoyed the song/poem/ books/loan, so I was wondering about, well, the money. I know these things work out in time, you have plenty on your mind, Rome wasn’t built in a day, and you’re probably prone to brief lapses in memory, and I don’t doubt your integrity, but I was wondering, well, about the money. I know where you work and I know where your home is, and this isn’t to threaten or even cajole, but the money, I was thinking, perhaps or maybe. I know you’re a deep, caring sensitive soul; the bath water’s the debt and you are the baby, so I wouldn’t dream of pulling anything funny, but I was wondering, er, uh, about the money. A Laase Interpretation Today students, we[...]g how Zeus fiddled while Athens burned. This was the fated result of Hamlet finding himself mated with his mother after killing his father whose donkey solved riddles in Thebes. In a loose interpretation, he blinds his noble but hated sheep, which he stakes on a hillside in a belated attempt at appeasing Polonius. But, as a ruse, a big swan comes down and ravishes the sheep, |
 | [...]IEWS—FALL 2008 113 and her offspring go off to found Rome after a pig suckles them and they sleep for a hundred years. When they get home their father[...]1313 These fish that surround me like icons on the blue battlements, they are a risk I have never been willing to take. Gorgeous feathers all look alike to the Jamaican girl there, carrying a list from her aun[...]ern climate. don’tyou try. One orchid one jar of Katydids one broken mirror two limes one[...] |
 | DRUMLUMMON VIEWS—FALL 2008 114 Go to deep you little [251131. As a child, I carried fillings of mercury around inside of my head. Mother would call and call, but I could only hear the train in my ears, moving down its tunnel of blood toward the dark heart my father gave me in his pain. Wben you wake I’ll never get used to my orbital lenses where only the center is clear and everything else falls away. In the dream my girl was eating chocolates— no, she was eating the cooked hearts of chickens one after another. you will ree The musak beside this escalator is playing a tune the Irish learned from whales before the great slaughter. Are these your lamps, O poets, fueled by blubber and blood? After the priest had finished with her, she went into the garden behind the rectory and filled her mouth with red cla[...] |
 | [...]y 1997, promises more blue skies and temperatures in the 705: weather that shows off the inland sea playground and lights our Island. Weather that redeems the endless rainy season. Half an hour after reaching the hospital, the four of us meet the pulmonologist. My younger brother, the Naval officer whose eyes stay dry, speaks for us: “We’ve discussed this and don’t want a tracheotomy. He wouldn’t want that. Please remove the ventilator.” Dad is sedated, dozing. A little while later, we’re asked to leave the room briefly. A technician disconnects the ventilator and extracts the endotrachial tube—hospital personnel want no one watching. They’ve drawn the curtains when we return, these occasions second nature to them, and for the first time all week, in the eerie quiet, we’re alone with Dad. With fewer tubes in his arms and his face unobstructed, he’s become himself again, asleep. We listen to KING—FM, his classical station, and I sit on hi[...]orizing, one last time, his eyebrows and eyelids, the slight arch of his nostrils, his gracefully proportioned nose, receded hairline, wisps of waving silvery hair. Seated on his right Mom holds his hand, saying goodbye to her husband of fifty—one years, herweary face reddened. A f[...]upporter, she has done all she can. Several times in recent years Dad remarked to me, “I don’t know what I’d do if your mother were to die before me.” He always knew she would manage much better. A survivor, she’s the only one left from her family, her father and you[...]ister all dying before old age. We blindly trust the nurses, the morphine easing our pain, too. Our eyes flick between his face and the heart monitor. I hear his laugh, his baritone as[...]ar or ukulele or autoharp. I look behind his face at earlier, younger faces, but now it turns into a mask. His heartrate surges up once then quickly subsides, the line flattening. Without the machine he’s lasted little more than half an hour. Mom removes the turquoise silver ring he’s worn for a decade, I take off his wedding ring. After a fe[...]d a new life. We harbor no regrets about pulling the tube. In their yard that afternoon with my younger brother[...]Mom, stoic and practical, wrote obituary notices for two newspapers and a letter for out—of—town friends. In coming weeks she would receive over 300 cards, letters, floral arrangements, donations for ALS research sent |
 | DRUMLUMMON VIEWS—FALL 2008 117 in his name. Will ALS ever be understood, curable in Alec’s and Joel’s lifetimes? I don’t hold my breath. I live in and out of those endless days marked by a ventilator’s pulse when the earth careened. Of course my own family’s traffic claims my love and attention but the details of Dad’s dying cling to me like an unfolding scent.Time doesn’t erode them so I make room for them as I do for my tears. Almost mystically, as if in response to Dad’s passing, Camano Island changed.I take its pulse, at the dawn of the twenty—first century, sifting the evidence of the contemporary scene just as I accustom myself to life without Dad. An older island and father give way to a younger who looks and acts differently. Driving onto Camano Island I glance, as always, at the barns and fields of the Danielson Farm north of the highway, and my eyes trace the white lines of Camano Lutheran Church.These symbols of Camano past are balanced by paired symbols of Camano present and future: Cascade Lumber, on the hilltop at the Good Road intersection, and Camano Gateway further west. The former epitomizes Camano’s building boom, its milled lumber supplying much of it. A big operation through which scads of money pass, it centers a dull, blessedly short c[...]trip which represents as much urban anonymity as the Island may see, since most of it, like Clyde Hill next to Bellevue, is not commercially zoned. But the foreground strip threatens the background pastoral of the Danielson place, generations old—nostalgic invitation (those soothing hay pastures) for the wide majority of us who’ve never worked a farm. Down the hill and past the pioneer church, the driver approaches Camano Gateway, whose meanings differ from those of the lumber yard. If Cascade Lumber secures your first or second home on the Island, the Gateway beautifies your decision. It exists to proclaim and complement this Island’s landscape[...]ess clothes, but I see few slowing down or parked at the Gateway. Terry’s Corner used to signal the proverbial fork in the road. The right fork led, after a few miles, to Camano’s oldest settlement, Utsalady, but we always turned left, winding south seven miles to the beginning of the southern peninsula—the most island part of the Island. A big flat sign and, years later, a painted Island map marked the corner: rural commonplace. Every time I passed it[...]ight ear imprinted itself on m heart’s screen. In the late I os Terr ’5 Corner Y 99 Y |
 | [...]ipstick, blusher, eye liner, and a perm. Compared to older images, the new look, Gateway Park, subtlly blends cosmetics but still flaunts the Island. It’s a sell but more than that.Like c[...]ly regard recent arrivals who lack a thick growth of stories springing from this soil. Anomalous Amer[...]ly budged from Clyde Hill or Mountain View Beach. The middle class got priced out ofClyde Hill decades ago. Mom and a handful of others who arrived before incorporation in 1953 play the role of historical curiosities—remnants from another c[...]l? Our cabin survives as a museum piece. I scoff at yet envy those recent swells of permanent residents as I look behind the new look and come to terms with nouveau Camano, a suburbland whose status as “Other” disappears. The short bridge and highway “improvements” furth[...]separate domain girdled—barely—by salt water. The contemporary island attaches itself all the more fiercely across the Stanwood isthmus, as the daily tide of cars attests. Beaches, bays, and Saratoga Passage remind resident or visitor of island, but in the new century it is more than ever an appendage of the Sound’s metro area further south. Not so much a[...]ys mean “nouveau riche,” but neither belonged to Dad’s Island. Had he lived until the Gateway’s completion, he would have slipped int[...]s who didn’t know a rural island—do not scorn the changes, though Gateway Park leaves them indifferent. Living in a gigantic, sparsely settled Montana county, they see the Island’s trach a minor extension of Bellevue’s: pieces from the world of burbs that lies, mostly, beyond our ken. They don’t mind the thickening or the fancy touches, just as they look forward to the occasional novelty of cities. Resident of a town of pickups with one or more dogs in back, I jog around part of Camano’s southern peninsula or west Bellevue, b[...]suffered Bellevue’s costume changes from rural to quasi—urban and wealthy, Dad contemptuously dis[...]ly judged “his” suburb a vapid terrain bereft of genuine cultural expression or diversity. That’s an unfair judgment, of course. Bellevue has become a multi— racial, in[...]nclave—my Bellevue High School graduating class of over 500 lacked virtually any racial minority—but the standard vehicle is a Lexus. My folks believed, “The worst thing that happened around here was[...] |
 | DRUMLUMMON VIEWS—FALL 2008 119 The Gates place, a favorite celebrity sighting on Lake Washington boat tours, is barely a mile away. I regularly jo[...]es ranging from his grandfather’s oil paintings to Japanese and Kwakiutl prints to folk art, including the rommaling he painted. He’d long outgrown Bellev[...]Crafts Fair, an industrial production originating in thein Montana, but one spring several years ago I was f[...]t visit art galleries when I was a kid, but after the ubiquitous college survey course guided by Janson[...]nergetic art historian, I sought out art museums. In European museums I put myself through several crash courses in art history. I have wandered through dozens of sculpture gardens and galleries, private and public, in Britain, central and eastern Europe, and Australia. I crave the peculiar pleasures of paintings and sculpture, and find I like art history almost as much as music history. I endorse the value of public art even if I dislike a particular abstract piece. I’ve not dragged our kids to galleries except when abroad, naively rationalizing that instead of sustained early exposure, they will find their own way to art when they’re ready. Like my roots trip to Norway, I’m on my own, looking behind the scene at Gateway Park and the Studio Tour, putting my finger on the new island just as I settle into the new me: a father without a father. The first couple ofthe artists who donated artwork and dozens of hours of free labor, my skepticism modulated to respect. Camano’s inferiority complex suited us fine because it kept thousands of— Island, but 1—5 proximity and a short bridge promised mass discovery: it was only a matter of time for the Sleeping Beauty to be kissed awake, again and again. Gateway Park and the now annual Mother’s Day (weekend) Studio Tour, two of the Island Chamber of Commerce’s most conspicuous sponsorships, confirm and sustain the in—migration. One brand of sophistication has arrived, and I laud the Island’s increasingly evident aesthetic sensibility in which artists actually played—temporarily—a lead role as planners. Gateway Park fused the vision of a few oddball Islanders and artists and architects who’d infiltrated the Chamber, according to a few participants. Before completion some key players had quit and the Chamber grew disenchanted with artists whose indi[...]nd eccentricity strained team spirit. No surprise in that climax. For a period Jack Archibald, a stained |
 | [...]glass artist, served as contractor and “keeper of the aesthetics,” in his phrase. During the actual building phase, he fielded questions and complaints daily. It took time for Islanders to conceive a fork in the road widening into an “art park,” but the Gateway Park Dedication ceremony sealed an image of artistic Camano. On that occasion speakers described plans for expansion westward to almost five acres. Driving past the northeast peninsula, motorists judge, for a second or two, the value of public art in defining an island, an attitude that attempts to set it apart.The newer signboard and six—foot cutout map in Gateway Park’s center, painted by Camano artist Paula Rey, almost pushes into the third dimension and includes highways (yellow), l[...]d dark green, as beautifully as I’ve ever seen. The signboard displays a cliched seagull, wings outstretched, hovering over “WELCOME To”; “CAMANO ISLAND,” four letters with scrolls, appears below in larger block letters; and stylized scrolling waves in profile in the lower corners frame “HELP Us KEEP IT BEAUTIFUL!” Framed by wood decking and sculpture garden, the whole sustains Islanders’ privileged view of their place and themselves. The business directory framing the map, however attractive its soft gray panels, tie[...]h they symbiotically connect. It’s about where to spend more than where to be, about buying more than being. The “Us” who will “KEEP IT BEAUTIFUL” could be thethe business of art or art of business, or something more? Since the 19205 and 1930s the Island has marketed itself through pastoral image[...]and small pastures, occasional horses and plenty of cutover Doug firs and Western red cedars. The Chamber’s “Gateway Park Mission Statement”[...]owth,” but mistakenly dubs it a “remote byway of Puget Sound”: “In the quiet erosion of our old ways can be found the first stirrings of new beginnings, fresh attitudes and evolving iden[...]“Bah, humbugI” “Old ways” include stories of old couples on fixed incomes getting taxed off their land. Many resent the infusions of newcomers and new money—an old script with predetermined roles. The Statement salutes “a highly visible entryway,” an “aesthetic Gateway” to the Island, glosses the Park as “testament to the cooperative spirit alive and well” on the Island, and puffs Islanders’ common “love of beauty, both natural and man—made,” the self—flattery justifying the Park and preempting |
 | [...]m. Yet more than a few snort contemptuously about the sculpture, or remain indifferent.But given the inherent value of public art, I like this little Park which could have only emerged recently, after the Island’s permanent population reached a critical mass and diversity. By 1999, near the end of the decade in which the Island led the region in growth rate (82 percent), that mass of artists and art lovers and idle curious had emerged to found an annual tradition, a weekend open house tour. Art colony and audience ride the wave in together. Audience both near and far sustains—funds—the art colony. It’s a common evolutionary tale told by demography and money, one symbolized by the juxtaposed lumber yard and art park. It may not always play out this way, but the catalyst of sharp population surge sets off a series of transformations, not all of them aesthetic or predictable. While some won’t bridge the gap between “natural” and this “man—made” “beauty,” the commitment and volunteerism of a vanguard of artists deserves only praise. Few other Puget Sou[...]ar their entry point, though it could be a trend. The site solicits praise. A landscaped island of shrubs shows of David Martiz’s 7773 Return, four bronzed snow geese, according to the plaque, flying back to the Skagit and Stillaguamish River deltas. The “Information Notebook” seizes an analogy, defining it as “the island’s relationship with its yearly visitors[...]picts a chubby Baroque putti smiling contentedly, at rest on a flat piece of granite, hugging a blue fish. Who could dislike[...]ral, about five feet by five feet, mounted next to the Information Hut’s door? The depiction of two guys clamming on a Camano beach with plastic bucket and shovel, at play along Puget Sound’s tidebeds, reinforces a cliche of regional privilege. I later learn the series has proven Gunter’s bread and butter, un[...]old over $100,000 from it. Salmon and clams equal the good life. No wonder snow geese return. At the Park’s north end near the old forty—two— foot flagpole stands Karla Ma[...]r, stainless steel sculpture. When I point it out to Lynn one summer afternoon—we’ve stopped on the way home from Stanwood—she asks, “How are those “portals?” I quote her the “Information Notebook” which, in stereotypical lingo, glosses it as “a ‘gateway’ to “new ideas, new millenia, and new horizons), a “doorway.” She looks at me impatiently, and I hasten on, “‘The possibility of stepping back through a threshold, the possibility of return and the entrance back to our past and our history.’ Confused whi[...] |
 | for me. Besides, what does it have to do with Camano?”“Good question. It’s no s[...]en suggests a metallic future, not my green past. The “Notebook,” obviously written by artists, calls Portalx “the “negative space)”— yikesI—of Jack Archibald’s big stained glass mural, Millenial Hourglmr, adorning the Visitor Center on the park’s south side: “These two artworks link together visually and thematically the two sides of the Gateway Park.” Millenial Hourglmr, like a giant abstract clock, measures the death of a father and a century, and the new time that comes after. The tall slender Visitor Center that dominates Gateway Park has collected mixed reviews from neighbors. In 2001, however, the local Chamber received, through Designs Northwest, a Citation Award by Northwest Washington AIA (American Institute of Architects) in honor of the Center and the vision leading to it. A news story quoted juror comments saluting it as a “courageous act” and “bold statement” in which the “use of local artists was well—integrated into a rural vernacular.”Ambitiously conceived “to look forward as well as backward” in time, thein a one—ton steel framework. A “post—modern structure,” the Center’s burnished brown—red siding reflects[...]kes both old and new: it imitates a cutout corner of a familiar barn, smaller than life size. A giant hourglass mounted on a piece of fake barn marks the new century, within which I’ll soon turn old and follow Dad to death. From the parking lot I gaze at Millenial Hourglmr, which the “Information Notebook” ponderously describes as “abstract geometrical juxtapositions of colors and texture . . . intended to create a sense of kaleidoscopic movement, fractured prismatics and clashing shapes as the century and the milleniel [sic] wind to a close.” My lips repeat Dad’s “Bah, humbugI” A giant diagonal “X” overlays a simple grid of two evenly spaced vertical lines, and in the central third, two evenly spaced horizontal lines. Shades of brown in the left and right (truncated) thirds offset the brighter swirls outlining that hourglass. The Park’s primary symbol boldly declares Camano’s coming—of— age and pulls old—timers willy—nilly into the near—future. It heralds Camano’s fast—forwa[...]nt and nouveau sophistication, but I squirm under the weight of its clear symbolism, re—figuring my own[...] |
 | [...]accelerating. With hourglasses, sand appears to drop faster as more of it passes through the narrow aperture. Dad’s hourglass ran out years ago; Mom’s still runs,but for how much longer? Mine contains more sand below th[...]urglasses show far more above than below. Looking in the Island’s hourglass, sand seems to fall faster as change accelerates, yet it bears no relation to the sculpture or our own hourglasses. There’s infinitely more sand—like our bluff. I shift my gaze to other art. The “Camano Island Second Annual Mother’s Day Studio Tour” forced my attention onto the contemporary arts colony. The event poster, a watercolor, shows a local generic[...]with palette and canvas, a Pacific madrona tree in the left foreground, salt water behind artist and tree, and gentle forested hills in the middle distance. The leisurely image fuses scenic Camano with artistic Camano as though art merely replicates the scenic. Though only a few artists make their living wholly from their art, the tour includes well over a dozen stops scattered around the Island and Stanwood. Near Mabana I visit the studio—home ofof Saratoga Passage views. Paintings and art photos hang on every level. Bezalel—Levy stayed at Cama Beach Resort as a child, her father taking her fishing, and decades later the Island drew her back permanently. I also visit v[...]Erich Schweiger, whose log cabin and studios sit in a sunny sward at the end of “Old Cremona Way,” a bumpy lane through woods. Schweiger was trained “in the Cremonese methods of violin, viola, and cello construction, restoration, repair, instrument and bow identification,” according to his pamphlet. After years in the city and suburbs, “Erich Schweiger Violins” moved to Camano’s southern peninsula a few years ago. I might pick up a Schweiger violin for under $10,000, but a cello will set me back at least $20,000. Either way I’ll wait seasons for delivery. Sophisticated cottage industry replaces long—gone logging and fishing. One of the first artists,Jack Archibald, arrived in the late 19705 on a stormy winter day. Tall and slend[...]rious, slightly monkish look, he was “searching for the end of the road” and, for a few years at least, thought he’d found it. Many others followed suit—it’s always that way. I study examples of his stained glass in “the shack,” the early Depression log home he and his partner, Karen Prasse, lived in for seventeen years before building their gorgeous place atop a hill on their six acres. I wander in and out of other log cabins and admire the rhododendron gardens created by Karen, a s[...] |
 | [...]k shares grainy home—baked bread as he narrates the history of Gateway Park and the Island’s art colony. He and others remind me that the south Island harbors “more eccentrics” and the north, “more commuters.”This island tolerates[...]neath spreading suburban ooze.Jack also describes the southern peninsula’s reputation, in the 1930s and 194.05, as a place to party for burlesque dancers and strippers from Everett. In a downstairs bedroom I meet “Ruby,” their personal favorite, in a life—sized photo.After their arrival, Archi[...]becoming a stained glass artist with a reputation for public art who got good quickly. In 2000 he was building himself a new studio and lining up dozens of artists to donate work to Camano’s new Senior Center, built next to the new Utsalady Elementary School. He hopes for some gallery space in the Center and is collaborating with another glass artist on a glass entryway and matching tile mosaic floor. The artists involved in Gateway Park wanted to expand it. According to a master plan, the eleven—acre site will include a pond, the new post office, and a 320—space Park—and—Ride lot. Three acres closest to the current Gateway, donated to “Camano Action for Rural Development” (CAREI), might become an “art center.” The fat striped lot—ugly “negative space”—confirms a commuter island. Post Office personnel want the usual look. Artists want a stained—glass front entryway for the post office that blends in with the art park, but bump against federal rules and regs and generic architecture. To date I’ve seen no “art center” extension or pond. Archibald takes seriously his mission of public art for public buildings, which a Stanwood/Camano Newr pr[...]ed more than three dozen public art pieces around Washington in the 19905 alone, and recently six of his installations were selected for inclusion in the Washington Arts Commission’s I Percent for Art Program collection. The article quotes Archibald countering the arguments that the Island’s two new elementary schools are too fan[...]his cultural enrichment is important . . . [also] for . . . parents and the community at large. These are public places, and they need to reflect our values, our culture, and our aspirat[...]public art? My old junior high school showcases, in a central sunken garden along its front, a cedar totem pole carved by Dudley Carter. According to Archibald, the Island draws artists because “‘in many ways [it is] our muse)”: “‘If we can play some small role in adding to [the incredible natural beauty we found here], then we will, gladly.” He speaks for many. A later profile, also in the Stanwood/Camano Newr, describes the installation |
 | DRUMLUMMON VIEWS—FALL 2008 125 of Archibald’s “fourth major glass mural” of that year and plans for his next three “large glass projects in the area.” In it Archibald elaborates the artist’s lead role in shaping the Island’s new identity: “‘These are exciting times in our little neck ofthe woods. . . . we are in a crucial period where population growth could easily overwhelm us. What seems most important to me is that we seize the opportunity at the outset to give this area a cultural identity, to stamp our aesthetics on everything from parks to commercial districts.” I laud his idealism but know that public art will not compensate for the myriad consequences, known and unknown, of growth—that ever thickening clot of cars and ourselves. In this island’s story, artists, among its latest arrivals, give color and shape to what developers have promoted in their ad copy for most of a century—what islanders, particularly summer residents since the 19205, have felt but not expressed. They sing the Island, their tunes more original and arresting t[...]evelopers. Jack Gunter, a “co—conspirator” of Archibald’s, interprets the artist’s role more idiosyncratica.lly. Kimball and Dean’s Cumuno Irluml devotes a few paragraphs to “celebrated Northwest folk artist” Gunter, citing his “leading role” in Stanwood’s mid—19905 “‘cultural renaissance’.” I’d missed the renaissance. From Archibald’s place on that Studio Tour weekend, I drive the short distance to Gunter’s “History of the World, Part IV Gallery”—move over, Mel Brooks—housed in an undistinguished garage by Bartlett’s Tyee Store. A crowd strolls through the front entrance and clusters around metal sculptures on the rear lawn. Gunter stands near some friends, smoki[...]After I introduce myself, he stubs his cigarette in the grass, leads me through the rear entrance, and narrates our way through the Gallery, drawing other visitors in his wake. He can’t help it, nor can they. Of average height, bespectacled, and with the longish hair of an artist—impresario, Gunter rushes through a crash course in recent shows and upcoming projects. I struggle to keep up while studying pieces from “The History of Camano Island Including the Future” and “‘Honey, I Shrunk the Art,’ the Ninth Annual Northwest Invitational Miniature Art Show.” Gunter barely glances at his realistic Clum Diggerx series, he is so busy[...]oft/.773 Mount I/érnon Culture, later exhibited at Seattle’s Bumbershoot show (2000). A natural self—promoter with a deep well of satire, Gunter grandstands irrepressibly, and his[...]allery, which he shares with artist Karla Matzke, in other seasons. Next time, Gunter smokes the same brand and pulls me through a detailed tour of Setretr oft/.773 Mount I/érnon Culture, r[...] |
 | [...]its Bumbershoot appearance. This elaborate spoof ofThe machines don’t always work but Gunter’s satir[...]l—length pseudo—documentary featuring “News of the March” narrative voices. He spliced clips from old footage of “primitive peoples,” exotic expeditions, and[...]ng, with backhoe, pulleys, ropes, and expressions of amazed glee, a big Gunter pot or bowl from a narrow trench near Stanwood. In another a band of women, tan and buff and wearing only scanty fur p[...]e an “ancient” Mount Vernon Culture variation of ice hockey on snow fields above Darrington. For this sequence he’d hired a helicopter but hadn’t told most of the women about it, he gleefully reports: he wanted to keep their play “spontaneous.” Gunter wants v[...]being put on. His art elbows our ribs but asks us to join in the laughter and re—vision of history.I notice an E Series Jaguar parked in front, and when I admire it, Gunter tells me he worked out a deal with a client. He’s good at deals. Like Jack Archibald, Gunter settled on south Camano a couple of decades ago and moved his Gallery out in 1994., promoting the new “remote” location with lots of interactive advertising. Gunter attracts attention through legions of friends and acquaintances, regularly exhibits in Skagit County and Seattle, and sends at least 11,000 invitations per show. He liked the fact I was interviewing him for this book and offered to design a cover. Long involved with the Pilchuck Glass School, he has exhibited their work in an annual summer show. In 2001 Lynn and I strolled through the “Eleventh Annual” exhibit, and we fingered price tags, most pieces selling for well above $1,000. Even ifI could afford a piece of Pilchuck art glass, there is no place for it in our log cabin. I walked around, an alien from an[...]einforces regional self—esteem, sells well. One of his gigantic murals hangs in “the Pavilion,” the strip mall off Highway 532 on Stanwood’s east border. Again, public art begins to individualize the generic. I doubt Gunter’s more satiric productions would be hanging in such a venue, though, the appetite for self—criticism being predictably small. I own a large postcard—sized copy of his egg tempera panel, twenty—six inches by nin[...]arki’777e Park 77741 Sbowr 4 Profit” (1995). The Park’s generally quiet beach has morphed[...] |
 | [...]ALL 2008 127 thick with visitors fore and aft the usual strip eateries, “Camano Island State Park Gift Shop” in the center, boats clotting the water, and a giant roller coaster built out over the water to the right. On the left a white bridge stretches improbably across Saratoga Passage to Whidbey’s East Point and white Olympics beyond.[...]effect, and this panel—produced midway through the decade of unprecedented growth, the year Dad contracted ALS—fingers the pulse of that exploding in—migration, as though the Island’s demographic notoriety in the 19905 will inevitably extend to this final scene. “It won’t happen here,” local inhabitants chant in kneejerk response, and they’re right and wrong. Tired of new art, after that Studio Tour I retreat to our cabin and look again inside the childish whimsy of great—grandfather Oscar Weltzien’s panels, eye to eye with Gladly, [be C romrEyed Bear. Bookending Dad’s life, they would not merit a stop along the Tour, though Oscar’s oil paintings would. I learned from a Camano news story in 777e Seattle Timer about the sixth annual Studio Tour in which “55 artists display their work through a free, self—guided tour of 27 working studios and galleries.” This baby grows like the population. Of the four color photos accompanying the article, the largest shows five seniors happily at work on their watercolors, spangled by sunlight,[...]that it doesn’t get better than this, repeating the second Studio Tour’s event poster in which seascape scenery and art production naively[...]our, a wakeup call from New Camano, I parked near the Pioneer Cemetery and joined a crowd of well over one hundred at Gateway Park for its Dedication Ceremony. The Island County Commissioner representing Camano cited the thousands of volunteer hours that created the Park. A State Senator profusely thanked “the visionaries” and announced the restoration of Park and Ride funding for the lot in the expanded site. Rows of empty cars, with nearby sculpture. Commuters whirl past the Park, hardly glancing at Millem'al Hourglmr let alone pondering its meanings. A State Representative and the Commissioner both read from the Chamber of Commerce’s vision statement extolling public ar[...]hances business. Island nouveau. As I drove back to Bellevue, I realized that with this ceremony, my Island passed another threshold.These pieces of public art individualize it. Commercial strips, l[...]distinct threshold, strike an attitude I applaud.The homes and studios of artists tone up the place. I get in the groove, chuckle about our old cabin. |
 | DRUMLUMMON VIEWS—FALL 2008 128 Back in Montana, I tell Lynn and the boys about the ceremony at the Park: “When we go this August, I want to stop there awhile so you guys can look over all the sculptures.” Joel protests, “Why? I don’t want to look at that stuff!” Alec is noncommittal. “Well, it’s part of the new Camano, and you’d better get used to it.” Joel repeats, “Why can’t we just drive like we always do?” I address both sons: “I want you to understand some of the ways the Island has changed.Just as our Beach looks different now. You might like some of it.” Lynn, remembering her closeup view of Portalx, raises her eyebrows skeptically. Alec points out, “Dad, we’ve never gone to the Bellevue or Seattle Art Museums.I don’t rememb[...]hat. This little park is a quiet spot. I want you to see what artists have donated. When I was your age, Grandpa rarely showed us any art. I want to show you earlier.” So the following July, we stop and stroll about. And later, Alec joins me at those art museums. Nowadays when we pass Gateway[...]eyes around it. It has joined my private gallery of Island fixtures. I hope an expanded sculpture garden will finally happen, just as I look forward to seeing local art in the new Senior Center. Such art inscribes a love stor[...]erence our new life within that continuing story. The Island I knew as a summer child is gone. |
 | [...]LL 2008 I 30 Drawing; (flux an interview with the artth byjenniferA. Gately) Wes Mills Note: This interview appeared in the publication accompanying Wes Mills’ 2007 exhibition at the Portland (Oregon) Art Museum. It is reprinted here by permission of Wes Mills,Jennifer A. Gately, and the Portland Art Museum. We are grateful to Wes Mills, Ms. Gately and Ingrid Berger of PAM, and G. B. Carson for their invaluable assistance. Existing in a place between the palpable and the ephemeral, Wes Mills’ deeply personal, abstract graphite and ink drawings emanate an intuitive sense of the universal. His daily drawing practice, like a practice in meditation, is continually inventive and reflects a lifelong quest for authenticity. The following dialogue oHers insight into the artist’s current thoughts and practice and is the result of numerous conversations between the curator and the artist in the months leading up to the exhibition. Jennifer Gately: It is important to recognize that for each subtle and idiosyncratic drawing in this small survey there are generally twenty to thirty related works. Is there anything else we should keep in mind as we discuss your work? Courtexy Portland Art M meum. Wes Mills: Yes, this thought of authenticity is important to me. As I work, I often ask myself: What is a true[...]entic or is it born authentic? I feel this may be the common thread that runs through both my dr[...] |
 | DRUMLUMMON VIEWS—FALL 2008 131 JG: One of the earliest drawings here was created in 1995, during a time of transition from work that was highly self—referential to work that investigates pure abstraction. WM: In the early ‘905 my work dealt with stories and memories from my past and frequently included text. At that time I liked the idea that a drawing could be read, literally. Often the text was just the word green, written over and over. This drawing is probably one of the last from that period. The use of text originated from my childhood school days. Occasionally I would get into a bit of trouble, so in turn I was made to stay indoors during recess periods.The teacher would have me rewrite words that I had misspelled over and over on the chalkboard, and there was a certain point when I’d get lost in this sea of words. This repetition, which I returned to in these early drawings, became a kind of safe haven for me. JG: At that time, after abandoning art for nearly ten years, you began to work with great deliberation, and your choice of materials shifted as well. WM: There was a point in my life when I felt I needed some sort ofgrounding or focus. In some ways, my drawing practice might have evolved[...]so a deliberate choice. There would be one place in my life where I wouldn’t permit myself to get distracted.I began to make drawings using the simplest of materials, mainly a graphite pencil and white powdered pigment. I felt that if I truly were to get somewhere, to a deeper or more meaningful place, perhaps it wou[...]n’t be about introducing a new material. I feel the same way about ideas too. A lot of artists come to their work with ideas. For me, it’s the other way around. If one thinks about it, the idea itself would be like another material, another distraction. I’m not interested in my drawings being too intentional. However, it’s important to me that drawing relates to my everyday life. JG: You work these materials heavily into the surface of a very specific color of paper. WM: Many of these drawings have been touched quite a bit in their making, and not just with the tip of a pencil.I have almost always made drawings on th[...]ite paper, almost a sandalwood color. After years of making drawings on this tone of paper, I discovered some [Islamic] writings that spoke about an ancient color system called the Haft Rang system. Briefly, in order for the true qualities of black and white to reveal themselves, these two colors need to rest on a neutral ground—a sandalwood color similar to my paper. I had |
 | [...]er}; Portland Art Museum. seen this relationship of black and white in connection to a neutral ground years ago, but even more so, in my life, I was drawn to the possibility of being able to better see a thing for what it is if it could exist on a neutral ground.[...]directly about my drawings. I am often taken by the thought of Universal Truths and how they intertwine through everybody. In a lot of ways, they connect us as individuals, and perhaps for me drawing is that link. JG: Yet, the ground of the drawing Haft Rang (1997) at first appears to be gray... . WM: Yes, I carefully drew a very even field and then erased through to this neutral ground color. I really like what is not drawn, what has been removed. I like the thought of this neutral ground or this place, and when you k[...]ings away or adding things, eventually you end up at yourself. |
 | DRUMLUMMON VIEWS—FALL 2008 134 JG: With this notion of the ground upon which your drawings exist in mind, you created a group of drawings called Fi<ve Ingredientr of a Cow (1999) that alludes to your interest in Buddhist philosophy. WM: There is a tendency, when you’re continually making work over time, for a preciousness to come into it, which I think affects the ground or the level on which the drawing initiale exists. When polishing a stone, there is a certain point at which you no longer see the stone and instead you see your own reflection. I try to be conscious of where this ground exists in my drawing and in my life. I feel the Tibetan culture understands this. They have a practice of desecrating the earth before they create their sand drawings. They literally wash and coat the ground with five ingredients of a cow—the dung, the piss, the snot. . . . When I learned this years ago, it made me think about this notion of the ground and how one builds or exists on it. Where does the ground exist, and can one actually lower it? JG: There are a few traditional references to spatial depth in your work. The Duchamp drawings from that same year have a subtle horizontal line that seems particularly intentional and helps to orient the drawing. Wei Milli, Memory Line, I 999, grep/bit[...]lly, I feel my drawings aren’t directly related to other artists’ work. However, those drawings relate to |
 | [...]passed away. I find that it isn’t so much the original drawing that feels like Duchamp, but the intentional marks that were made to destroy the plate after the initial edition was printed. I made this assemblage of diagonal marks similar to the lines in the etching, as a backdrop. They became interesting in themselves—the way they started playing with each other—but th[...]liked what happened, what it does with my eye and the wayI read the drawing and how I enter into it. This Duchamp in particular is a funny drawing. When I was hanging it for a show,I looked at it and to my surprise the horizontal line was missing [laughter]. So I took it out of the frame and used a penny to make the line. All of a sudden the experience of the drawing unfolded into its initial thought. JG: I’m particularly drawn to one type of line that reappears in your work, which seems to be heading Wex Millr, Duchamp, J 999, gra[...] |
 | DRUMLUMMON VIEWS—FALL 2008 137 in one direction then suddenly turns in another. You mentioned that this relates to your ideas about memory and the way one travels from one thought to another, from point a to point b. WM: I like how one’s thoughts can change direction. IfI were to see a thought in the form ofa line, what would it look like? I made a group of works titled Memory Line (1999) in which I would draw a form and then redraw it on the same page. What interests me is the mental line that is created in the making of a drawing. It doesn’t matter what the form is. I like this thought of memory and forgetting . . . to remember something isn’t always a straight line. In order to remind yourself of something, do you ever go back to the place you were at when you originally had the thought? JG: All the time [laughter]. . . . WM: Memory Line was made with this in mind. JG: Though your work is abstract, it often finds its inspiration in nature. WM: One time, I was sitting on the bank of the Bitterroot River near my home, watching sticks and leaves float by. I was thinking about the flow of the river and the linear space it covered. In my mind I could see the world in this linear way, but at the same time I could hear the water lapping up against the bank, back and forth, to and from me.The lapping shoreline was only taking up a foot or so of space, yet I could see the history of this line going up the side of the bank and valley. The drawings that followed were more about this type of space and the possibility it encompassed. Around this time, I felt that my orientation toward my work—the way I looked at drawing and the world— was changing. I began making drawings th[...]lines but rather little specks that simply follow the natural progression of my hand. Earlier I talked about the ground on which a drawing exists. At first, this ground in the Sbore Line (2001) drawings felt somewhat transparent and it was difficult to understand where the drawing existed on the page. Many of them have a central, hard—edge vertical line that I initially drew to help give the drawing something to relate to. But I found that this drawn line lacked some sense of truth. I found that when I cut through the paper surface with a razor blade, all of a sudden the drawing existed near this new physical edge. I like the fact that this physical edge exists inside the drawing. It plays into my thoughts on what is inside and what is outside the drawing, almost like bringing the edge of the paper inside, the outside in. |
 | [...]limited materials. You’ve talked about altering the ground you work on, and, in fact, you’ve even gone so far as to alter the shape of the paper using templates you store invarious boxes, which you take with you when you travel. WM: There is a tendency to take the abstract rectangle for granted in relationship to art and architecture. These drawings are a response to that. First I was ripping the paper and cutting it into different shapes; it seemed like it was another dimension in the drawing and it was distracting. Then I began to make these more organic forms that really brought[...]back. I made these Plexiglas templates thatI rip the paper around.The first few drawings seemed odd, but then I started to make a group that related to the forms; I started to accept the form and now I really like them. JG: Much of the palpable energy in your drawings stems from the space in between—between dark and light, between divergent lines, between forms. WM: I think the space in between things really defines so much of what a thing is about. The paintings of [Italian Metaphysical painter] Giorgio Morandi are a good example.The spaces between the forms he painted rea.l_ly define where they are, what they are.Just as in a conversation . . . so often what is not[...] |
 | DRUMLUMMON FROM THE ARCHIVES |
 | of a Montana Ranch Installment ThreeAda Melville S[...]hile researching farm home designs and interiors in 752 Farm2r’i Wif2: 752 Magazim for Farm Wom2n, former Drumlummon Institute board mem[...]usly literate first-person narrative written from the perspective of a woman homesteading alone near Billings, Montana[...]e Shaw, writer and editor, suffragist, and author of the lyrics to the hymn, “All the Day” (ca. 1900; music by James M. Black), had staked a homestead claim in Yellowstone County in late 1915. Shaw would later serve as an editor at (and frequent contributor to) 752 Farm2r’i Wif2, a popular magazine devoted, in Dean’s words, to “providing a forum for farm women, actively soliciting their ideas, letters, and experiences, employing a crew of field editors who traveled across the United States, encountering and reporting on the farm woman in her many work roles.” With paid subscriptions n[...]n, 752 Farm2r’i Wg'f2 brought Shaw’s account of her homestead stay to its readers in several installments in 1931—1932. We reprint here the third installment, published in the May 1931 issue. I have read somewhere that Mother Nature—or the Great Mother, as I like best to call her—deals heavily in “pairs of opposites”—heat and cold, black and white, good and bad, small and large, and so on, and in this my homesteading venture, it seemed that everything I did, or tried to do, had two sharply contrasting sides to it. Those were pre—Volsteadian days but the words Wet and Dry were with me day and night, for I was in semi— arid country where every particle of moisture was worth more than its weight in gold, and water for personal uses was—so far as I was concerned—literally “out of sight.” My faithful water boy, Hedrick, from a nearby homestead, at last had to give up the task of keeping my barrel filled—they had found something else for him to do in his spare time at home. I hoped in time to be able to toss the dice of chance for a well but was not yet in position to take so great a risk. They had a good well at Dave Heathlowe’s and I thought that at least one of their two younger sons could be spared to haul water for me once in a week or perhaps two weeks. Mary Heathlowe had the same idea and before I had said a word about the matter suggested it to me—she was |
 | DRUMLUMMON VIEWS—FALL 2008 141 ready to take the whole world under her wing and she certainly did want me to make good. “Pa may object,” she said; “he gets fussy sometimes but if he does, I’ll fix it up. The boys like you and—you don’t need to pay a cent. We can afford to do that much for a neighbor!” However, I knew something about D[...]position and insisted that I would pay. Six days of the week Dave Heathlowe farmed. On the seventh day, he put on a worn black suit, well—[...]under his arm, rounded up his big family and went to town to preach in one of the two small box—like churches of Nesterville—neither one of which could in any sense support a preacher and neither one of which commanded anything like a proportionate membership out of the rapidly incoming army of homesteaders. But Dave Heathlowe was nothing if h[...]ore him as relentlessly as he drove his team over the unpaved trails, and his family over what he conceived to be the path of duty. I had all of my life been a regular churchgoer but I found myself not sorry that I was too far from town to gather frequently with the faithful under this man’s ministrations. The ugly little meeting house, whose eight glaring windows remained hermetically sealed the year around and whose one door was the sole source of ventilation, had, however, a reason for being aside from the bitter gospel to which its undecorated walls reechoed.The preacher offered to our thirsty minds something that might well be compared to the alkali water of the plains and led our feet over spiritual cactus of the most painful type, but after he had done his worst and the last awful attempt at song was come to an end, the pioneers had a real meeting “around a throne of grace”—the grace of natural, essential, kindly human fellowship. All strangers in a strange land, they were glad even for half an hour to exchange friendly handshakes, scraps of news, and enjoy together, perhaps not a “communion of saints” but a community of human feeling and fellowship which they needed fully as much as the hard ground needed rain from heaven. The Sunday following Mary’s suggestion about water, I was able to attend service. It was a hot day and the little wooden box, filled with the odor of bodies more or less unwashed and of breath from lungs more or less unclean, and resounding to the harsh shouts of the preacher was not an inviting proposition. But one learns to bear and bear and “be a villain still!” After the service, which the preacher always drew out as lengthily as possible, having borne so far, I summoned all the latent grace in me and extended my hand to Dave Heathlowe to express as best I might some decent appreciation of his strenuous endeavors to set our feet in the right path. He eyed me coldly from |
 | [...]eight and spoke first, loudly enough so that all in the room could hear.“I understand you want us to haul water for you. Well, we can’t do that. My boys’ time belongs to me until they are of age. You’ll have to look out for yourself. We had to when we came. You should have thought about these things before you came.” I saw gentle Mary stoop down to pick up a book, turning her face aside to wipe a sudden tear. I saw the preacher’s youngest son, Harry, give his father a look such as bode no good for the young man’s loyalty to that father in days to come. Qlietly I answered the man that it was quite all right—I should be abundantly cared for without any help from him—and left the church. Nor should I ever have entered it again but for the fact that stronger than all other considerations was the fact that the little building, open once a week, did afford a gathering place for our socially starved selves. My next and only kn[...]ed—was a man whom I shall call A. Q.J who owned the homestead next to mine.Thus far he had been something of a myth. His quarter section on which he had filed “sight unseen,” had turned out to be absolutely no good except for rough pasture and not very good for that. He earned his sour—dough bread and flapjacks by cutting and hauling logs for the homesteaders from the distant timber, and spent a minority of his time on his claim. He kept some stock on the place and had a good well with a windmill and a trough. His tiny, one—roomed house of unhewn stone, so low and gray that it fairly melted into the general landscape, was only a mile from my cabin but the way was so rough that, between lame feet and fear of loose cattle, the distance was practically prohibitive. A blank wall of his house turned toward Cabin OWildwinds so that I could not see his semi— occasional lamplight. Only the thin trail of smoke that semi—occasionally came from the low stovepipe that served him instead of a chimney reported his presence. His cattle barn, low—built of logs, lay still farther away and he used a gate leading to a road at the farthest point from Wildwinds. Up to this time I never had seen the man, but someone told me he was a “right decent little bachelor.” Aside from the imperative water need I was really curious for another study of character! City life does not give one quite the sharply—defined opportunities of getting at the very core of people’s selves as does life under such conditi[...]en experiencing. So, pondering, I set out on foot to see the man A. Q There was no break in the fence between our quarter sections. I could not climb nor could I crawl through the wires. Therefore I selected a spot with a minimum of cactus and apparently clear of snakes, cautiously lay down flat on my back as close to the bottom wire as I could, carefully rolled[...] |
 | [...]nagged, on my neighbor’s land, my eyes all agog for the horned brutes that often bunched near the division fence to gaze with greedy eyes at the unattainable grass on my side.The first time I executed this maneuver, I did not l[...]mindedI But all that nonsense was soon taken out of me. It was indeed well to have the artificiality of too conventional life broken up. As I learned to adapt myself to circumstances and laugh at obstructions, inconveniences and deprivations, I was fitting myself to meet all of life in the future with better spirit.I made for the ugly little stone hut, passing as I did so, at least an eighth of a mile of fence decorated with the owner’s washingfl clean array of blankets, overalls, shirts, socks—all of them showing need for a woman’s needle but all of them as decent as plenty of water could make them. I “cried the house” and A. Q came out to meet me, flushing scarlet up to the roots of his fair hair and with a frank honest gleam in his clear blue eyes—“a right decent little bachelor.” The wind is seldom still in that wild country and that morning it was blowing so hard that it snatched spoken words of our lips, making speech almost impossible, so my[...]f on an upturned pail picked up three straws from the earth floor—through which there still protruded knobby vestiges of greasewoodflnd began industriously to braid them, wondering I suppose what in time “that there woman” was wanting. I explained. He was slow of speech but at last the argument began. “Well—I ain’t here always,[...]out yonder. When I ain’t haulin’ I’m liable to be at the other place. Couldn’t Heathlowe’s kids help you out? There’s enough of them.” I further explained. The little man wagged his head and smiled. “Often the way with these here too— pious people,” he offered. “That there kind of religion ain’t no kind a—tall . . . . But couldn’t you make out to git what water you need at my pump yourself? You’re more’n welcome—ain’t no bottom to the well—only thing on the place is worth anything. A woman alone like you be can’t use such an all—fired lot of water?” I still further explained certain disabilities in the way of unable feet and ankles and the daily need of my sixteen chickens, but he did not seem much impressed. I could see plainly that to him I was one of “these here” city women, a helpless breed he[...]inted with and perhaps did not have very much use for. However, he was gravely respectful. “Of course, I could carry a little water at a time now and then,”I said, in one final appeal, “but one must have water alwayr. When it rains I put out pans under the eaves but one doesn’t get much that way.” “No, this here country doesn’t know how to rain!” |
 | [...]d that women alone like myself had no business on the plains, but I’m here and here I mean to stick and prove up—I have a RIGHT to. I may need a bit of help but—others may need my help some time. If they do, I’ll give it if I can—up to the handle. If I had a well and horses and you needed water . . . and of course I expect toof fact when I’m right busy you couldn’t pay me[...]ld seventy—five cents a barrel be? Time is all the money I’ve got. I can’t promise to be regular nor often, but I’ll do the best I can once I start in— that’s my way. You hang a rag of some kind over your hitching post when you need me and when I’m home to see it I’ll come over with a barrel full.”I walked back to Cabin O’Wildwinds almost on air—the wind blew so fiercely. The water problem taken care of was one long step toward success. I even forgot to watch for horned brutes. At once on reaching the house I got from my trunk a length of turkey red cotton which I happened to have and with a building slat, rigged up a signal flag and when the water in the barrel was more than two—thirds gone, tied it to the hitching post so that it hung high and flapped for my neighbor to see. Sometimes he happened to be at home and within a few hours his good horses with the stoneboat would be at the door. Sometimes it hung several days. Once it was out for two whole weeks with consequent anxiety and much inconvenience. A. lept to the letter ofthe bond but I had no reason to think that he ever hastened his return to his stone hut by a hoof’s beat on my account. I also know that sometimes he could ill spare the time, but he never forgot or was careless. During hot months I had to wrestle with shrinking staves and loosened hoops. It was a great game and full of unexpectedness. One day when I was away from the house, a wild gust of wind tore the back door screen loose, an investigating rooster got in and when I reached home I found him in the barrel, very much alive but very dejected. So was I. A. Qwas away for a long trip to the timber. At best I could carry less than half a pailful at a time from his well and to make the trip twice in one day was more than my strength could meet. And when the horned brutes lay between me and the well nothing could have driven me on that side of the fence. But the Lord does take care of children and fools, they say. During that particular period of enforced drouth, no less than three different neighbors came to see me, none of them knowing my stress, but each of them bringing with them cans of water freshly drawn— |
 | [...]they “kind 0’ thought” I’d like a drink of water less then two hours old.On another occasion Lassie, in an excess of spirits, managed to upset the stand supporting a pail into which I had just strained through several folds of clean cloth the last of the stale barrel water. A. Qwas away. There was notbing to drink but tomato juice and condensed milk! But that night a quick shower came up and by dint of putting a row of receptacles across the entire width of the house, ranging in size from washtub to a tin cup, and emptying one into another as fast as they filled, I caught enough to last several days. It tasted roofy for I dared not let enough of it to run offto wash the shingles but even at that it was better than stale barrel water. One lovely day when A. Q35 cattle were grazing at the far side of the land, I had an inspiration. I nailed a stout rope to a grocery box, packed upon it my tug, washboard, soap and soiled clothes, and with much toil dragged the load to the pumpfl hard job for there was not beaten trail and the sod was rough with cattle holes and gnarly, thorny clumps of greasewood and cactus. But, breathless, I arrived[...]field glasses with me and with them could scan the entire plains for miles—no one could steal upon me. I filled the tub with that clean cool water, even rigging up a board to conduct the stream from the pump away from the cattle trough to my tub. And I washed and I laved and I splashed a[...]thtubs. Are you who read growing a bit impatient of these homely details regarding the watery phase of my homesteading venture? Sorry! But, do not most ofus take the common blessings of life too much for granted? In these my ripe years I am come to the belief that only those ever feel rich—that is to say, appreciate fullness—who at some time have known genuine poverty—emptiness. I once saw a bored rich woman tear to pieces petal by petal one ofa dozen costly, magnificent American Beauty roses that clustered in a vase by her side. Better to have had but one perfect rose in a lifetime and to have loved it and revered its beauty. Better to have thirsted for cool, clear water than to think of it so commonly as not to know what a gift it is and not to feel the thrill of appreciation in the soul. I had filed on my quarter section under the description of hay—claim and could have satisfied the Government without further attempt at cultivation by proof that I had cropped the hay. But my ambition ran tall. I was filled and thrilled with the thought of soil redemption—the taming of the wilderness so that it should produce grain and support human life. So I meant, in addition to cropping the blue stem that |
 | DRUMLUMMON VIEWS—FALL 2008 146 covered my flat land, to see what could be done to cultivate the rough greasewood—and—cactus—covered rises, on one of which little Cabin O’Wildwinds was buflt While these first months of being fitted into the new life were moving by, my grass was growing splendidly for there had been an unusual snowfall and some good early rains. A civil engineer who had been on the plains for many years and understood soils and their cultivation down to the last syllable, told me— sketchilyfls mere men so often give information to mere women—that my greasewood “rises” were “a proposition” agriculturally considered. “Of course,” he drawled, “cultivation can do something for this gumbo but it will take time. If you have money to spare to hire labor it will not do any harm to experiment.” Experiment! I meant to have a vegetable garden, flowers, and, as a beginning, ten acres of oats. That was settled. I had bought seeds in the very earliest day of spring—I laugh now as I think of that ambitious, careful list which I mailed with a hard—to—spare check to a good florist in the state. And before the frost was out of the ground I had prevailed on A. Q.J the only available man with horses and machinery, to promise to break an acre of ground for my garden near the house and ten acres for the oats. He shook his blond head and smiled. “Wel[...]ew a little something about gardening and I meant to know more. I had been reading everything I could find about the breaking up and cultivation of new ground and had my campaign all mapped out! Oats, that first year, ten acres of them; then winter wheat on that ten acres and an additional ten in oats; then alfalfa to follow the wheat, wheat to follow the oats, and ten more acres for oats—wheat—alfalfa. So before my homesteading[...]ch was five years when I filed, but was changed to three later on—was over, I would have a permanent stand of thirty acres of alfalfa and if I had two crops a year, that would be a big help. The father of a distant neighbor was an alfalfa enthusiast and I had learned even to make alfalfa tea—a brew that was supposed to be full of nourishment and vitality— essence; the word vitamin was not on the map then. Very big I felt with all my acquired wisdom. But I had reckoned without experience and the first snag I struck was A. Q’s mortal slowness in getting around to break the ten acres—one week he was too busy, another week the ground was too wet, another week he simply was not to be found, and at last it was admittedly too late to do anything that year. But he did get the one acre for garden broken up and perhaps I shall not be too greatly laughed at if I narrate that when he was all ready to turn the first furrow, I begged to have my hands on one of the plow |
 | DRUMLUMMON VIEWS—FALL 2008 147 handles and help the shining share cut the first sod on my own land. I can still see A. Q’s superior, tolerant smile. Oh, but I was proud! All the latent love in me of Nature, of soil, of growing things, surged to the surface. And I was a true patriot and pioneer—helping to develop the beloved country of my adoption. I had studied Government bulletins about plowing. Ever since I can remember, the sight of a smoothly plowed field ready for the living seed has inspired a wonderful, almost a holyjoy in me. So I waited eagerly to see my acre plowed. Ah me! I suppose A. Qdid his best but the rows of overturned sod that should have been even, level, the responsive soil, rippling along like waves, were anything but! Every few feet, the plowshare, guided by A. Q35 inadequate strength would leap clear of the ground refusing to do battle with the tough sod and snags of greasewood. Then again the bright steel would bite deeply and cast up a mound out ofall proportion to the rest of the furrows. ’Twas a rough job. And although he had promised and I was willing and ready tofor myself. I was slow to convince. I did not propose to be beaten. I had bought a complete outfit ofgood[...]hoe, new rake, new spud, new trowel, new stakes for string and new string for the new stakes, I set out to have a garden and grow food for the coming winter. The Great Mother seemed to smile on me: The Rocky Mountains loomed above the horizon in marvelous peaks and shoulders of shining, snow—crowned beauty; the birds—meadow larks, curlews, tiny song birds whose names I did not know—filled the air with joy; the tonic air was as wine; the enterprise on which I had embarked was thrilling— sacred even . . . I struck my shining hoe into the soil.I forbear to write the complete story of my defeat. Enough to say that after three days of futile struggle I staked out a scrap of ground about the size of a kitchen table and by dint of sweat of brow and ache of back, thrashed it into an appearance of smoothness and planted a few hardy seeds—lettuc[...]fully some morning—glory and scarlet bean seeds in memory of a vine—covered summerhouse that had been the joy of my early childhood. Somewhere in my reading a word had caught my imagination and I[...]d that had been ploughed lay fallow,I understood, the fingers of the light and the rain did a work all their own upon stubborn soil until it was rendered friable—willing to support green life. Perhaps it was just as well that A. Qhad not bothered to harrow the acre—it should just lie fallowing for a twelvemonth. Lie fallowing. The words tasted good |
 | DRUMLUMMON VIEWS—FALL 2008 148 in my mouth and consoled me as I made out a list of canned stuff to take the place of the lovely things I had meant to garner from the land that autumn for the coming winter. Day by day and week by week I wat[...]. Not a thing sprouted. There was almost no rain. The sun was scorching hot. The gumbo was unkind. One morning—glory seed sent u[...]urveying my grass land. No failure there! Further to sustain myself, I wrote some lines in swinging meter, beginning: 777e [and [ayflowing beneath [be watebing Léy . . . . I even tried the musical phrase on A. Q“Better let ‘er lay!” he responded prosaica.lly with a wise wag of his head. Then the hay was ripe. The skies had been kind. The grass was tall and thick. And who should apply for permission to cut and stack it on shares but Dave Heathlowe who[...]as there was no other man I could hire or bribe, the job went to him.I rather hated—sentimentally—to see those lovely acres of rippling life laid low but cash is cash and another spring would re—dress the field. Heathlowe did not deserve the privilege but as I have reported his hardness so I must record his faithfulness—he turned out to be prompt, honest, thorough—going in every detail of the work, wasted no hay, took no more than his share[...]good customer, exacted cash and turned it over on the hour—honest as he was hard. With the hay money safely banked I decided to take a flyer in water. A. Qhad two brothers who were well drillers. I sent word to them to come and talk well. They were entirely frank: hiring a well drilled was “the gamblingest kind of a gamble” they said. They “hated to see a widder woman lose out.” But then I might win. One of the brothers had drilled thirteen times on his claim[...]boldly, “nothing venture, nothing have! If I am to stay on this place and turn it into anything like a farm I’ve got to have plenty of water. When can you start drilling?” For three days at so much cash per foot the drill bored—I turned its rhythmical clash into[...]dryidry; Now it? wetinow it? dry; I/Vateriwater in [be groundi I/Von’tyou [Mme a drink? On the afternoon of the third day a shout: I/Vaterl The men sampled muddy mouthfuls and spat discriminati[...]hey said. They drew a bucketful and set it inside the cabin to settle till morning when they would return. If af[...]s all right, they would drill a few feet farther to make it a real well, then |
 | [...]sing, set up a pump and congratulate me.I awoke at dawn, tasted gingerly, sipped, drank a little, drank more, lifted my heart up to heaven in thankfulness. It surely was perfectly sweet water. “Struck ile?” shouted the men as they rode up to the house, two on one horse, and threw up their hats when I told them. They did the extra drilling. What a dinner I cooked that day! A huge pan of biscuit standing up on crisp brown bottoms full three inches; broad thick slices of pink—and—white bacon—no curled slivers for western appetites; plenty of canned tomatoes; a mound of rice; I even rashly opened a can of salmon; made all the coffee, clear and strong, we could possibly consume—no need now to watch the barrel; and went so far as to set a pitcher filled with water on the table—the last of the barrel stuff I should have to use, for by night the pump would be installed and in the morningI should draw heaven’s free gift out of the bosom of the earth. In the morning I pumped. Woe, woe, unutterable woe. The Great Mother had dealt me the hardest slap yet. For the water that gushed easily out of that pump mouth was salt, bitter, acrid—I could not hold it in my mouth. News of the “widder’s” good luck had spread and before noon several teams were lined up before the house. A good well means a lot to a growing community. A. Q35 well had helped to locate me. Mine would help to locate others.The drillers came—heard— swore. I begged them to go right on swearing. They even blamed themselves a little for they thought that in drilling the few extra feet to make it “a real well”: as they expressed it, they had tapped a lower, freer stream flowing out of hell’s washpot. After the first bitter hour—as bitter as the water itself—I shrugged my shoulders, set my teeth, took a long look at the shining shoulders of the distant mountains, fastened my flag in place and thanked the gods of things as they were for a neighbor and a barrel. I mailed the drillers their checks, got out my dictionary and typewriter and went to work to try to earn the money I must have if the dog and cat were to be fed and Mary’s chickens thrive. Two years later a man offered to dig me a well by hand for a very moderate sum of money and I bade him go ahead. He struck water no[...]grumbled no more. But I did not entirely abandon the blessed barrel. When winter came I melted enough snow to fill it to the brim and let it freeze. Then when I wanted a truly marvelous drinkI hacked out chunks of ice and melted them. 7774! was water! Abso[...] |
 | [...]ppened that while I was writing these paragraphs, the thermometer stood at nearly 100”. The iceman had failed to come. The faucet water is warm and unpleasant for now so artificial have we become that we are forced to “treat” city water with chemicals to make it soft and safe. I was on the point of grumbling when I had a Vision—a distant mountain shoulder,a tiny kitchen with a barrel in the corner—I smiled and drank the city water smiling, nor had I any harsh judgment for the wail of a fellow woman, who never having been wate[...] |
 | DRUMLUMMON VIEWS—FALL 2008 152 “The People ” of Montana; In Exegexix of Indian EducatianforAll Nicholas CP Vrooman A story. I’m on the Northern Cheyenne homeland along the Tongue River just north of Birney. It’s 1992. Tribal elders Bill Tall Bull and George Elk Shoulder asked me to come down to help them record some ancient songs and stories they wanted documented for archival purposes. Before we attended to the matter at hand, we brought out the pipe, offered tobacco, and spoke words of relationship to the surrounding world. The songs and tellings that followed filled a timeless place there in that quiet peace of earth. I handed them the master tapes. As we completed our purpose, Bill and George sat me down, said they were going to tell me a secret about the pipe. Something I should never forget, they said, and always have at the forefront of my thoughts whenever I brought out the pipe. This had been told to them, from their grandfathers, and they were now telling me. They were giving me a gift for assisting them. They said the pipe was very powerful. It could perform miracles[...]formed a miracle: their songs were now documented for posterity. The secret of the pipe, they said, was to never ask too much of it. There is a trick involved.The trick, they said, was not to ask for things that were impossible for it to accomplish. The pipe is your brother, your helper, they said. Don’t ever ask of it anything you would not ask of yourself. If you would ask it of yourself, and then ask it of your pipe, the pipe will help you, will answer your request, and[...]ayers. Then your pipe will have a high percentage of miracles coming true, they laughed. That is the secret of the pipe. It is a simple story, but there’s ancient wisdom in it. My point in telling it is simple too. There we were, five hundred years following the beginnings of European migrations to the western hemisphere. In the first hundred years of contact nine—tenths of those already here died from disease—an estimat[...]ng they were still alive have suffered a fistful of centuries fighting for human rights in the face of ignorance and violent oppression—along with racial policies that served up a menu of apartheid or extinction as the only choice. Yet there we were,Tall Bull, Elk Shoulder, and me (an eleventh—generation son of a Nieuw Nederlander Indian fur trader from Beverwzjtk), enveloped in a scene of pipe, song, and story that had been performed with unbroken lineage since the last ice age, here, upon this land. There I was, deep amidst and sharing in the world of the ten percenters. So much survives. A metaphor. Ten percent. Doesn’t seem like much at first, when thinking of the loss of the other ninety percent. But then, if we put it in American |
 | [...]market economy terms and were earning interest of ten percent on investment in means of production, and it was compounded annually and folded back into the principal, we have a significant number and a healthy growing concern. Ten percent of Indian culture and civilization survived and has been compounding since the turn of the 20‘h century, the nadir of Indian population in America (at one—quarter million), when Indian communities turned the tide and began once again to grow. The human value of Montana’s Indians can be understood as the base rate of our whole society’s increase.As with the Northern Cheyenne today, every Indian nation in Montana, and all around the continent, The People are still here, yet inhabiting their ancient homelands. And now, Indians are the fastest growing ethnic population within Montana society. By increments, the dreams and askings of the survivors of this world’s most tragic human catastrophe are being fulfilledThe People are growing in population. There has been a reversal of fortune—for all of us. And are those bison in the meadows and on the prairie in ever greater numbers as we drive East, West, North, and South over the hiways of the Northern Plains and Rocky Mountains? It is good. W ho are “The People?” It’s an ancient name early groups of humans gave to themselves, the world over, to say, “We the People, here, in this place.” It distinguished us from all else in nature. In Montana, our part of the world, Indians have been saying “We the People” for well over 10,000 years. As citizens of these United States, “We the People,” are only slightly over 200 years old.[...]old aphorisms that when coupled beautifully speak of our national identity. One is from our European heritage, and was applied to our nation in its early days. The other is indigenous American, and places The People in connection to all things. They tell us “out of many, we are one” (from the Latin—E Pluribm Unum), and as one, “we are all related” (from the Lakota—Mitakuye Oymin). It’s a complementary way to think about being American. There are also two sources of knowledge that help us understand the lives of our ancestors. First are our origin stories. Oral traditions, passed through generations, speak the memory and belief of who we are and from where we’ve come, whether Noah or Napi. The other, science, enables us to look at evidence that survives from distance times. Our memories seek support from critical analysis of evidence in the form of tangible artifacts that read like clues yet to be found upon the earth.The archeology that gives us Homer’s Troy, the Flores Island Little People, and Crown of the Continent vision quest sites—each once existing only as legend—now affirm oral traditions of humanity’s |
 | DRUMLUMMON VIEWS—FALL 2008 154 ancient times.The pot shards, points, fire pits, and piskuns across our land are surviving remnants, specters of those who preceded us. Put together, our stories and our studies, as two sides of the same cultural coin, help make us whole. Stories a[...]veal a concordancefl commonly accepted version—of our human past. In Montana, the Pikani (Blackfeet) tell us they have always lived along the backbone of the world. Archeological work done in Glacier, along the Old North Trail, and in the Scapegoat Wilderness during the 19905 gives us evidence that places people there 10,000 years ago. In human terms, that qualifies as forever. The Apsaalooka (Crow) tell of a schism within their family. After years of wandering in search of the best land on Earth, they settled where we find them today. Many tribes were drawn to make the Northern Plains side of Montana home. The ecology of the North American steppes both provided and required a predominantly semi—sedentary lifeways for a successful symbiosis of culture and environment. The west side of the Continental Divide tells a different history. Coastal people moved up river over generations to headwaters of the Columbia, the Clark Fork, the Blackfoot Rivers, and Flathead Lake. The Great Divide, like a fence between competitive neighbors, fleshes out much of Montana’s early history, as both sides forayed[...]traditions can be understood within three epochs of tellings: the primary stories are of the mythic era that rumbles with gods; next is the transformational era when the world is named and human and the other animal people lived and spoke with each other, figuring out how to survive together; finally, there is the period of true happenings. Much of the latter period overlaps with Euro—American histo[...]ense, affirmed by stories and science, that over the preceding millennia people have checked out every nook and cranny of this land. People have walked from the headwaters of the smallest stream, following the flow to the mouths of the largest rivers. And the reverse, as well: those at a river’s mouth on an ocean shore have traced u[...]And we know there have been multiple migrations at different times, of people coming from all directions to be part of this land, including Africa, Australia, Asia, and Europe. Critically, the story of those occupying this land before mass European colonization began in the sixteenth century is not one |
 | DRUMLUMMON VIEWS—FALL 2008 155 of race. Over millennia of human ebb and flow, allies and enemies, peace an[...]ere was as much ethnic differentiation and mixing in the western hemisphere as existed in the eastern. At the core, and as a whole, Salish speakers are as distinct from the Algonkian speakers as Scandinavians are from the Slavs. Yet marbled throughout, the Salish are also related to Cree, Assiniboine, Chippewa, Iroquois, French and Scot— much the same as the Hansa intermarrying throughout the North Sea territories and river systems of pre—Reformation Europe. In a sense, today’s Montana can be seen in the children’s dance of musical chairs. When the music stopped, that is to say when a new Euro—American order was overlaid on this land in the nineteenth century, those who were here then and maneuvered to chairs (reservations) stayed in the dance.They became residents of what we now call Montana. Thusly, we have our ele[...]s, Salish, and Sioux. Montana also has one tribe, the Little Shell Chippewa, whom the federal government has refused to acknowledge, remaining an unresolved circumstance from the Indian Wars of the nineteenth century. The magnificence of human culture in Montana is long and deep. We are fortunate to have numerous primary resources accessible that allow all of us to view a time before time of human existence on this land—from a primordial existence to present times; from Triple Divide Peak to Makoshika. All people, North American, South Amer[...]African, Middle Eastern, Asian, Australian—all of uSflre descendants of indigenous peoples. Here, in this part of the world, it is Montana Indians who hold that place. There is a larger critical purpose to learning about, protecting, and encouraging indigenous culture, here in Montana, and around the world. As global society burgeons forth, knowing who we are, and from where we’ve come, is essential to maintaining our relationship to the foundations of our existence, rooted in the earth. Ecological catastrophe is a known lesson to heed. We can not allow ourselves to separate, in our technological development, from the elemental forces that support all life. lndigenous knowledge is the primary source for understanding and maintaining our foundational life support systems. The Columbian Qlincentenary in 1992 was hugely significant in commemorating a new period of human history when one half of the world seemed to subsume the other with Gum, Germr, and Steel. Sixteen years later (though few recognize it) we are right in the midst of a fifty—year—long Qlincentenary of a time called “The Strange Zone,” signifying the first half century of The Conquest in the Americas. It was the |
 | [...]ime when chaos ruled, all structures broke down—for Europeans as well as Indians—and a new synthesis of human potential was born of incredible violence.We live daily the effects of events set in motion from those times. Still, in the dawning of the twenty— first century, we know so much more ab[...]rights and 777e Fatex ofHummz Soeietiex (hat tip to Jared Diamond) than just a short while ago. We are able, for the first time really, as a nation, to envision America’s civilization in 1491, on the eve of mass European migration, through New Revelatiom of [be Ameriem Before Columbm (here a nod to Charles C. Mann).There is no longer any question: humanity lost half of its accumulated knowledge—millennia of culture comprising what we now know were equally[...]isticated, and populated civilizations as Europe, the Middle East, India, or China at the same time. It was a loss of as much again as all that’s come to us from the history of western civilization. It was, as a species, our m[...]onted by our own failings with those still washed to the margins of civility in times of great need, or those yet suffering violence from policies of questionable motives, at best. But not in Montana. Here we are determining a different dest[...]about “going back.” It’s about bringing all of us forward, not leaving anyone behind. When the new Euro—American society overwhelmed Indian society, we thought we had no need for that which went before. We know better now. Luckily, we have volumes of information that help us recover an understanding and appreciation for Aboriginal life in our part of the world.There are fur trade journals; winter counts; material culture works in museums and homes; images in drawings, paintings, and photographs; governmenta[...]collections; and scholarly interpretations—all of these giving great insights about the lives of Montana’s earliest peoples. Most importantly, however, in the last generation we have a new confidence of expression coming from within the Indian community itself. Elders have held onto critical knowledge and have been passing it on over the years to upcoming generations. Much survives and is being shared, but for the asking. A new generation of highly educated Indians, in the American sense of the term, has taken the buffalo bull by the horns and is wrestling a secure future through ed[...]rming art and literature have become significant in America’s cultural life. There is a willingness to open up and share in this new era of Montana’s and America’s history. It is a fulfillment. Recognition of the value of our past, our common destiny, and mutual need |
 | DRUMLUMMON VIEWS—FALL 2008 157 to reinforce our relationships is vital to our survival as a whole people. We are creating a new respect for ourselves.This is in our hands. Why do we need to think of Indians as distinct and unique when considering all Americans and Montanans? Why are they one of only three sovereign entities named in our national constitution, along with state and federal governments? And why are they the only groups for whom terms are specifically articulated in Montana’s constitution? Why do Indians have an intrinsic political relationship to our federal and state governments different than all other American citizens? Why did the Montana Supreme Court uphold “Indian Edumtion for/411 ” as a constitutional imperative? Because I[...]before America existed; because this land, which the U.S. and Montana now claim as sovereign, contrary to an all too pervasive belief, was never conquered, but acquired through treaty; and, fundamentally, the society we know today would never have come to be without theto those whose societies suffered dearly as a result of America’s borning. Americans and Montanans can not be and will never attain the ideal we profess, as a state and nation, until we[...]tanans hold no moral or ethical capital elsewhere in the world until we do. The whole of America and Montana owe the descendants of those Indians who negotiated with Europeans and Americans, as fulfillment of treaty obligation in perpetuity, the same certain basic “unalienable Rights among these are Life, Liberty, and the pursuit of Happiness” shared by all Americans. History has shown we have been remiss. Here in Montana we are carving out turf, determined to overcome the shortcomings of the past, and make of our society all that is best about our people. If America and Montana are to hold high the standards of our founding national and state documents, we remain obliged to attend to our promises. The world is shifting. Montana is in the midst of significant social transformation. Indian Edumtion for/411 is a big piece of that change. Montana is becoming more whole. It is only 112 years (the time of my grandparents) since the then new Euro—American Montana society still fe[...]t it demanded a round—up and human cattle drive of Little Bear’s, Stone Child’s, and Little Shel[...]eeing our causing their landlessness and poverty) to be herded to the Canadian border, pawned off on our Canadian cousi[...]epic narrative. Montana’s War and Penn: is yet to be written. This state has made incredible advances in |
 | for/411 will probably serve as our largest and most significant legacy to those ends. One of our children, growing up with Indian Edutation for/411 as consuetudinary, will be our Tolstoy. I remember at the end of the 1999 Legislative session when House Bill 528 (then only euphemistically called the Indian Edutation for/411 bill) actually passed. Carol Juneau and Norma[...]respectively, along with other supporters engaged the system of societal governance with such leadership, intelli[...]e that their reasoning could not be denied. I was in conversation with Steve Gallus, a legislator from Butte, who had signed onto the bill. He was surprisedto hear me say I believed he was part of history in the making; that Indian Edutation for/411 will prove to be the single most important piece of Indian legislation that has ever been written. Most Montanans, I said, really hadn’t yet a clue as to how momentous, revolutionary, and consequential that bill would play out in Montana’s future; indeed, it would help shape that ever better society dreamed of at our 1972 constitutional convention. But we are here, now, playing out that future. How we rise to do the good work inherent in bringing equity and truth to the foundation of Montana life, in a way only public education can accomplish, will be how we are seen from the Sand Hills, where the Sky Dancers—the ancestors—look on, and how we are remembered in the Elysian eyes of our children’s children. |
 | [...]: Romanticixm, Revisionixm and Poxt—Revixionixm in the Fiction of the American Wext (a talk presented at the Montana Historical Society as part of the Helena [MT] Festival of the Book, October 2006)Karen Fisher Although I was one of those children who grew up knowing I’d someday[...]ove me. I was eighteen, naive, a happy child from the suburbs of California. When commanded in my first fiction class to write what I knew, I realized that my persistently blank pages were a reflection of a blank mind, a blank life. I was in no way prepared or coached to understand who I was, what I knew, to find any aspect of an authentic voice. I retreated to an easier—seeming study of History. This allowed me to write easily, using stories already provided. I enjoyed it, graduated, and flirted with the idea of higher degrees and the kind of academic career that might have provided me with[...]r, a former high school teacher, a former farmer of sorts, a former carpenter of sorts, and all I’ve done to earn a place up here today is to have written and published that first novel (A S[...]el, and since I spent about twelve years learning to write it, I’ve had some time to think about history and literature, but never with the kind of collegial support or insights that I might have welcomed. I did most of my thinking in the bathtub, or digging ditches, or sanding boards, or splitting wood, and some of the rest of it in front of an empty page. I don’t know if what I’m about to say is obvious or interesting or both or neither, or whether much of this has been better said by others. I can only hope that my ignorance might in some ways be an advantage, since most of what all of us know and are shaped by comes not from academia[...]popularly available, common, superficial. If any of us can forge this into some deeper understanding of our place in the culture, of how our histories have shaped us and our work in life, I guess it’s to our credit, and possibly an interesting thing. What I can offer here this afternoon is only my own story of the West: of my long inarticulate struggle with my western identity, of how I came to recognize and understand the forces that shaped it, of how this understanding came to shape my fiction. My story begins here. I’m five years old, living in Oakland, California. My mother took this picture, and it wasn’t until a few years ago that I really looked at it again. Some pictures, by accident or i[...] |
 | DRUMLUMMON VIEWS—FALL 2008 161 profound a record of a person, a place, a time, an event, that they take your breath away, and this is one of them. I am a small girl in pigtails wearing blue espadrilles my mother boug[...]ban middle—class attire I am wearing gifts from the most memorable Christmas of my life: a leather cowboy vest, chaps, and toy six—gun holsters. The object of my focus is the plastic palomino horse held proudly in my right hand. In my left is a new harmonica. Significantly (this was Vietnam—era Berkeley), my mother had confiscated the toy guns that belonged in the holsters. On that same day my visiting grandfather, (responsible for the chaps and guns) had also slipped into my hand something else he had brought for me, something old of his, and I’ve had them on every desk of my life since then: a little pair of solid copper cowboy boots, paperweights. With these gifts, I became both the spiritual and practical, the willing and eager recipient of his western legacy. It was 1966. I was already a child of television westerns, the Golden Book of I ndianr, had spent my fourth year in borrowed chaps and a cowboy hat squinting out over imagined prairies from the top of the preschool slide—looking for Injuns, of course. I learned to read from the homogenous and happy Dirk and/one (Dick also wore a red felt cowboy hat), was taken to see How [be I/Vert Wm Won in Cinemascope. Clyde Robert Bulla (Star of Wild Home Canyon) was my first favorite author. Passing years saw me romantically involved with the whole pantheon of American mountain men, beginning with Jim Bridger[...]cle with Jedediah Smith, their lives all rendered in thrilling young—adult biographies. I hurried home to watch the Wild Wild We”, fought for the television on Gunrmoke nights, and saved money to buy a horse. My grandfather, again (actually my[...]ith matching funds and cowboy boots, with stories of his boyhood on a Montana ranch, of his half—Cherokee mother, of his exciting life as an early Hollywood stunt man and bodyguard. He had been shot in the ankle once and had an impressive scar. I was somewhat less impressed by visits to two ancient great—grandmothers, one a tiny woman named Gippy, whose mother had rounded the Horn as a girl in 184.9, survived smallpox, and whose two brothers had been killed by Indians. The other was a grandchild of her namesake Emma Ruth Ross, a woman who had crossed the plains from Iowa to Oregon in 184.7. I heard these stories, and in a childlike way, knew it was my heritage. But it seemed so commonplace a legacy that until I was in high school I unconsciously believed that everyon[...]olteachers and ranchers and gold rush emigrants. In the popular culture of that time, the West as I and many others comprehended it[...] |
 | DRUMLUMMON VIEWS—FALL 2008 162 the history as romance. If I could have summarized it[...]mething like this: Brave adventuresome pioneers, in search of a fairer land, set out from the East into an unclaimed and mostly uninhabited wilderness. They survived the many challenges presented: by hostile tribes of Indians (though some tribes, of course, were friendly), by inhospitable terrain, by extremes of weather, by hunger and disease, and, almost miraculously (and after much suffering) arrived to settle and thrive and recreate the culture they had left, except that time the land was new and better, and its people had become better too: their trials had forged in them new strengths and skills, created a society[...]e inventive, unchained from effete European roots at last. Strong women rode herd over stronger men, w[...]y polite nonetheless, and who allowed themselves (the good ones) to be kept in line. Those who had no women were likely to become Bad Men and to cause no end of trouble. But because of their adventures, all of these people were no longer merely men and women,[...]llains and Heroes and, more modestly, Heroines. The myth was of Man the Conqueror, and it is the story of Western Civilization since the Romans, I suppose, a good Christian colonialist myth, but it is a particularly relevant myth to the American West, because this history of transition is so brief, so compressed, so raw. The land, the weather, the animals, the Indians in this story are all potential adversaries who might be turned to Man’s advantage and persuaded to operate favorably and on his Christian terms, mig[...]ights. Because women played mainly a passive role in this myth, I chose, in my own versions, always to be a man. When my second grade teacher asked what we wanted to be when we grew up, I announced I’d be a cowboy[...]ying. A cowBOY. That was my first understanding of the West. But at the same time, a second, almost parallel, and very di[...]erstanding was emerging. I spent my first years in Oakland, California, as my parents went to UC Berkeley. When my father won a place at Yale, we moved East for two years and made memorable trips to Greenwich Village. So, while my fantasy world was in the Old West, my reality was a fabulous landscape of long—haired hippies in mini—skirts, psychedelia, the Beatles and Jefferson Airplane, Peter Paul[...] |
 | [...]ng yellow book called Future Sboek. I heard about The Population Bomb and cried with the Crying Indian and wanted to Keep America Beautiful. It wasthe first I knew of the environmental movement. I heard the Song of Billy Jack, and that was the first I knew of the American Indian Movement. And then it was Pine Ridge and Gay Rights and Mutually Assured Destruction. It was the radicalization, the dehomogenization of my culture; all of a sudden even trees had rights. By the time I entered college, Man the Conqueror had become Man the Destroyer, and everyone who was not a man was angry. And because the earlier myth had allied me irrevocably with the offending, conquering, civilizing gender, I could not in good conscience align myself with any of his victims. And if I could not be among the victims, I must, I felt, bear the burden of being a victimizer. I developed, for the first time in my life, an acutely conscious sense of guilt: mine were the wrongs, I was the spawn of destroyers, and it was my liberal white secular humanist obligation to bend my will to remediation, to suffer guilt that could never be atoned for (what apology could suffice? To the Indians, the Grizzlies, the Wolves, the Buffalo, the salmon, the silting rivers, the very native grasses of the plains?) It seemed to be my job to make amends somehow, to turn back a civilization founded on growth and domination and conquest. By my second year of college, I did not want to be a cowboy or a novelist; I wanted to save the world. My interest in history became less about stories, it began to take a serious turn as I realized the past held the answers to how my culture had become the monstrous thing it was. I began not just to read history, but to ask questions of it. I changed from eager listener to a confused critic eager to denounce and condemn the thoughts and actions of my own ancestors. I was a good child, but this was a breach between the generations that seemed to have no remedy, it was a new cultural event, it was a generation gap. I went to protests, I wrote letters, I became a teacher of history and environmental studies at a very liberal private high school. My fictions had begun to change as well. By eighth grade, I had read Bury My Heart at Wounded Knee and Farley Mowat’s Never Cry Wolf In high school, Thomas Berger’s Little Big Mun was revelatory, hilarious, intelligent beyond anything of its kind. N. Scott Momaday’s House Made ofDuwn[...]s, intriguingly unreadable, from a different kind of mind entirely. By college, I was assigned to read Edward Abbey, Leslie Marmon Silko, James Wel[...]McNickle. I read Louise Erdrich’s first books. In 1982 I saw Koyuunirqutxi. And my private history, of course, was revising itself as well. My beloved grandfather was, in fact, an |
 | [...]ulterer, a liar, and a cheat. My grandmother wore the fake—diamond wedding ring he gave her for over forty years, then divorced him in 1976. I learned more about my Gold Rush ancestors, including the fact that they’d taken up their land in the Hayfork Valley after joining their upright neighbors to “clear the Indians” in one of the many brutal and thorough massacres of California’s Indians. My mother’s father, a kind man who’d earned no place in my romantic history, was, I realized, one of the supervising engineers behind the building of the Snake River Dam. I was reading Edward Abbey at the time. More sophisticated accounts showed my hero Jim Bridger to be an illiterate, bigoted alcoholic. I began to question exactly why the great Jedediah Smith had reportedly never slept with any kind of woman.If I could have summarized this new and equally compelling revisionist myth of the West, it would have sounded something more like this: Greedy white Americans, in search of unearned bonanzas of furs, soil, timber, and mineral ores, left their degraded farmland and their ruined agricultural economy (in eastern lands already forcibly appropriated from indigenous people) to cut a swath of destruction through a region they ignorantly termed the Great American Desert, a place devoid of significant human life only because earlier visitors had deliberately depopulated it through the clever distribution of smallpox- infested blankets. Ihe unfailingly wise, heroic, and noble Indians who yet remained as impediments to civilization were attacked for no good reason, despised, lied to, relocated, and robbed in a consistent and deliberate policy of genocide, from which they defended themselves both futilely and valiantly but whose stories ended inevitably in a state of Plight. During this long migration west, white families starved and froze and suffered because of their vast pride and civilized ignorance (while the Native Americans through whom they passed never s[...]as brought by whites, because they had long lived in harmony and closeness with nature). Those pioneers who (by luck or accident) survived the passage west soon settled and began to cut down all the trees in sight, to build dams that silted up and doomed the fish, to run cattle over all the ranges and to ruin the grass and to exterminate the eagles and wolves and grizzlies and anything else that posed a problem, all of which began the demise of the culture in which we live today, a culture that epitomizes the fall of man from |
 | DRUMLUMMON VIEWS—FALL 2008 165 Eden, a culture in which we must apologize for being human and in which we must now do everything in our power to stop acting like the ignorant trampling White Male beasts we are. On television and in film, the Western itself became an embarrassment, its traditional mythology insupportable on every level of taste and morality John Wayne and Clint Eastwood gave up the field to Alan Alda, Woody Allen. There were no heroes we wanted less than grim sweaty men in hats, none we wanted more than modest and neurotic bumblers, endearing in all their uncertainties, unthreatening in all their inadequacies. Their self—mortifying humor seemed like a cure for my own anxieties. In 1990 I saw Banter wit/.77 I/Volver which, with a sincerity and earnestness worthy of any romance, turned the traditional Western myth on its head, made Indian[...]ns. Its saccharine depictions dated it instantly. In 1992 I read Cormac McCarthy’s Blood Meridian, so savage and ironic and misanthropic as to fall outside of any but its own philosophy. It was a work, I thought, of surpassing truth and genius. So there was the dialectic, the romance and the revision, all contained in my personal history of the West. By the early ’90’s I was married, and my husband loved the West as much as I did. We were both teachers and spent long summers on horseback. By evening, we read to each other by campfires. We were always looking for good novels about the West, ones with dust and horses, but fewer and fe[...]Meridian, one Lonerome Dove. Even these had begun to seem questionable in their styles or sentiments. At last, my husband told me to stop complaining. Write your own, he said. So I began. I began on instinct, with none of the analysis I just expressed. I only knew that nothing I had read in fiction matched what I then sensed to be some other truth, a truth that lay not in a vaguely apologetic middle ground between triump[...]on that was inconclusive, individual, so confused in its historical immediacy as to prevent any neat or single interpretation. I wanted to know the nineteenth—century West, not as seen through the lens ofthe 19605, or the ’805 or the 905. I wanted to View that time and place from the perspective of those who had experienced it directly, in all its confusion, its immediacy, its particulari[...]these people, really? If I could get back somehow to find out what had then seemed true . . . . I could tell my story. I think that great power in art wells from great questions. It springs from wondering about our own identities, about alternatives to what others see; it comes |
 | [...]s from knowing what we can’t accept.But where to start? My questions weren’t, at first, too deep, and my objections were often trivial to say the least. I was thinking particularly of one genre of the romantic frontier novel that had always seemed hilarious to me: the frontier Bodice Ripper. In its most perfect form it involved (and still migh[...]woman— Rebecca, Priscilla, Samantha—who fell for some frontiersman—Whip or Colt or Holtfl lonely, tragic figure compe led by unavoidable circumstance to protect and guide this woman’s pioneer family on its journey In cover illustrations, she always has an impressive[...]as not entirely humorless about these books, knew of course that none were intended as serious literat[...], a story told over and over until it had become, in itself, a kind of myth. And if all myths had their origins in some truth, where would that truth be found? W 1at would happen if I set out to write the original bodice ripper, to pretend that such a myth (as so many of our favorites do) had some basis in a real event? It wasn’t out of the realm of reason. Several pioneer diaries in fact record an emigrant woman running off with a trapper from Fort Hall, never to be heard from again. Other diaries allude to marital difficulties among fellow travelers—t[...]hey sometimes mention an effect: a woman bound by the hands and made to follow her own wagon, a woman trying to kill her sleeping husband with a rock, a woman left alone for a following train to rescue. Strange things did happen. So this became the founding premise for A Sudden Country. The best thing that ever happens to such airy good ideas is that they hit the hard ground of the practical world. What happened to A Sudden Country was the life that followed. By the 19905, as I’ve since noted, enthusiasm wasn’t high for covered wagons, and my initial drafts, largely ba[...]counts, were failures—no more true or real than the novels I’d so easily dismissed. But because of some strange combination of luck and inclination and stupidity, my husband and I soon began to live our lives going back through time. We quit o[...], having read too much Wendell Berry, and decided to save the world by buying an old homestead on the edge of Idaho’s Nez Perce reservation, fifty acres above the Clearwater River where we would make, not earn, our living. We would leave all the artificiality and corruption of our lives behind. What drove the Pilgrim Separatists, what drove the pioneers, was driving us, and I, like an idiot, without noticing any genuine correlation between the book I was writing and my own life, Jumped Off. |
 | [...]milk goats toppling our new baled hay, a bad case of Giardia, and a tractor stuck in the mud down by the pump house. In the years that followed we cut firewood on shares with Indians, sewed quilts to sell, and butchered whole deer on the kitchen counter. I had a child, then two, and learned the difference between the theoretical and the actual. Nothing I had read prepared me: for motherhood, for indigence, for twelve—hour days of hoeing vegetables. I cursed Wendell Berry and his[...]income from teaching and tobacco. I learned that to really understand another life, you had to feel it. To feel it, you had to live it. Not a new insight, I know, but the point is that for maybe the firsttime, I learned it. I learned, after six months of nothing but white snow and black trees, what pric[...]llion. But now I saw how condescending I had been to think that Indians had been duped into trading high—value furs for such cheap gOOdSflS though they had been children. When, on the contrary, a common fur could buy an unattainable hue of red or blue that one could own or give away, that[...]on a hide, a color that would gain enough meaning to dance with. My life of seven years in Idaho was made of hundreds of little lessons like those, small particular realizations that occurred because I was living half in my life, half in another, trying to see the world through nineteenth—century eyes. As we were at last making a real go of things in Idaho, my husband got an itch to sail around the world. True, Idaho was cold and empty. He imagined heat and jungly islands, a new life in the tropics. We had two small children. Before motherhood, I’d been game for almost anything. Now I was horrified. I realized in one night of tears anc argument what, for seven years, I had not comprehended: how deeply, deeply diffith it must have been for a woman with five children to leave a home in Iowa in 18; 6 and set out across that desert, through hundreds of imagined dangers, with nothing but a myth of paradise on the other side. I felt it. My pioneer woman, I re ize[...]too tired and hard—worked and thin from hunger to have had a decent cleavage—she wasn’t even pl[...]tely being a modern man, compromised. We so d the farm, divided what we got to buy an old steel ketch and ten acres of Northwest island land. We had a few small voyages which, like covered wagon journeys, were cramped and full of packing and unpacking, bad weather and wet beddin[...]mes transcendent, sometimes terrifying. But most of all, diffith to sustain. We moved ashore |
 | DRUMLUMMON VIEWS—FALL 2008 168 that fall to our deep forest, lived in a tipi, then built a one—room cabin which the five of us then occupied for the next two years without power, phone, or running water. After nights of trying to dry damp laundry over a stove, I learned why emigrant women cried when they had to lighten loads by throwing away their irons. After heating water over the fire and filling our freezing tub, I learned wh[...]I learned why almost everyone had large families of adults, or insisted on having hired help, even if they could barely afford to feed themselves. Just lighting stoves and lamps could take an hour in the evenings. And on this island I learned another thing when I found myself, for the first time in my life, at home in a close community, a tribe. Other families had chosen this place, with all its failings and inadequacies, to be their permanent home. Their wanderings had ended here, their children married, generations of families had stayed and linked and knew each othe[...]o I’d been as baffled as Peter Skene Ogden was in 1830 when he found that no worse punishment existed in any Indian tribe of his acquaintance than to be cast out to wander. All preferred death over exile and saw Europeans as the wanderers, and on this island I finally felt that truth. Who trusts anyone who drifts in unknown and will drift away again, who locks doors to defend themselves from strangers? Without commun[...]we are all pathetic, we are doomed ghosts, afraid for ourselves and frightening to others. No book about Indians had ever taught me this, no college course. I learned it by living the questions. In this way the novel evolved. Characters began to speak from my experience. Israel, Lucy’s husband, embodied the first gestures of the radicalism that had moved me out to Idaho% prototypical modern man, fascinated by science and the future, willing to discard tradition, to sever ties, having only contempt for the old, t1e decaying, the wrong—headed world. Lucy spoke for my surprising maternal conservatism, my conventio[...]nly against her husband’s authority but against the profound emotional restraint of her time, a restraint that severely circumscribed both t1e nature and the language of relationships.I began to understand the life—and—death stresses, the social cisruptions that must have led such women to crack—to beat their husbands’ heads with stones, to do the kinds of t1ings that left them stranded in the dust. The Nez Perce c1aracters of Lise and Noonday and Timothy spoke for my wish to go beyond guilt and innocence, beyond sentimentalization and the bland lack of understanding so typical of the revisionist pan—Indianism I had learned, to convey the particular awkwardness and confusion of the confrontation between two specific cultures, to |
 | DRUMLUMMON VIEWS—FALL 2008 169 show how the approach of European culture divided and disrupted and diluted and attracted and empowered the Nez Perce all at once. I tried to allow them to speak for how absolutely those two cultures differed then, from one another, and for how rarely anyone on either side had understood the implications of those differences. And the trapper, James MacLaren, spoke for my own journey from despair at the impossible tragedy of human life, its ignorance and futile ambition, it[...]more accurate and perhaps forgiving understanding of the forces of which he was a part. He spoke for my own journey, at last, beyond guilt, condemnation, and despair, to some adult transcendence, some acceptance, some forgiveness that comes of knowing the confusing and particular stories that admit no ea[...]n becomes complete as he is riding west on a kind of diplomatic mission, to do what little he can to thwart an impending massacre. My own ancestors were among those who had brought a plague of measles to the Whitman Mission that fall, a plague that claimed the lives of over half the nearby Cayuse Indians. More emigrants had come to settle at the mission with each coming season; the Whitmans had been warned to leave and had pledged to remain, convinced of their own good work and of the benefits of martyrdom for the Christian cause. Stunned by parallels and by the repetition of our histories, I wrote this passage ten days after the World Trade Center fell. What would he say? For it appeared to him that by some terrible accident, the genius of each race was opposed at its foundation. He believed it was an accident. We cannot choose, he thought, the people we’re born into, nor what they teach us. So that opposition exists, and appears to us as evil. It is a part of life, and sorrow is its natural consequence. He would not count for the Cayuse all the wrongs they’d suffered, or would suffer, from the greed or ignorance or charity of this other race. From accident or fate. Ihey were their own authorities. So what could he say to stop this war? What counsel against rage and sorrow? But that he knew the people they opposed, and had come to love them also. Ideas will not save us, he thoug[...]we have. Ihe only thing that can ever save us is to learn each other’s stories. From beginning to end. Writing this book was a defining act for me, a healing act for me, and ultimately the healing it brought |
 | [...]WS—FALL 2008 170 was an adult understanding of the inevitable complexity and contradictions of life, and that nothing was more appropriate (not[...]fiction allows us. Because it is not distancing in the way that formal history often is, because it is not analytical, because it allows us to live, experience, feel another life, it allows us to understand it. Understanding, finally, admits the even more important ability to honor those who came before.To honor our ancestors. This was something I had lost, between Romanticism and Revisionism. It was the thing I had most mourned, and it was the thing I came to realize might most endanger us as a culture. Here is something I wrote in a journal not long before A Sudden Country was published: What became known as the generation gap in the ’70s was actually a mass abandonment of ancestry, a rejection of those from whom we had begun to inherit the entire weight of generations of mistakes. A whole generation metaphorically or literally ran away from home. For the first time, significant numbers of people chose not to reproduce on moral grounds—refused to repeat those mistakes already made, refused to become ancestors. Ihe same thing happens in the briefer generations of family cycles, in families who abandon each other. If a parent fails, and the child cannot forgive, the parent is no longer honored. Ihe wisdom of ancient generations has been that you honor parents, regardless of their deeds. Even if you fail to forgive, you must honor. By rejecting that old wisdom, by failing to honor, we can forget how to honor. By forgetting how to honor, we can forget how to be honored. And then we lose accountability. When we forget to honor our ancestors, we end accountability. By no[...]implicitly state that we don’t ourselves expect to be honored—we expect to be forgotten, in our turn, by future generations, perhaps despised. So why even try to behave honorably? Why try to make a life that will stand as an example to those who will inherit it? By forgetting to honor our ancestors, we have begun to create an end to history. I want to end with another example of what I’ve learned by putting myself on the ground, so to speak, in the time about which I’m writing. My new book is, in part, based on the true story of Jane Gay and Alice Fletcher. In 1889 Alice Fletcher was sent, as a Special Agent of the United States Government, to enforce the |
 | DRUMLUMMON VIEWS—FALL 2008 171 provisions of the Dawes Act. What better subject on which to base another white—guilt book? The Dawes Act, passed in 1887, sought to encourage Indians to renounce their tribal allegiances and enroll for legal and individual title to 160 acres of land per head of household. During my education, Dawes and his Congress were cast as villains, and by all accounts the Dawes Act was disastrous, misconceived, impurely motivated,[...]and Indian rights activist, who devoted her life to lobbying for and representing the causes and complaints of Indians in the field and in Congress. In the romantic tradition, she was a well—intentioned[...]an who knew not what she did. As she condescended to her Indians, so we condescend to her, give her the benefit of the doubt, a good but ignorant woman in a time of Manifest Destiny. In the revisionist tradition, we ignore her as a fool, condemn the act. In fact, a reading of her letters shows a much more confusing story, a story of internal division among the tribes, of traditionalists allying with Indian agents against progressives in favor of allotment, of death threats against their stalwart surveyor by both the Nez Perce and an organized cattlemen’s resistance. All this is known. But something else occurred to me as I was studying the lives of these people.Jane and Alice had both been nurses in the Civil War. They had seen the American population double in twenty years, then double again in two decades after the Civil War, almost a quarter of those in cities foreign—born—Italian, Irish, Polish, R[...]ture, language, heritage, geography, economy, and the result was war. It was gangs and riots in the cities, it was war across the plains, it was a civil war so bloody and brutal t[...]on a population since. When these women set foot in the West, the first thing they saw coming off the train was a throng of men from six different countries betting on the outcome of a pig fight. They learned that Mexicans and Chinamen were killed as thoughtlessly as coyotes. It was in this context, I think, that the birth of the virtue of homogeneity was born. Survival, as a country, as an individual, quite literally depended on the will of its people to accept one language, one religion, to become one nation under God, indivisible, with liberty and justice for all. The pledge of allegiance was formulated, written, and adopted in the final year of Alice Fletcher’s work on the Nez Perce reservation. In an age, today, when multiculturalism is such a su[...]out implicit cultural assumptions, it is diffith to conceive of an intelligent person’s wish that homog[...] |
 | DRUMLUMMON VIEWS—FALL 2008 172 become the order of the day. It was only when I learned and thought about the particular events of these women’s lives, when my general ideas about their lives hit the actual hard ground of their realities, that I began to sense something they were never able to articulate to us because [bray could not imagine who we would become. We are a result of their success, a people with a culture so strong,[...]ive that not only subcultures but whole countries of the world feel threatened by it. Our thought today is shaped by this new power, by the loss of the more personal identities and heritages, customs a[...]t were swallowed whole. Our thought is shaped by the fact that, for the first time in history, our cultural and political survival depe[...]ing, allowing, understanding cultural differences to exist, and notfls some would still have it—on continuing to annihilate those differences. It’s just a theory. I don’t know. It’s just one example of the ways of thought the practice of historical fiction can encourage, of the questions it can lead us all to ask, and has been leading us to ask. Authors like Guy Vanderhaeghe, Paul St. Pier[...]and Mary Clearman Blew have all shown me new ways to look at the history of the West and have given me more subtle and complicated and sometimes more unsettling interpretations of who we are and what our stories mean, than I ever had before. I celebrate their efforts, as I celebrate the efforts of all who came before and have been a part of this great western conversation. I am glad to be beginning my own journey with their examples, and with a hope that I might add a voice of my own to the story. |
 | [...]2008 17 3 When Cowboyx Became Capitalixtx and the Wext Became New John Clayton Caroline Lockhart (1871—1962) wore many of the brands of the classic Western genre novelist: a love of horses, a nostalgia for the open range, a stylistic affection for literary formula and contrivance, and an appreciation for how the western landscape could pose physical threats to men of adventure. But in other ways she was remarkably unusual. She was a woman—indeed, an unmarried woman living in a small Western town. Her interests ranged beyond cattle. And her characters were based not on the heroic prototypes of James Fenimore Cooper and other frontier mythmakers, but rather personal experience. For her fourth novel, The Man From the Bitter Rootx (1915), Lockhart desperately needed a success. After the widely admired debut of MerSmith (a bestseller in 1911), her career had slipped. The Lady Doe (1912) was as much a personal vendetta as a novel; Lockhart had worked so hard at making her fact— based protagonist an unpleasant character that nobody wanted to read about her. Lockhart followed that up with The Full ofthe Moon (1914.), a novel she had been trying to publish for fifteen years—with a justified lack of success. With slow sales, Lockhart’s money like[...]nce on a failure, she may have felt some pressure to produce a blockbuster. Worse, her only copy of the new manuscript had been accidentally destroyed while she was traveling in Central America.‘ She’d had to rewrite it, and quickly. Lockhart never thought of herself as a pulp novelist, so she tried to make this book strong and unique. Within her limitations, she met with some success. The Man From the Bitter Rootx received better reviews than any of her books since MenS‘mith.2 It apparently sold at least modestly well, furnishing enough money for Lockhart to travel and play for three or four years without needing to publish again quickly. It would soon become a mov[...]g William Farnum, both leading Hollywood figures of the day.3 And it set the stage for two later novels, The Fighting Shepherdem (1919) and The Dude Wrangler (1921), which today are seen as some of her strongest. But what may be most successful about The Man From the Bitter Rootx is the way it defies standard critical interpretations. This is not a Western about the end of the cattle era, about the conflict between having an adventure and building a society, about the need for violence to tame a wild land, or about man’s pursuit of freedom and woman’s civilizing influence. It is—in a way that may be more significant now th[...] |
 | DRUMLUMMON VIEWS—FALL 2008 174 Entrepreneurs The man in 777e Man From tbe Bitter Rootr is Bruce Burt, and[...]with a quick and violent temper, he is “a giant in his strength, and as unconscious of the greatness of it as a bear. He could not remember that he had e[...]s led him. He read voraciously all that pertained to Nature, to her rocks and minerals, and he knew the habits of wild animals as he knew his own. Of the people and that vague place they called ‘the outside,’he knew little or nothing.”4 Such descriptions are common of frontier heroes: physical strength, personal dete[...]e without education. But Bruce Burt differs from the cowboy ideal in many ways. Most importantly, he’s not a cowboy. He’s a miner. Though he has plenty of frontier skills, they are not the horsemanship or quick—draw capabilities emphasi[...]ancier befriends him, but treats him as something of a pet. And though his father is a successful Midwestern farmer, Bruce ran away at an early age—for good, not for a temporary sojourn that would reinvigorate his return to society. The plot of most formula Westerns—especially at the time, just over a dozen years since Owen Wister had defined the genre with 1902’s 777e V irginian— typically[...]sheepherders, Indians, outlaws, or other threats to their way of life. They felt a tension between their love of wilderness and their need for civilization, between their personal code of honor and the lawless world they inhabited, and/ or between their need for female companionship and the threat that women posed to their rugged way oflife. In 777e Man From tbe Bitter Rootr, by contrast, the plot consists of Bruce’s attempts to develop a mine. Though Bruce battles natural forces—including blizzards and the raging main fork of the Salmon River—he faces equal challenges in the form of financial plans. He must raise $25,000. He must hire good personnel. And for Lockhart his true heroism is demonstrated in his overcoming of engineering obstacles. The lead female character is not a society— buildin[...]ndependent—minded journalist. Meanwhile, though the villain bears some resemblance to a rustler, he embodies neither heartless big business nor savagery.T. Victor Sprudell, the self— important head of the Bartlesville Tool Works and the |
 | DRUMLUMMON VIEWS—FALL 2008 17 5 richest man in Bartlesville, Indiana, is a soft and chubby dandy. On a hunt, he slaughters majestic bighorn sheep not for food or even trophy but the blind fury of the kill. He is a coward and a liar. He aspires to be a man of learning (“the natural outcome of his disproportionate vanity, his abnormal egotism, his craving for prominence and power”) but is too dim—witted to be anything more than a “walking encyclopedia of misinformation.”" But worst, this small—town[...]a small—time capitalistfl bad businessman. His office turns him into an “adamantine, quibbling, frankly penurious, tyrannical man of business.”7 His crimes here include filing fal[...]edress against him is not through a gunfight but in courts and boardrooms. Obviously there are parallels to the traditional Western (what is rustling, if not industrial sabotage?). And certainly the genre frequently included mining themes. But most Western mining heroes were pfOSpCCtOfS. Ta mine the "’25! When the novel opens (following a prelude showing his childhood), Bruce Burt has already acquired a gold claim in the bottom of Idaho’s Salmon River canyon. Describing the sandbar where Bruce has first set up his equipment, Lockhart explains, “In this deposit there was enough flour—gold to enable any good placer miner to make days’ wages by rocking the rich streaks along the bars and banks.” But Bruce dreams of building a mill to extract larger quantities of gold. Unlike prospector—heroes, his challenge is not to find a new strike, but to design the machinery that can maximize the value of the existing strike. It was 1914., after all, sixty years since the first gold rush. Even Alaska was played out. Lockhart wanted to use a contemporary setting rather than reinhabiting the old prospecting myth. She was not so rash as to feature a heroic corporation, however. An individualist herself, Lockhart also gave that quality to all her heroes. Bruce had a historical counterpart in Marcus Daly, the Montana Copper King who bought claims during recessions and then waited for technology and investment to make them profitable. Writing escapism, Lockhart wanted to imagine away the labor—management divide that would surely come[...]ly, still an underdog with a passion. His goal is the process of processing rock. He’s a geologist: the childhood prelude shows him fascinated with rocks[...]am by noting, “A dozen times a day Bruce looked at [the gold— laden sandbar] and said to himself: ‘If only there was some way of getting water on it!”9 Bruce is still driven by money, of course—as is any capitalist. But where the mythical prospector’s ambition led him to overcome |
 | [...]ly robust) character. Lockhart’s plot is merely the “success story,” a standard American mythology dating back at least to Ben Franklin’s autobiography. Bruce is merely a[...]io Alger character. But when Lockhart transferred the Alger myth to the West, critics saw the book as a Western. The New York Timer referred to “Miss Caroline Lockhart, author of 777e Man From tbe Bitter Rootx and other Western stories,.” while the New York City Bookreller noted, “Miss Lockhart manages to get the real stuff into her stories of the West—the look, the very smell, of the land, the talk of the men, the sense of adventure and stress of life that belongs in the wild places.”‘0 Again, the Western was new at the time. But if contemporary critics thought that Lo[...]thought that large—scale industrial development of the type Bruce envisioned was an extension of the frontier myth.Certainly, Lockhart implies in the novel that large—scale industrial mining is good for the West. Churning up this sandbar—which rises to 200 feet against the canyon wall— is a highest and best use of the rugged, remote canyon. That’s a familiar philosophy for the 20‘h century West, when large—scale mines, dams, and clearcuts made drastic alterations to the landscape. But it doesn’t match our vision of cowboys, who celebrated unspoiled territory and lamented the coming of the very industrial civilization they had fled West to escape. Tellingly, however, the two exist side by side in 777e Man From tbe Bitter Rootx. Lockhart establishes Bruce’s love of nature early, as he takes a break from his mining to feed salt to a flock ofbighorn sheep. “His liking for animals amounted to a passion, and he had been absurdly elated the first time he had enticed them to the salt, which he had placed on a flat rock not far from the cabin door. For the first few visits their soft black eyes, with the[...]had followed him timorously, and they were ready to run at any unusual movement. Then, one afternoon, they unexpectedly lay down in the soft dirt which banked the cabin, and he was so pleased that he chuckled softly to himself all the time they stayed.”" Sprudell, by contrast, exterminates the family of sheep, and when Bruce finds the carcasses, “he raised his eyes in the direction in which he fancied the hunters had gone. They shone black and vindictive through the mist of tears which blinded him as he cried in a shaking voice: “You butchers! You game hogs! I hope you starve and freeze back there in the hills, as you deserve?” Lockhart further portrays uncharted territory as capable of coexisting with industrial mines. On the very next page, Uncle Bill Griswold—a sy[...] |
 | [...]er was a white man’s foot on, and they say that the West has been went over with a fine—tooth comb. Wouldn’t it make you laugh?”3In short, 777e Man From tbe Bitter Rootx tried to point the cowboy myth toward the actual, industrial West of the 20‘11 century. The genre did not follow Lockhart—readers still pre[...]able cowpunchers battling rustlers and Indians on the open range of the 18805. But at least one author understood the West’s evolution toward the odd juxtaposition of unspoiled and exploited. And, in fact, she recorded it with general approval. Private enterprise and the value quaney Consistent with the Western genre, Bruce and Sprudell fight their battles into take his money from Bruce’s soon—to—be— successful mine and “go back to Bartlesville, Indianny, and lick him every day, r[...]t washed up, and locate him agin.”‘4 Not just the rivalry, but all of Bruce’s challenges are set outside the purview of government: raising money through private investors, setting up the machinery, handling the site.Though Bruce mourns for the sheep Sprudell kills, he never suggests the government should pass laws to protect them. This is only surprising in retrospect, as we consider the large role government has come to play in the West, and the huge investments in government relations made by operators of mines: permit approvals, labor—safety concerns,[...]ing, taxes, and even economic development grants. The industrial culture that did grow through the 20‘h century West was far more dominated by government than the libertarian fantasy portrayed by Lockhart. But for her the government could do little right. At one point she interrupts her narrative for a rant that she tries (not very successfully) to ascribe to her hero: On the trip out from Ore City an overworked stage horse[...]sixteen per cent. grade and more had dropped dead in the harness—a victim to the parsimony of a government that has spent millions on useless dams, pumping plants, and reservoirs, but continues to pay cheerfully the salaries of the engineers responsible for the blunders; footing the bills for thejunkets of hordes of ‘foresters,’ or ‘timber inspectors’ and inspectors inspecting the inspectors, and what not, yet forcing the parcel post upon some poor mountain mail-contract[...]ient compensation, haggling over a pittance with the man it is ruining like some |
 | [...]2008 178 Baxter street Jew. Like many people in the West, Bruce had come to have a feeling for some of the departments of the government, whose activities had come under his o[...]t was as strong as a personal enmity. Aside from the ugly (if sadly common to the time) ethnic slur, it may well have been true, and may even still be true. But the passage feels out of place in this supposed book of action, with this hero who supposedly knows so little of “the outside.” Surely the author got carried away here, felt the need to explain her own ideology to her Eastern audiences. 7773 Man From [be Bitter Rootx then is not just a narrative about the challenges of capitalism but a polemic in favor of private enterprise and libertarian philosophies over government involvement. Lockhart approves of this evolution of Western political philosophy—an evolution that[...]Lockhart’s attitude toward money comes through in another passage she attempts to ascribe to Bruce: He never had realized before how much money meant in the world ‘outside.’ It was comfort, independence, and most of all the ability to choose, to a great extent, one’s friends instead of being forced to accept such as circumstances may thrust upon one. Bruce saw what anyone may see who looks facts in the face, namely, that money is the greatest contributory factor to happiness, no matter how comforting it may be to those who have none to assure themselves to the contrary.“ Again, it seems an odd position for a loner cowboy—geologist whom she has previousl[...]not it is true, it’s hardly “cowboy”—deep in the book, the author’s passionately held philosophy snuck through her desire to create a frontier fable. The philosophy comes through one more time for the female lead, Helen Dunbar. A Philadelphia journal[...]nce and loathes Sprudell, but feels some pressure to submit to his matrimonial entreaties when she sees a sort of ghost of her future: “Mae Smith had been young and good— looking once, also a local celebrity in her way when she had signed a column in a daily [newspaper]. But she had grown stale with the grind, and having no special talent or per[...] |
 | [...]179 Smith emanates “that indefinable odor of poverty— cooking, cabbage, lack of ventilation, bad air”flnd is always in need ofa loan.“ Money makes happiness. And money comes from private enterprise, rather than the government. It’s a familiar philosophy, unremarkable except that it’s occurring in a 1915 cowboy novel. Lockhart was transforming the cowboy into a libertarian capitalist. And the world played along. He trumitianfram Old l/Vest to New These days, the world plays with endless debates on what exactly represents the “New West.”‘9 It may be emu ranches, microb[...]ture, or log—cabin—style espresso stands. But for the purposes of this essay, let’s explore the following ideas that I believe the term tries to convey: 1. Anything that is not cowboys. The Old West was cattle ranches and rustlers, open range, settling the frontier. The Old West was as close as history got to the cowboy myth and the literary Western genre. The facets of today’s West that are not “cowboy”—cities, ski resorts, industry, technologyflre New West. 2. The application of traditional heroic values to new concepts. The Old West was about the mythical cowboy’s traits: individualist, honorable, horsey, rugged, rustic, etc. The New West appropriates those ideals by applying the symbols to new (sometimes seemingly contrary) objects. So an espresso stand in a mini—mall is not necessarily New West—unless it’s dressed up to look like a log cabin. An SUV is New West when it[...]eld. A telecommuter is New West only if he thinks of himself as a “modem cowboy.” The confusion that arises when a myth-based political philosophy collides with economic interests. The Old West was not just cowboys or their ideals, but the politics and policies they inspired: individualist, nature—oriented, pragmatic, and libertarian. (Of course this is also the classic “American” political philosophy—that’s why the cowboy myth is so big and enduring.) In the New West, people still claim that philosophy even as they pursue activities that seem contrary to it. Under this cynical view, New Westers are the ranchers who condemn big government as they cash[...]” as they slash employee benefits and pollute the environment. |
 | [...]rom tbe Bitter Rootx can serve as a seminal novel of the New West. I) It is not about cowboys. It’s abou[...]ngineering, finance. 2) It applies cowboy traits to its miner hero. It dresses up its Alger story with cowboy trappings and a Western setting. 3) Its affection for nature seems at odds with its view of industrial mining. Its dislike of government seems at odds with the federal role of taming the West. And its view of the value of money seems diametrically opposed to theideal of the honorable cowboy. Where fact meets fiction If w[...]el, then its author is a similar pioneer. Because for today’s reader, one of Caroline Lockhart’s most interesting traits is the value she placed on personal experience in writing fiction. Lockhart moved to Cody, Wyoming (home of a government—sponsored dam, pumping plant, and reservoir she came to regard with personal enmity), in 1904., and set all of her novels in the West. Like many Western writers, she believed tha[...]e Bitter Rootx was no less fact— based than any of her other work. For as many as ten years prior to the publication of 777e Man From tbe Bitter Rootr, Lockhart had a re[...]mporter named John R. Painter. Painter was trying to develop a remote mine at the bottom of Idaho’s Salmon River canyon. He faced continual challenges financing the mineflnd met with some success with Eastern financiers including the duPont and/ or Villard families.22 Engineering the site was tricky, and getting the machinery to it even trickier. Lockhart spent the summer of 1911 with him in Idaho; its highlight was a wild trip down the Salmon, loaded with machinery for the mine— an episode she only slightly exaggerated in the novel.23 Undoubtedly she took great license in turning Painter into Bruce Burt. For one thing, she shaved 23 years off his age—Painter was fifty (and legally married to another woman) during their 1911 adventures. For another, Painter was born and raised in Maryland; she gave Bruce a Midwestern farm childh[...]aggerated or altered other features as well. But in its broad outlines, the story of 777e Man From tbe Bitter Rootx really did happen. A man— Caroline Lockhart’s hero—really did try to develop a mine at the bottom of the Salmon River canyon, facing challenges inc[...] |
 | [...]EWS—FALL 2008 181 financial hurdles. Along the way he found the love of an independent—minded female writer. Somehow L[...]s they quarreled; perhaps they were each too tied to the places where they lived. After 777e Man From tbe Bitter Rootr, Lockhart returned to Cody, where she wrote three more Western novels—or at least novels that people saw as Westerns, even as[...]lly during Prohibition—but later took advantage of government giveaways in the Homestead Act to build gigantic landholdings. Even as she fenced of roads that her neighbors traditionally used to access government land behind her ranch, she increasingly saw herself as a defender ofthe Old West, the old—time values, cowboys, and open range. She fought to have Cody define itself the same way, and succeeded. Even as its economy bec[...]ubsidized, environmentally protected) Yellowstone National Park, Cody through the 20‘h century saw itself as Buffalo Bill’s hom[...]West figure.24 John R. Painter continued living in Idaho, developing his mine. A fire destroyed much of his work in 1918 (he blamed the Germans). But he rebuilt—or tried to, given the financial challenges. Lockhart occasionally sent him money. He kept plugging away, until his death there in 1937. Some saw him as a hero—the old man doggedly pursuing his passion. But others saw him in the sorts of terms old—timers love to use to denigrate New West poseurs. “Unlike anyone else on the river,” wrote Johnny Carrey and Cort Conley in River ofNo Return, a historical guide, “J. R. was out of his element—too proud to cut hay, and not wild enough to eat it.”25 Notes LThe manuscript may have burned in a hotel fire in Honduras, or sunk in a boat accident in Nicaragua; Lockhart’s conflicting stories lead some to question ifit was lost at all. See Necah Stewart Furman, Caroline Lot/ebart[...]ttle: Buffalo Bill Historical Center/ University of Washington Press, 1994), 74— 5. 2. See reviews, box 2, Ca[...]any, 1915), 40—41. Heritage Center, University of Wyoming, Laramie (hereafter CLC). |
 | [...]d New York C [[37 Bookie/ler, Nov. 15, 1915, both in box 2:5, green scrapbook, CLC.11. Ybe Man From[...]among others, Patricia Nelson Limerick, Some[bing in [be Soil (New York: WW Norton, 2000), 274—301; William Riebsame, preface to the A[/ax of [be New Wex[ (New York: WW Norton, 1997), 12—13[...]'Aa[ben[iei[y and Aa[borxbip (Lincoln: University of Nebraska Press, 2003). 21. Me—Smi[b was based on a real man (named Smith) she knew in Cody. Ybe Lao/y Doe included as characters a dozen barely—disguised Cody residents. Ybe Fall of[be Moon was based on Lockhart’s own 1898 sojourn in New Mexico. And so on. For details, see Furman. 22. Two undated, unsourced clippings in the Painter biographical file, Park County Historical Archives, Cody, Wyoming. 23. Caroline Lockhart, “The Wildest Boat Ride inof No Re[arn (Cambridge, ID: Backeddy Books,[...] |
 | [...]Bert Hamen: Mantamm Stephenie Ambrose TubbsWhen the Lewis and Clark Bicentennial Commission released its list of ninety—one projects, it offered many intriguing ideas for commemorating the Lewis and Clark Bicentennial. The Whitehall (Montana) Chamber of Commerce was one of many small communities interested in presenting “outdoor historic drama” based on the expedition. Among the numerous items on their wish list was a $30,000 request for script development. Luckily for Whitehall, and others, the script had already been written and successfully performed to the applause of thousands. The man who wrote it also drew a road map for Montanans on how to reach the target audience which, he steadfastly maintained, is ourselves. Bert Hansen, arguably one of the great directors of his time, was also a teacher, a playwright, a producer, and a prominent member of the controversial Montana Study. His life and career[...]on many levels. He respected and accorded dignity to men of all colors, religions, and occupations. He saw the value of people working together to tell their community’s story, warts and all. Bert Hansen made the people of Montana’s cities and towns realize they had much to be proud of and much to hold in trust for the future. Bert Benjamin Hansen was born to Paul and Mary Hansen of Viborg, South Dakota, on April 12, 1895. His father worked as a farm implement dealer in Sioux Falls. Bert remembered his father reading to him and his three siblings, and the pride he, especially, took in owning a complete collection of Horatio Alger books. In 1914. Hansen attended the University of Michigan as a chemistry major, but as with many of this classmates, World War I interrupted his plans. He served as a medic in France for sixteen months, later recalling that he spent much of his off—time contemplating the futility of war.‘ After his return to the states and a brief stint as a high—school principal and drama instructor in Roslyn, Washington, Hansen set off for Shanghai, China, where he taught English at the Shanghai American School. While in China, Hansen began writing plays. His repugnance at a sign posted at a local park caused him to embark on a mission to communicate the message that racial discrimination was morally wrong. The sign read, “No Chinese or Dogs Allowed.”2 For his graduate studies, Hansen headed home to America and the Yale School of Fine Arts. While at Yale, Hansen received instruction from one of the preeminent professors of drama in America, George Pierce Baker, whose talented stud[...]Hansen credited Professor Baker with teaching him the basics of playwriting, acting, directing, stage desi[...] |
 | [...]FALL 2008 184 completing his graduate studies at the University of Washington, Bert began his teaching career in Bozeman at the Montana State College in 1929. He taught English, drama, and speech. Perhaps more important to his life’s work, he made many of the acquaintances who later would participate in his historical pageants across Montana. He directed twenty—seven plays in his sixteen years at MSU, and he managed to travel to Hollywood several times during the Depression to study the studio techniques of motion—picture production. Hansen later told an interviewer that he applied the motion—picture techniques he learned in Los Angeles to the production of his historical pageants.4 In 194.5, at a convention for English teachers in Butte, Hansen met philosophy professor Baker Brownell, director of the newly commissioned Montana Study. Brownell asked Bert if he would be interested in taking a sabbatical and working with him on the new project. The meeting would change Bert’s life and make the celebration of community history in Montana more interesting, for years to come. During the war years, the “Montana Study” came about at the request of Montana State University Chancellor Ernest O. Melby. He wanted a community— centered educational program in the humanities to improve the quality of living in Montana. In 194.4. the two—part Study was devised and implemented in a dozen communities. The plan called for an activated research program exploring the human resources of a small community, designed to develop a pattern for community self—improvement. Initially the Study, projected to last three years, secured funding from a $25,500[...]ong with Professor Brownell and Chancellor Melby, the study was conducted by a former director of the Tennessee Valley Authority, Arthur E. Morgan. The founders of the Study shared a belief that a better future for mankind relied on the preservation and cultivation of the human values intrinsic to a small community.“ First, community members assembled in a series of ten weekly meetings to discuss common problems and work toward their solution. A study guide, “Life in Montana,” prepared by former newspaper editor a[...]from Northwestern University, Paul Meadows, aided the study members in their discussions and understanding of their relations to the community, state, region, and country. The second part of the Montana Study, and the part in which Bert Hansen played the most vital role, was to furnish activities, such as historical pageants, which would enrich the cultural life of the community. As Hansen would write in an article for the journal Sotiatry, “The work was grounded in the belief that as long as the people of American communities will work |
 | DRUMLUMMON VIEWS—FALL 2008 185 together as neighbors, the democratic way of life will endure.” After study members completed the first ten— week segment, a bibliographic outline of integrated activities and the basic outline for the pageant eventually developed with assistance from Hansen. The first test of this theory for Bert and other members of the Montana Study came in September 194.5, in the little town of Darby in a pageant entitled “Darby Looks at Itself.” According to an account of the Study, Small Town Renaimmte, “It was a kind of modern morality show depicting the conflict between traditional practices of wastefully exploiting natural resources, and the moderns [sic] scientific use of resources by careful planning.”The drama included 125 of Darby’s 500 residents.The cast ranged from three—year—old children to seventy—nine—year—old grandparents. It was so large that the actors had to sit in the audience when they were off—stage] Everyone involved found the production tremendously rewarding. The overwhelming success of “Darby Looks at Itself ” sparked Hansen to develop and publish his own theories on pageantry[...],” a term he borrowed from Dr. J L. Moreno, one of the first to use drama as a means of restoring mental health} Bert identified the plays of the Montana Study as “rehearsed sociodramas.” Pro[...]s had one common aspect—drama was never an end in itself. It was always a means to an end: the improvement of the community through integrated activity. Of course, Montana in the mid—194.05 might seem a strange place to be expounding theories on drama as it relates to solving the problems of society. One visitor to a Study group in Stevensville heard Hansen speaking about socialis[...]ot contain his anger, “I knew it! I knew it all the time! Socialism! That’s what you are promoting! And the very word sociodrama proves it!” With that, the outraged visitor stormed out of the meeting.9 Eventually the term “sociodrama” evolved into the more popular reference of “historical pageants” which Hansen would continue to develop for decades after the Montana Study was completed. While a speech teacher at the Montana State University (1948—1965), Hansen liked his students to call him “Bert,” and he offered them excellent advice on how to tell a story. One student remembers Bert telling her, “A writer must introduce conflict toto anyone but himself and his relatives. Any other life story must be rearranged and embellished to make good reading.” He also felt that “It’s just as foolish to write a book without an outline in mind as it is to climb St. Mary’s Peak as the crow flies. You’ll get there quicker and safer if you follow the blazed trail.”m |
 | DRUMLUMMON VIEWS—FALL 2008 186 In his next production, Stevensville’s “A Tale of the Bitter Root,” Hansen tackled even thornier issues. His careful guidance helped the people of Stevensville, and members of the Salish and Kootenai tribes, who traveled fifty miles to participate, come to grips with the town’s complex history. In developing the pageant, committee members scrutinized histories,[...]ds, and newspaper files and interviewed a number of “old timers.”The narrators included, “two Protestant ministers and the Catholic priest, and what was considered a triumph of unity, the secretary—treasurer of the Farmer’s Union and the Master of the Grange. The writing and research committee comprised, among o[...]d graduate, a day laborer, a college student, and the wife of a cattle—ranch foreman. A dude rancher and his wife did the make—up, and a grand old lady whose youth dated back to the nineties had charge of the costumes.”" Stevensville residents had never, publicly, acknowledged, together with the Native people, the intricacies of their forefathers’ relations. This time the injustice of the Salish people’s story of forced removal from the homeland came to life, and the Salish, along with the audience, heard the farewell speech of their Chief Charlot and stood respectfully as the pageant performers left the arena. According to Hansen, “It was a drama of willful aggression, the tragedy of a minority people first frustrated, then demoralized in order that the aggressor might take over their lands. This was the pageant the Stevensville people had the courage to conceive, to write, to produce, to see, and to let others see.They were fully aware, of course, that it was not without contemporary parallel.”The effect was remarkable. “Many, not only among the 2,500 of the audience but among the older Indians, wept, for the scene was one which many of the older people had lived through when the Indians left Stevensville on October 15““, 1891.” The celebration of the Lewis and Clark Expedition’s Sesquicentennial in 1955 afforded Hansen plenty of opportunity to put his sociodrama theories to work and to expand on his earlier pageants performed in the area. He emphasized that such settings provided, “the opportunity to perform the story as a living, realistic drama . . . against a background of nature, in the actual setting of the events enacted, so that the story seemed to be the truth it was, and not the whimsical display of theatrical affectations such as we have come to associate with the word, pageant.”” In keeping with his standards of historical accuracy, Hansen required the inclusion of more than fifty Salish Indians from Arlee and the involvement of all segments of the Three Forks/Manhattan community. By the time of the Sesquicentennial, Hansen had directed twenty—five plays—including three using the theme of Lewis and Clark and the same natural amphitheater site (near the Missouri Headwaters |
 | The program read, “This outdoor drama is written and produced by the citizens of Three Forks under the supervision of Bert Hansen whose services are made available through the courtesy of MSU.” The show began at 6:30 each evening from July 23 though the 26‘h.The elaborate method of staging the two—hour costumed pageant, with the use of authentic props such as tents, canoes, and horses, called for a man of many talents, and Bert Hansen fit the bill. Bert took the cast of hundreds oflocal folks and combined it with trained narrators and actors who—withthe aid of five microphones and a public—address system hidden from view—supplied the voices of the characters out on the stage.The actors performed their parts gesticulating and moving in synchronized harmony with the voices of their counterparts who spoke through the microphones.‘3 He achieved this illusion so convincingly that many in the audience swore the voices were coming from the field and not from somewhere off stage. True to his theories on sociodrama, Hansen liked to include everyone in his productions. In some cases entire towns took part in the pageants. His outreach efforts did not go unrecognized by his colleagues at the University. University of Montana Dean of Students Andrew Cogswell repeated a familiar sentiment in his letter of October 2, 1964., included in a book of such tributes and presented to Bert upon his retirement from UM: You took the University to the tipi, to the town hall, to the school house and to the best pastures and fringes of our towns. You blended the efforts of bartenders, bankers, janitors, teachers, housewives, farmers, cowpokes, and miners, in programs that gave them pride in their community’s past and hope for its future. You introduced them to the Indian as an individual and helped them build a mutual respect for one another. Certainly, Hansen was a genius at getting people together. The 1955 cast of “Outward Bound” included not only the fifty Salish Indians and an infant on a cradle board but also their encampment of lodgepole tepees at the west end of Three Forks. Many had appeared in previous years’ pageants. They performed colorful ceremonial dances nightly at the conclusion of the pageant. These dances—including thethe audience.The Salish offered handmade moccasins for sale and taught their gambling stick game to interested onlookers.” |
 | [...]IEWS—FALL 2008 188 Newspaper clippings from the week of the celebration highlight Hansen’s talents at public relations and in getting the Indians the treatment they deserved as respected cast members[...]e also made sure that they received reimbursement for their services and travel costs.‘5 His friend[...]stated it best, writing on September 24., 1964., in his capacity as Chairman of the Confederated Salish and Kootenai Tribes, “I only hope the one who may take your place will have the interest in the Indian people that you had. As real pioneers, you[...]names and they knew yours, and you were faithful to them as they were to you.” A letter from the Montana Automobile Association attests that it too appreciated Bert’s efforts to draw people to and from far—flung communities. Albert Erickson, assistant manager for the MAA, wrote of Bert, “I don’t know if Bert is a native Monta[...]rth certificate and make him a lifelong resident of the Treasure State. He deserves it. He is the most Montana Montanan I know because he believes in bringing our past to the present and making us understand what pioneering is all about.”“’ As usual, when the reviews for “Outward Bound” came in, Hansen was a hero. The town of Three Forks came away rejuvenated and full of pride. Each night’s show drew thousands including, “descendents of the original expedition’s members from Canada and California.” After one Three Forks pageant, the Cbronitle stated, “KOPR radio technicians of Butte who located at the pageant site said it was magnificent. They said the portrayal of the character parts was magnificent and the entire performance was worthy of a town twenty times the size of Three Forks.”‘7 Often Bert relied on the same core group of performers and supporters in a given community. For example he used Three Forks electrician Edwin Bellach five times to portray Captain William Clark. Bellach’s account of Bert’s patient, yet persistent, directing skills reveals some of the challenges Hansen faced in putting on a pageant. I recall your weeks of instructing the group of local townspeople and businessmen, all amateurs, and most of whom had never seen a pageant of this type, let alone taken part in one. And how evening after evening only part of the cast showed up for practice and each evening it was a different grou[...]no more complete practices than we had been able to have. However, when the final evening came |
 | DRUMLUMMON VIEWS—FALL 2008 189 and the pageant was over, we could always look forward to your big smile and kind compliments on how well[...]bly Hansen’s talent took him away from Montana, to produce and direct some fifty historical pageant[...], Colorado, Kansas, and Wyoming). His involvement in pageants commemorating the establishment of Yellowstone Park (1957—1963) and in the fiftieth anniversary celebration of Glacier National Park (1960) testify to his nationally recognized prominence in the field of historical pageantry. In addition he wrote numerous articles on sociodrama and several books of poetry. Bert Hansen died in Missoula in December 1970 at the age of seventy—five. He was survived by his wife Marg[...]. Remembering his friend and colleague University of Montana Professor of Education Kenneth V. Lottich wrote, “One may argue well that local history and incident, the lives and fortunes of the frequently unheralded and unmarked—this is the real story and not the stereotyped and sometimes pedestrian account that forms the basis for chapters in the dry and dusty volumes of antiquarianism. Professor Hansen knew this well and his works reflected this feeling for humanity and for the individual conscience.” And finally, from a fellow professor at the university concerning Hansen’s abilities: “To get people to meet together, to work together, to accomplish a constructive worthwhile goal together, and to appreciate each other in the process.There can be no greater tribute to any man than to say he helped people to love one another.”9 Those of us who wish to commemorate our shared past would do well to follow the trail blazed by Bert Hansen. He showed the way by making sure the stories he told were accurate—not based on popular mythologyflnd included the traditionally overlooked members of a community. Bert Hansen was a man ahead of his time. Certainly he set the standard for commemorating history in Montana. The power of pageants, in Hansen’s own words, is that, “the people from all around will know that drama can exist without the fabulous trimmings of a motion picture story. They will know that their living has been interesting, if not to the multitudes, at least to themselves.” |
 | [...]. Maurice Foss Lokensgard, “Bert Hansen’s Use of the Historical Pageant as a Form of Persuasion.” Unpublished dissertation, Southern[...]ixxame, 558. Lokensgard, “Bert Hansen’s Use of the Historical Pageant.” 9. Ibid., Hansen interview. 10. Mildred A. Walker, Textimanial Letter; to Bert Hamen, vol. I (Missoula: Montana State Unive[...]). Undated letter. 11. Bert B. Hansen, “A Tale of the Bitter Root: PageantIy as Sociodrama,” Quarter[...]Bozeman. 16.Albert Erickson, TextimanialLetterx to Bert Hamen, vol. 1. Letter dated September[...] |
 | [...]FALL 2008 191 “Ilearn by going where I have to go” Initiatory Turning; in Poetry, Pbilaxophy, and Religion (presented as the Annual Poetics Lecture of the Helena [MT] Festival of the Book, Holter Museum of Art, October 2006) Robert Baker For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern. Blake There are times we are so los[...]I have forgotten / Tortures me.”‘ Where then to turn. Theodore Roethke’s “The Waking” is a poem whose oscillating words seem to call the author who composes them to a clearing at once outward and inward. Perhaps, as poets from M[...]y Hill have taught, well—sounded words turn out to know more than we know, to see more than we see, inviting us to follow them as Ferdinand follows Ariel’s song: I wake to sleep, and take my waking slow. I feel my fate in what I cannot fear. I learn by going where I have to go. We think by feeling. What is there to know? I hear my being dance from ear to ear. I wake to sleep, and take my waking slow. Of those so close beside me, which are you? God bless the Ground! I shall walk softly there, And learn by going where I have to go. Light takes the Tree; but who can tell us how? The lowly worm climbs up a winding stair; I wake to sleep, and take my waking slow. Great Nature has another thing to do To you and me; so take the lively air, And, lovely, learn by going where to go. This shaking keeps me steady.I should know. What falls away is always. And is near. I wake to sleep, and take my waking slow. I learn by going where I have to go.2 This subtle villanelle moves like an initia[...]ritual exercise, or a morning prayer recited over the course of a year. Roethke, so often lost and disoriented in life, in this poem composes a space of wonder that is a space of patience, balanced between inward poise |
 | [...]2008 192 and outward presence. It is a space to which this poem would take us with all the sureness of touch with which “light takes the tree” and the speaker “takes his waking slow.”The poem is deeply marked by Wordsworthian pastoral. Wonder and poiseflnd the widening of being they bringflre the substance of the meditation. “Come forth into the light of things,” a voice says in a poem of Wordsworth’s, and this seems to be the sort of light invoked in Roethke’s poem as well. The paradoxical first refrain—“I wake to sleep, and take my waking slow”— quietly alludes to the death toward which a life lived in the open of freedom unfolds. At the same time it recalls the romantic fascination with a border between sleepi[...]a border where sleeping, traditionally a figure for spiritual death, becomes a figure for heightened life and vision. Yet it is not the ecstatic Keatsian version of this condition, evoked in “Ode to a Nightingale,” but the serene Wordsworthian version, evoked in “Tintern Abbey,” that Roethke’s poem recalls. In “Tintern Abbey” Wordsworth speaks of that blessed mood In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world Is lightened:—that serene and blessed mood, In which the affections gently lead us on, Until, the breath of this corporeal frame, And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. The speaker of Roethke’s poem perhaps remains more bodily present than the trance—like speaker of this passage, yet Wordsworth’s vision nevertheless haunts Roethke’s. These are both poems that search for a spiritual independence anchored in a luminous connection to things. This is the condition in which Heraclitus’ ambiguous assertion that “character is fate”becomes not something fearful (as in the case of Oedipus) but something affirmative (as in the case of Wordsworth himself), permitting one “to feel one’s fate in what he cannot fear,” to dwell in the transient without any irritable reaching after fact and reason. Confidence then comes and turns to glide. The second refrain—“I learn by going where I have to go”—is a variation on the romantic and in particular Wordsworthian theme of an organic journey of life where it is the spirit of the journey itself, not the destination, that matters. The poem traces an expanding movement of participatory attention. In the first two stanzas the speaker describes his awakening to the whole, to the |
 | [...]LL 2008 193 “fate” toward which he begins to move without fear and the “being” he hears “dance from ear to ear.” This is Roethke’s lyrical version of what the ancient stoics called “the discipline of desire,” or amorfizti, the affirmation of one’s participation in the whole. Yet in these stanzas it is as if the speaker were alone in the world. In the next two stanzas his attention moves outward, toward those at his side, first in an address to an unspecified “you,” then in a blessing of the Ground and the Air, the descending light and the climbing worm. This is perhaps Roethke’s eccentric version of what the ancient stoics called “the discipline of action,” a clarified relation with others. The calm wonder of the opening stanzas unfolds into a renewed sympathy with all that lives, as though vital attention were a ground of generosity. In the fifth stanza, the third movement of the poem, the speaker affirms the power of Nature as teacher and force, the riddling source of both his formative journey in freedom and his fateful approach to approaching death.The speaker and the reader alike, “you and me,” are told to “take the lively air,” as in the previous stanza “light takes the tree,” as throughout the poem the speaker “takes his waking slow.” Which path to take, we often ask, unsure finally whether it is we who take the path or the path that takes us. Spirit and air rhyme in this place of wonder. The final stanza describes both this state of being and the very activity of composing this echoing poem. It clearly evokes the speaker’s intuition of a calm that steadies him as he touches it, a presence that abides as he walks with it in the open. At the same time it refers to the composed oscillations of this villanelle itself, the refrain lines and the first two lines of the stanza coming together in a fiction of form that embraces the whole of this spiritual exercise.This is Roethke’s deft version of what the ancient stoics called “the discipline of assent,” a reflective measuring of the soundness of what one is saying. “This shaking keeps me steady. I should know.” The shaking or oscillating movement of this poem holds the speaker in the space of poise it composes. He “should know” because, after all, he is the poet writing it into being, invoking it, though p[...]atement means, too, that he should make an effort to embody it as wisdom in a life outside the poem that is otherwise all too unsteady: if the poem is a spiritual exercise, not just a well—made object in a book, then both author and reader are meant to draw its shape of spirit into their lives beyond the poem. “What falls away is always. And is near.” In life, we’re likely to say, this is untrue, since in life what falls away is lost, is never, is far, however intently we attempt to retain it in memory. In a metrical and rhyming poem, however, and particularly in a villanelle, this affirmation is literally true. The recurring iambic beat, the recurring iambic pentameter line, the two recurring rhymes on “slow” and “fear” (each becoming a half—rhyme in the middle |
 | DRUMLUMMON VIEWS—FALL 2008 194 of the poem, then a full rhyme again at the end), the frequent internal rhymes and alliterations, and the recurring refrain lines: all these “figures of sound” at once fall away and stay near, recede into the past and return in the unfolding present of the poem. God bless the Ear. “What falls away is always. And is near.” It is as though the poem were exploring a power of recovery at work in the very echoing of patterned language. And the magic this spell would cast, no doubt, lies in the suggestion that this sort of composition in art could become a composition in life, an actual forming of composure, a spiritual practice available from day to day, even in those passages of life far from this place of patient openness. So the last two lines of the poem, placing the refrains side by side, evoke at one and the same time a fiction of spiritual orientation and a fiction of poetic practice. “I wake to sleep, and take my waking slow”: I awaken to the mystery of the whole, including the certainty of my coming death, in a condition of wonder that involves embracing the gift of what is transiently there, while at the same time I awaken to the mystery of poetry, the play of words forming patterns, with all the attention to sound this art requires. “I learn by going where I have to go”: life is a sequence of guesses and errors that guide the spirit supple enough to weave them into a deepened awareness, as a poem is a sequence of words that move in part as guesses guided by sound, shaped by the lively ear that learns by going where it has to go. Patience and poise, care and wonder, are the way of a grounded levitation in life as in poetry. And why would anyone believe this? The poem is a spiritual exercise showing that any such passage is a question of faith and practice. In the life of faith we learn by going where we have to go. “Pay attention to how you listen,” Jesus tells his disciples, for “the measure you give will be the measure you get” (Luke 8.18).3 To listen far is to see and walk otherwise. The roots of lyric, Northrop Frye writes, are riddle (or image, figure, metaphor, disclosive shift of perspective) and [17mm (or echo, spell, rhythm, disclosive play of sound). Roethke’s “The Waking” sounds these sources to their depths. All is spaciousness in this region where riddle, spell, and experience inhabit one another. Roethke has composed what Rilke in the first of his Sonnetr to Orpbem calls a “temple deep inside [our] hearing.” According to Rilke’s vision of the amplitude of transient life disclosed in words, it is through the inwardness of hearing that the outward rising of a tree is felt in all its presence. “The tune is space,” and we are “ourselves in the tune as if in space,” Wallace Stevens writes in “The Man with the Blue Guitar,” presenting a figure of sounded outwardness exactly complementary to Rilke’s figure of sounded inwardness. It is a passage into this space of “the unimpeded and the interpenetrating” that Roethke voices in “The |
 | DRUMLUMMON VIEWS—FALL 2008 195 Waking.”The poem is a spiritual exercise, an initiation, a meditative sounding, a going into the world while going through a field of words. We go on faith. We learn by going, and talking, where we have to go.“ “The poem in itself is a ceremony of initiation,” Charles Tomlinson says in a short essay written to accompany his poem “Swimming Chenango Lake,” and this well describes the way his own poems turn acts of attention into ceremonies of discovery.5 He suggests, too, that “living as we do in an age of demolition,” we tend to be impatient with ceremony and so impatient with lyric poems. One might recall in this respect Robert Frost’s deceptively simple[...]y poem that on one level ironically suggests that the ceremonial movement of so many modern lyric poems is little more than the play of a child, an elegiac anachronism, a pastoral nostalgia for something long vanished from our hurried high—tech society. At the same time, however, “Directive” affirms Toml[...]ctive, suggesting that if this movement so common in the lyric is in one sense merely nostalgic play, it is in another sense a zone in which discoveries do take place, shaped by the ancient turnings characteristic of poetry: the patterning of sound in echoes at once recurring and surprising, and the turning of meaning through semantic indirections. For these turnings of language are expressions of turnings of the spirit. Going beyond his own irony, Frost hints that in poetry, as in religion or philosophy, the turning at stake will have a power proportionate to the quality of attention, spirit, and faith that is brought to it. That is what Jesus teaches his disciples in the passage in Mark to which Frost’s poem alludes (a passage I’ll return to below).The motion of discovery would seem to require a faith, however precarious at times, that one is moving toward a source of value—a source of which, at the outset, one has only a premonition. “The person who gets close enough to poetry,” Frost writes elsewhere, “is going to know more about the word belief than anybody else knows, even in religion nowadays.”" A traditional initiation involves both an outward discovery of a transformative source and an inward discovery of an otherwise dormant dimension of the self. This twofold discovery, further, typically[...]e, error, guilt, and mortality. Why has this sort of initiatory search had such a distinctive place in the tradition of the modern lyric? Surely it is not rpetfit to the lyric—it is found in other cultural forms as well. Yet it does have a particularly prominent place in the lyric. There would seem to be at least three reasons for this.7 First, this initiatory movement is vital to the way romantic, modernist, and contemporary poetries work as practices of resistance akin in their stance to |
 | [...]S—FALL 2008 196 existentialist orientations in modern philosophy. It is a commonplace, but an important one, that modern poetries have sought to evade and surpass the abstract flattening of thought so pervasive in modern society. Romantic poets, working with processual theories of knowing and creating, invent the sort of exploratory poetry that Robert Langbaum calls simply “the poetry of experience.” Poems in this mode embody energies of response and imagination without which our ideas become but dull abstractions directing a life of spiritless repetition. Modernist and contemporary poems, with their many tactics of dislocation, at once retain and transform this mode, inventing poems that demand of the reader a step—by—step participation in their compositional processes: it is the searching itself, as much as any particular proposition or conclusion, that is taken to be the life of thought. Designed to resist the reification of language and subjectivity, these poems are meant to be undertaken, undergone, from the inside} Second, as I will try to suggest in the rest of this essay, this initiatory movement involves a secular rearticulation of patterns of initiation developed in ancient religious and philosophic traditions. The lyric would seem to have affinities with these traditions— aanifies all the clearer, I think, if one bears in mind that short lyrics like those I’ve cited in this essay may themselves be emblems of all those longer, more ambitious, more capacious “quest” poems in modern culture. An initiation or a spiritual exercise is perhaps a compressed version of a quest. Third, it is my sense that older patterns of initiation travel into modern poetry in part because there is a parallel between the mode of attention to a presence or a promise that any initiatory movement enacts and the mode of attention to the patterning of language that is a defining feature of the lyric. In other words, this movement, in a range of poems, may involve not only an initiation into a domain of the world and a dimension of the self but also an initiation into the texture of language. The movement of searching in this sort of poem (as, finally, in any accomplished poem) involves an exploratory sounding of words themselves. Indeed there is a vital paradox at play in any initiatory movement. In such a movement we are drawn toward a source of value or horizon of promise. Yet along the way we have only premonitions to guide us. And these premonitions are at least as dependent on our wordi— anticipatory guesses occasionally taking the form of riddles—as they are on the rourter or borizom these words are meant to disclose. Deepstep come shining, as C. D. Wright says, invoking the very light and depth she goes toward on faith. We learn by talking where we have to go. It is as though words called us to the realities they disclosed. Wisdom, the search for the good life, Diotima says, begins in our love for a beautiful body and, |
 | [...]ccompanied by a ladder ofbeautiful speeches, ends in a love ofbeauty itself: a longing for wholeness, Aristophanes says;a longing for the whole, Socrates says; a longing— Rimbaud, Mallarmé, Roethke say—for where words are taking us.9 Is philosophy, too, a kind of initiation? Perhaps. And yet we know, or think we know, that philosophy ever since Plato has defined itself in opposition to the sort of riddling, humming, guessing, troping movement of discovery at work in a poem like “The Waking.” Plato’s attack on poetry in the Republit, of course, is directed primarily at epic and tragedy, not at lyric or romance, yet poetry in modern culture has been as ambitious in its own way as epic and tragedy in Plato’s world, so it is worth recalling the criticisms of poetry that Plato makes in this dialogue. He claims, first, that poets comp[...]that these powerful stories stir wayward passions in their audience, leading unwary individuals away f[...]e complains that poets present their thought, not in their own voice or person, but through masks or c[...]finally, he asserts that poets are not concerned to provide grounds or arguments for what they say, whereas philosophers are committed to this task. These are all serious challenges to the work of poetry. They are also, implicitly, serious challenges to the work of any philosophy that would assume them as defining tasks. In my brief discussion here I wish only to bring out the extent to which Plato, whatever his polemics, conceives of philosophy itself as a kind of initiation, a journey of the searching soul, a tranformative conversation in which guessing and going on faith turn out to be of great importance.‘0 The greatest of Plato’s middle dialogues—the leedo, the Symporium, the Republit, and the Pbaedrm— are initiatory journeys. At once ironic and dialectical, skeptical and visionary, these dialogues are lyrical manifestoes for philosophy, radiant invitations to the philosophic way of life as the highest way of seeking to live the good life. They can be characterized, further, as philosophic versions of what in literary history we know as romance. They all trace a path of erotic and psychic transformation whereby a self can find its way beyond the cave or prison of darkened perception, conventional opinion, and severe political conflict. Plato’s cave of shadows is the cave of both a psyche and a city driven by chaotic struggles for money, power, prestige, and sex (Plato is a puritan, no doubt, though a subtle puritan, wise in the mysteries of eros). We become what we behold, Blake teaches, and Plato, like Blake, wants to change the horizon of our care. His philosophic romance, as many commentators have noted, involves in part a “rationalizing” transposition |
 | DRUMLUMMON VIEWS—FALL 2008 198 of the ascetic, spiritual, and occasionally ecstatic paths of the Pythagorean, Orphic, Bacchic, and Eleusinian religious movements of his time. The path of transcendence is now to be pursued, not simply through ascetic practices,[...], or secret rituals, but through a full unfolding of the life of thought in concepts, critical questionings, dialectical surpassings. Conceptual lucidity is to accompany spiritual longing. Each of these middle dialogues provides a different account of the sort of inner turning of the soul required for the philosophic way of life. The search for wisdom is variously shown to begin in the meditation on death, in the erotic love of beauty, in the divine enthusiasm stirred by erotic awakening, and in the disillusioned recognition that those things one has taken to be truths and realities are in fact only shadows.This philosophic turning from a concern with shadows to a concern with true forms of being, as Charles Kahn has shown, demands not only a cognitive turning, though that is of course essential, but also an erotic turning, a transformation of the soul’s otherwise unruly appetites and affects.The turning is at once affective, cognitive, and ethical. These dialogues, drawing the reader into small communities of conversational quest, speculatively unfold, as it were, Socrates’ claim that “the unexamined life is not worth living,” sounding to the depths just this question of existential worth, responding to our fear that our lives might be incoherent, or[...]or hopelessly opaque. Yet, again, this invitation to the romance of philosophy is far more ambiguous than one might initially gather on the basis of Plato’s attacks on poetry throughout the Republit." There is not space here to discuss these dialogues in detail. But I’d like at least to take a brief walk through the Republit. This dialogue is an exploration of the question ofjustice; as it unfolds, it turns into an exploration of the soul, the state, the education of the philosopher, the nature of knowledge, and the light ofthe good, among many other things. The dialogue opens with Socrates’ objection to Thrasymachus’“relativist” claim that justice is simply an expression of power, a norm established by those who have the power to shape the ethical and political codes of a given state.Then Glaucon and Adeimantus change the direction ofthe discussion, raising the question of appearance and reality, showing that this old question, far from being a metaphysical fable invented to plague empiricists, in fact emerges out of the everyday decisions and judgments we make all the time in our relations with others. Why, they ask, should one want not merely to appearjust but in fact to be just? Wouldn’t most people, driven by self—interest, be content simply to item just to others? Why would beingjust, in truth, be a good that one should desire for oneself? Socrates refuses to back down: he insists that anytime the soul commits an injustice, in however |
 | [...]199 disguised a way, it does damage above all to itself: and a full account of the nature of the soul, he claims, will show why this is so. Yet, he then argues, it is easier to see what justice is on a large scale, that of the city, than on a small scale, that of the individual. So he suggests that they all begin by clarifying the nature ofthe just state before seeking to clarify the nature ofthe just individual (368e—369a). This leads to the famous account ofa state composed of three classes (philosophers, soldiers, and ordinary farmers and craftsmen), each of which classes is correlated with a specific part of the tripartite soul (the rational part, the spirited part, and the desiring part), and with a virtue specific to that part (wisdom, courage, temperance). Justice is said to be the condition ofharmony among these different classes or parts. Yet of course this is not an egalitarian harmony. The harmony of justice can be achieved only to the extent that the philosophers govern the other classes, that the virtue ofwisdom guides the other virtues, that reason is the unwavering ruler ofboth state and soul. The education ofthe philosopher thus becomes a fundamental question. How is wisdom to be found? This is the question explored in the long discussion of the education of the philosopher that culminates in the analogy of the cave. According to this always relevant story, philosophy, or the love of wisdom, begins in disillusionment, in the recognition that what we have believed to be truth is in fact a play of illusions to which our desire and thought have been chained. The breaking free of illusions is the first task. Further, as I’ve already noted, this radical turning of the inner eye of the soul from shadows to true forms, and ultimately to the light of the good, demands a transformation of the entire person. It is this transformation that allows the philosopher to approach, and at least to glimpse, the light of the good, without which glimpse, we are told, a just and wise life is impossible. While the last three books of the dialogue take up important issues—including a typological hierarchy of political regimes and a concluding myth of reincarnation—there is a sense in which the extraordinary searching movement of the dialogue reaches its center with this discussion of dialectical ascent at the end ofBook VII. It is with these first seven books in mind that I wish to underline the initiatory and indeed poetic quality of the search for the good life in this dialogue.‘2 In Book IV Socrates acknowledges that the analogy between the city and the soul elaborated throughout the dialogue is an analogy that must initially be taken on faith (435b—e). Yet he assures his companions that the soundness of this analogy can be clarified at a later stage in the dialogue: the structure of the soul is a mystery that can be clearly approached only through the method of dialectic. Later, in Books VI and VII, after many detours, Socrates says that, in |
 | DRUMLUMMON VIEWS—FALL 2008 200 order truly to understand this analogy, one must attain knowledge of the good (504.).This knowledge is the telor of the education of the philosopher and the practice of dialectic. Yet at the same time Socrates emphasizes that knowledge of the good itrelf exceeds any discursive account (505a, 506e). He thus develops, in place of this mining amount of the good, three analogiex of the good: first, the analogy of the two suns (according to which the intelligible light of the good, which allows us to see what is thought, is akin to the sensible light of the sun, which allows us to see the world); second, the analogy of the divided line (according to which nour, or genuine insight, exceeds dinnoin, or discursive thinking); and, third, the analogy of the cave (according to which the philosopher, in a movement through critical disillusion and dialectical ascent, journeys from the dark of mere opinion to the truth seen in the light of the good). Socrates carefully works through these ana[...]antly asks: “that there is something like this to see—must we not insist on that?” (533a). In a slightly earlier passage he calls his myth of the cave a “surmise” (517cd).This is a nice irony. We are asked to take on faith an analogy that, we are told, will later be conceptually redeemed: later, however, the provisional analogy is clarified through an unfolding of three further analogies. The whole dialogue turns out to be shaped around a subtle play of interconnected analogies. There is thus an élan of guess, a turning of trope, at work in the dialectical quest for truth. This e’lan of guem is linked to both eror and the love oflzenuty in the Symporium, and to both eror and divine madman in the anedrus. Socrates teaches that we learn by going where we have to go. This “going” is at once a longing and a talking: at once a turning of the soul and a following of words in conversation. This does not mean that Plato returns to a “sophistic” or, as we would say today, a Ni[...]seem that Plato is not teaching, either, exactly the sort of rationalist foundationalism that he is generally thought to be teaching. Rather, as Stanley Rosen has argued, he maintains a “blurred picture” between a notion of philosophy as mathematical truth (or exact correspondence) and a notion of philosophy as poetic construction (or ungrounded[...]is already there, nor ximply impose what we take to be real upon some broad blank X. Plato suggests, rather, that there are realities to which our words are meant to respond, realities to which our souls turn, but that these can be approached only through the élan of guess carefully accompanied by the movement of reflection and discursive elaboration. It is this oscillating border that Plato dwells upon in this dialogue as in his other middle dialogues.‘3 The philosophic initiation undertaken in the Republit might be read as a parable about the sort of |
 | DRUMLUMMON VIEWS—FALL 2008 201 initiatory movement at work in a poem like Roethke’s “The Waking” or in countless other lyrics that read like initiations or spiritual exercises. Initiatory movements in the lyric enact, in a concentrated way, this dwelling on an oscillating border between an experience of the world and an experience of language. Do not initiatory movements in philosophy—albeit with a decisive emphasis on d[...]l? Are not poets and philosophers alike searching for wisdom, an insight into things that really are, moving along a border between guessing and finding, turning in words and coming upon a world? It may be that we[...]insofar as we and our words are always returning to this border. “Without invention,” Williams writes in Patermn, “the small foot—prints / of the mice under the overhanging / tufts of the bunch—grass will not / appear.” Williams, it has been noted, thus recalls at once the contemporary meaning of “invent,” to make or construct, and the ancient root of “invent,” to come upon or discover. This is the border to which lyric and philosophic initiations awaken u[...]mise and expansive conceptualization. Jesus, like the prophets, teaches through parable and vision, thr[...]heer presence, charismatic example. Jesus renews the prophetic tradition, so we must begin by taking a step back in time. The great biblical prophets, in trying to make sense of the crisis of Israel and Judah between the eighth and sixth centures BCE, recall and reshape the national myth of Exodus. As they see matters, the community is again falling into exile, ruin, a broken spirit; again the people have lost their way; again they are in desperate need of a Moses—like force and a radical turning of the spirit. The concern of the prophets is to illuminate the national crisis and find a crossing through it. Their teaching, taken in a broad sense, includes two major strands. First, the prophets denounce social injustice, in particular the callous disregard of the unfortunate inseparable from religious and ethical practices grown hypocritical, empty of both inward spirit and outward commitment. They tirelessly call the nation as a whole and each individual to repent, to return to the ways of justice and care commanded by God, to gather themselves anew out of the dispersion of their lives. “Turn, then, and live,” as Ezeki[...]l and Martin Buber have emphasized that terbuvab, the Hebrew word translated as repentame, means above all returning: repentance, according to the prohetic teaching, involves not a guilty introspection but a decisive turning around of one’s spirit, a radical renewal, for which reason Ezekiel speaks |
 | DRUMLUMMON VIEWS—FALL 2008 202 of the “new heart” and “new spirit” at once demanded by and emerging through this turning (11.19). Only through this turning can a “heart of stone” be turned into a “heart of flesh” (11.19). Yet, too, this ethical teaching is ethical in the broadest sense, for it involves a renewed life lived in relation to a redemptive horizon promising a total transformation of the person, of society, and ultimately of nature itself.” The prophets’ ethical teaching, thus, is interwoven with the other major strand of their teaching: a vision of the dialectic of suffering and meaning in an individual or a collective life. On the most archaic level—one that if taken literally can only seem childish to the modern reader—this is simply the teaching that the suffering of the peoples of Israel and Judah is a punishment that their God has imposed on them for disobedience: the pain will cease once they have changed their ways[...]all later Jewish, Christian, and secular thought in western culture—this is the visionary teaching that the experience of suffering is potentially a purgatorial passage, a furnace—like burning away of the opaque, which leads to expanded insight, deepened sense of purpose, difficult clarification of spirit, ultimate redemption of self and community. All the visions of a joyous return ofIsrael to a restored Jerusalem, all the proto—apocalyptic visions of a total transformation of self and society and nature, form an essential pole of this visionary perspective: for, from this perspective, the suffering turns out to be an educational process within a longer journey[...]question that returns wherever a secularized form of this vision returns in modern thought (from, say, Wordsworth to Proust, or from Hegel to Gadamer): is this a descriptive or a prescriptive account of human experience? Clearly it is the latter. For we know that in fact suffering often makes people not wiser and k[...]. Yet this prophetic vision calls each person and the community to a purgatorial passage, a task of assuming the burden of suffering in a spirit of freedom: the demand is to turn the suffering into a deepened spiritual bearing, one open to metamorphic horizons undiscovered in the blinded world of the half—hearted and the stone—hearted. This is the vision on which Jesus draws several centuries later. Influenced by the apocalyptic currents of late Second Temple Judaism, closer to the Pharasaic movement than is usually acknowledged, he revives the prophetic theme of a radical turning or metanoia, the Greek word typically translated as repentante in the gospels, meaning above all a rpiritual metamorpboris or a turning of [be rpirit. Jesus calls the lost and the darkened to an ethical renewal and a crossing toward a coming spiritual kingdom.” Jesus, of course, is many things: an exorcist; a healer; a miracle—worker; an apocalyptic teacher of |
 | DRUMLUMMON VIEWS—FALL 2008 203 both the imminent end of history and the emergent kingdom of God; and a courageous martyr who dies for his willingness to live out the implications of his teaching. My concern at this point is not with the Jesus of early Christian communities. It is with the Jesus who speaks as a powerful if eccentric Jewish prophet. Jesus clearly voices anew the prophetic call for a re—awakening of ethical life through both a spiritual realization and a concrete actualization of ethical principles: this double—concern is perhaps the distinguishing mark of this whole line of teaching. It is fair to say that Jesus places less emphasis than the prophets on the question of social justice, and more emphasis than the prophets on the question of inward renewal, though this is a question of emphasis, not of opposition.Jesus, of course, is wholly concerned to reaffirm the prophetic teaching of love of one’s neighbor. And, like the earlier prophets, he discerns a close, corrosive link between the callous heart of stone that has no concern for others and the hollowed—out spiritual life that, in his comparison, is like a white— washed tomb co[...]Lovelessness and moralism (or, as Blake puts it, the stance of accusation) go hand in hand.Jesus calls his followers to a totally different life: a concentration on a spiritual kingdom they are to turn toward as though they might live into being[...]reality: a reality where love and vision go hand in hand. This call to reorient one’s life in relation to the promise of eschatological redemption is the second dimension of Jesus’ teaching that recalls the earlier prophetic teaching. While Jesus speaks of an end—time of severe suffering to come, he does not, prior to his trial and death, speak out of a sheer crisis of suffering here and now, at least not in the way that Jeremiah and Ezekiel do. He teaches a bearing that involves a different sort of transformative passage through suffering: he calls those he encounters to a radiant unmooredness, an abandonment of all the routines and forms of security they have known, a kind of extravagant trust in spiritual amplitude alone, untied, open to what Ernst Bloch calls the reality of the not yet.‘7 It is often through parables that Jesus evokes this coming kingdom and the sort of spiritual commitment it requires. Indeed these parables take one far into both dimensions of his prophetic teaching. The first parable that he tells in the Gospel of Mark, the parable of the sower, is in fact a parable about the point of his teaching in parables (Mark 4.1—20). He says: “Listen! A sower went out to sow. And as he sowed, some seed fell on the path, and the birds came and ate it up. Other seed fell on rock[...], and it sprang up quickly, since it had no depth of soil. And when the sun rose, it was scorched; and since it had no root, it withered away. Other seed fell among thorns, and the thorns grew up and choked it, and it |
 | [...]y and a hundredfold. [. . .] Let anyone with ears to hear listen!” His puzzled disciples ask him what this means. He does spell it out forthem in explicit terms: it is, he says, a parable about the various ways people receive, or fail to receive, the seed—like words of the coming kingdom: the words of the kingdom grow in those who truly embrace them as the seeds of the kingdom itself, like wild mustard, grow in reality.“ At the same time, deepening the parable, Jesus makes a general and apparently scandalous statement about the purpose of this sort of indirect teaching (this is the passage to which Frost alludes in “Directive”): “He said to them, “To you has been given the secret of the kingdom of God, but for those outside, everything comes in parables; in order that “they may indeed look, but not perce[...]ay not turn again and be forgiven.” And he said to them, “Do you not understand this parable? Then how will you understand all the parables?” (4.10—13). Is Jesus suggesting that his teaching—like that of so many ancient religious teachers—involves a division between “exoteric” and “esoteric” levels, the former for the uninitiated, the latter for the initiated alone? Perhaps so, at least in a sense, though the question then becomes just what “initiation” might mean in this case. The words immediately following his explication of the parable suggest that what is at stake is not an initiation by secret instruction but an initiation by response, trust, faith, crossing of spirit: “He said to them, “Is a lamp brought in to be put under the bushel basket, or under the bed, and not on the lampstand? For there is nothing hidden, except to be disclosed; nor is anything secret, except to come to light. Let anyone with ears to hear listenI’ And he said to them, “Pay attention to what you hear; the measure you give will be the measure you get” (4.21—24). It’s clear he’s not talking about property. The hidden will be disclosed, the secret will be revealed, to those who genuinely listen, to those who in listening genuinely give. What are they to give? Imagination? Spirit? Integrity? Commitment? Northrop Frye writes: “Jesus sometimes speaks of his central doctrine of a spiritual kingdom as a mystery, a secret imparted to his disciples, with those outside the initiated group being put off with parables. It seems clear, however, that the real distinction between initiated and uninitiated is between those who think of achieving the spiritual kingdom as a way of life and those who understand it merely as a doctrine.” We learn by living, by living out, where we have to go.‘9 This preparatory parable of parables in the gospels, then, suggests that partitipation in the mystery of “words of power” is a condition of any illumination of those words: the energy and openness of spirit given |
 | DRUMLUMMON VIEWS—FALL 2008 205 corresponds to the energy and clarification of spirit given back. Intuitive leap is a pulse of intelligence, expectation a dimension of discovery, passionate openness a moment of freedom. But is this not to risk (whether in a secular or a religious domain) the nightmare of superstition, priestcraft, dogmatism, and fanaticism to which the whole tradition of the enlightenment is opposed? It needn’t be so. First, as Frye makes clear, the basic issue is whether one lives in coherence with the words one adopts and speaks, or whether one says[...]er. Presumably this is a teaching we can all take to heart: if I talk about a virtue, or a vision, while making no effort to live it, then, this riddle—maker teaches, I not[...]ing about.20 Further, as Iris Murdoch has argued in a different context, we enter into friendship and romance in much the way we enter into “words of power” or powerful works of art that move us, namely, with wonder and intuition and a large measure of searching faith: this movement of desire and imagination is inseparable from the transformative insights that come to be discovered in these unpredictable relationships. Anselm’s famous prayer prefacing his “ontological proof” includes the words: “For I do not seek to understand that I may believe, but I believe in order to understand.” Murdoch writes: “Credo ut intellgam (I believe in order to understand) is not just an apologist’s paradox, but an idea with which we are familiar in personal relationships, in art, in theoretical studies. I have faith (important place for this concept) in a person or idea in order to understand him or it, I intuitively know and gras[...]often have an intimate relation which is not easy to analyse in terms of what is prior to what.”“ Jesus evokes an initiatory crossing of a sort that illuminates, outside any particular religious context, the élan of faith in any substantive adventure of life. “The measure you give will be the measure you get.” Blake read the prophetic books and the gospels as among our greatest parables of poetic faith, of faith in creative power and premonition. We learn by going where we have to go. Going where we have to go, turning through crisis or disillusion, drawn by eros and guess, we begin to see. In 7773 Corps] 0f7770mm Jesus, asked by his disciples when the kingdom is going to come, says: “It is not by being waited for that it is going to come. They are not going to say, here it is, or, there it is. Rather, the kingdom is spread out over the earth, only people do not see it.“2 What would an initiatory lyric sound like if understood as a door to a way of life? Perhaps it would become a long poem,[...] |
 | [...]that it rouses us and shakes us into wakefulness in the middle of a word. Then it turns out that the word is much longer than we thought, and we remember that to speak means to be forever on the road.” Robert Duncan adds: “surely, everywher[...]es extend into actual space.”23I will now try to bring this all together in a speckled egg of a conclusion. In a late essay Hans Georg Gadamer speaks of “three words” that have shaped our cultural tradition: the word of questioning (philosophy), the word of legend (literature), and the word of promise and reconciliation (religion).The latter, he says, is a word that those of us without religious faith know in the experience of forgiveness, a grace that permits a rebeginning.[...]ne another.“ No doubt they inhabit one another in many ways. Yet perhaps they have often crossed through one another, shaped one another in all their differences, because in some of their fundamental expressions they have all involved a turning of [be xpirit. Philosophy involves a turning from closed—up unfreedom amid shadows to freedom in the open air of speculative thought, unforgettably evoked in Plato’s story of the cave. Religion in the prophetic tradition, interpreting damaged thought[...]involves a turning from a lost and callous heart to the call ofa transcendent source, a call of care and transformative promise. Literature, it i[...]even more difficult than philosophy and religion to characterize in such sweeping terms without falling into absurdity. Yet perhaps Nietzsche’s polemics get at something essential. The early Nieztsche, in 7773 Birtb omegedy, dismisses Socrates as a “th[...]nfident that reflection alone will carry us out of our broken condition, and he sets against this philosophic faith the power of tragic literature to reveal to us the sheer bleakness—though also the creative energy—of our ultimately pointless existence. Nietzsche would have us see that, from Sophocles to Shakespeare, we encounter a tragic wisdom that resonantly resists the comic plots and horizons of idealist philosophy, prophetic religion, and the politics of progress. Here, he argues, we are turned from the illusion of an orderly cosmos or a meaningful history to the truth of an abyssal ruin in things. (In the long tradition ofinitiatory lyrics, this might correspond, not to a poem like “The Waking,”but to all those poems that undertake meditative soundings of death.) Yet this is not the only voice in Nietzsche. All his thought is profoundly shaped by the romantic attempt to translate into secular terms the prophetic passage from despair to hope, from a blocked and damaged life to a renovated life in freedom and the open, a passage that |
 | DRUMLUMMON VIEWS—FALL 2008 207 only a sweep of creative power can bring about. This is the passage from desperate nihilism to visionary affirmation presented in Zaratbmtm. And, even as early as 7773 Birtb of Tragedy, Nietzsche describes tragic art itself as a creative overcoming of this sort, a joyous affirmation that, dialectically, at once discloses the vertigo of nothing and surpasses the nihilist despair stirred by this disclosure. Is t[...]or a comic story? Is it Dionysian, prophetic, or, in some strange way, both at once? The turning of romantic and post— romantic art is often a turning from despair to vision, from a blank death—in—life to a discovery of horizons ofpromise in the face of nothing. In all “three words” that Gadamer calls to mind, then, the deepest story may be the story ofa turning oft/.773 rpirit. Always, these[...]ecognizing that we have lost our way, that we are in a cave, shackled by illusions, dispersed in attachments to pointless idols, eroded by our persistent inertia and despair. Beauty, autumn, a word “eye—deep in air,” the good, “the light of things,” even the sheer wonder of sheer nothing that Whitman felt in the murmur of the sea, come to startle us awake. “I wake to sleep, and take my waking slow.” Our vocation is to walk otherwise, to turn, or, as a poet would say, to trope: to turn our words, and ourselves, through surprising[...]y often display an initiatory quality. They are, at their most resonant, exemplary passages of finding a way to begin again, to turn again in life and language. In the words of the first of Blake’s Song of Experiente: Hear the voice of the Bard Who Present, Past, & Future sees Whose ears have heard, The Holy Word, That walk’d among the ancient trees. Calling the lapsed Soul And weeping in the evening dew: That might controll, The starry pole; And fallen fallen light renew! 0 Earth 0 Earth return! Arise from out the dewy grass; Night is worn, And the morn Rises from the slumberous mass. Turn away no more: Why wilt thou turn away The starry floor The watry shore Is giv’n thee till the break of day.” |
 | DRUMLUMMON VIEWS—FALL 2008 208 Notes Credil: “The Waking”, copyright 1953 by Theodore Roethke, from COLLECTED POEMS OF THEODORE ROETHKE by Theodore Roethke. Used by permission of Doubleday, a division of Random House, Inc. 1. Oppen, New Collected Poemx, 152. 2. Roethke, Re Colleeieol Poemx, 104. 3. This sort of spiritual exercise seems to be one of the things Yeats has in mind when he speaks of the “ceremony” of art. My passing references to ancient stoicism in these pages are drawn from Hadot, Re Inner Ciiaolel, a study of Marcus Aurelius’ thought. 4. Frye,Analomy ofCr[...],Abeaol ofAll Parting, 410—11; Stevens, Re Palm at [be Enol oflbe Mind, 135—36; “the unimpeded and the interpenetrating” are words ofD. T. Suzuki’s cited in Cage, Silence, 46 (Cage in fact speaks of“unimpededness” and “interpenetration”). Rilke himself evokes a sounded outwardness in the first sonnet of Part II of the Sonneix [o Orpbem (Abeaol ofAll Porting, 462—63)—and of course one could well say that this outward space is already evoked in the first sonnet of Part I. 5. Tomlinson, Re Poem ox Iniiiation, and “Swimming Chenango Lake” in Colleeieol Poemx, 155. 6. Frost, “Education by Poetry” in Seleeieol Proxe, 44, and “Directive” in Re Compleie Poemx, 520—21. 7. Even a quick historical sketch should serve to suggest the prominence of this type ofmovement in the modern lyric. At the origins of modern vernacular poetries, troubadours and, in their wake, Renaissance poets of courtly love develop a poetry of displaced prayer that has important parallels with older movements of spiritual search. Later, seventeenth—century devotional poets, as Louis Martz has shown in Re Poetry ofMeolitation, shape many of their poems around the threefold movement of Loyola’s spiritual exercises: a passage from an estrangement from God, through an analysis ofthe causes of this estrangement in the fallen self, to a restored dialogue with God. This pattern is later reinvented in the romantic and post—romantic “crisis poem,” a[...]milar threefold movement, though now articulated in secular terms, usually involving a crisis ofpoetic vocation, and often concluding without any third phase of recovery (other than that implicit in the writing of the poem itself). Further, over the last century a number of poets—including, notably, Montale, Vallejo, and Celan—have revived a poetry of fractured prayer, marked by an apostrophic movement that guides an “I”lost in a place of ruin toward a redemptive “you” sought through this invocatory movement. One could call to mind, as well, a range of other initiatory practices in modern poetry, including, say, those evoked in Keats’ odes, Whitman’s “Out of the Cradle Endlessly Rocking,” Rimbaud’s voyages into light and the whole in the riddling “charms” of 1872, Mallarmé’s sonnets exploring his encount[...]winter ofthings, H.D.’s meditative unfoldings of |
 | DRUMLUMMON VIEWS—FALL 2008 209 disclosive words in Trilogy, Bishop’s intent seashore meditations in A Colol Spring, Heaney’s purgatorial passages in Siaiion Bland and Seeing Ringx, or Valente’s compressed soundings of death in his last sequences. One could easily extend this list in every direction. 8. For fine discussions ofthis whole issue, see Abrams, Nalural Supernaluralixm and “The Greater Romantic Lyric”; Langbaum, Re Poelry ofExperienee; Alfieri, Painierly Aaxtraeiion in MoolernixiAmeriean Poelry and Selfanol Senxiaility inThe Causality of Fate: On Modernity and Modernism.”I discuss this question in greater detail (and provide exact references) in Re Exiravaganl, 25—33. 9. Plato, Re Sympoxium. On the romantic exploratory lyric as a version ofquest,[...]s, Nalural Supernaturalixm.This is closely linked to the whole question of auibenlieily in modern poetry: from the romantic emphasis on voice through the modernist emphasis on xtyle or leebnique. Pound’s well—known words are emblematic: “I believe in an ‘absolute rhythm’, a rhythm, that is, in poetry which corresponds exactly to the emotion or shade of emotion to be expressed. A man’s rhythm must be interpretative, it will be, therefore, in the end, his own, uncounterfeiting, uncounterfeitable. [. . .] I believe in technique as the test ofa man’s sincerity; in law when it is ascertainable; in the trampling down of every convention that impedes or obscures the determination of the law, or the precise rendering of the impulse” (Lilerary Exxayx, 9). Or, in more general terms, the shaping of the lyric as a kind of initiation or spiritual exercise brings with it three important features of modern poetry: the emphasis on the xearebing itxelf as the substance of imaginative life; the emphasis on the value of auibenlieily or genuinenexx in this searching movement at both the subjective level (the quality of thought and feeling) and the linguistic level (the quality ofpatterned sound); and, with the gradual erosion of the transcendent in an increasingly secular culture, the tendency to find in the patterned sound of the poem a space of widening irreducible to conceptual schematization, a widening figured b[...]mple inxiole our bearing and by Stevens as a tune in xpaee that we inhabit. At stake in this last tendency is a recasting ofone ofthe oldest features of lyric language: the incantatory power of words. IO. Plato, Re Republic, II—III (376d—4o3c) and X (595a—6o8b). The irony involved in the third of these criticisms—that dramatic poets fail to speak in their own person—is vast. For of course the exact same charge can be lodged at the Plato of the very dialogue in which the charge is lodged at the poets. The characters and speeches in the dialogue are orchestrated by an author who never himself appears on stage, never himself speaks in his own voice. Why is this irony made so curiously obvious? Perhaps it is a hint that we are to look for subtler ironies at work in Plato’s other criticisms of poetry, or in his broader account of what he calls the “ancient quarrel” between philosophy[...] |
 | [...]S—FALL 2008 210 I’m particularly indebted to Kahn’s splendid exploration of the quasi— religious nature of Plato’s philosophic journey. My characterization of the conversational quest undertaken in these dialogues draws heavily on Howland, Re Republic: Re Odyxxey abeilampby, 34—3 5 and 54—55. For illuminating explorations of the ancient practice of philosophy as a way of life, see Hadot, Qu'ext—ce que la pbilampbie an[...]Exercicex xpirituelx ei pbilampbie aniique. 12. In describing the radical transformation of the entire person demanded by this turning,I follow the account in Kahn, Plaia anal [be Sacraiic Dialogue, 258—91[...]afAnalyxix, especially I28 and 149—89, and, on the cave as an allegory not ofthe city, as is usually claimed, but of the psyche, Plato} Republic, 268—75. Rosen suggestively characterizes this interplay of the mathematical and the poetic as an interplay of what Pascal calls l 'exprii ale ge‘ameirie and l 'exprii definexxe. One could recall in this context, too, the famous passage in Plato’s Lefler VII concerning the spark of insight that flashes up only once the long labor of the dialectical journey has taken place: “it is onl[...]her sensations, are rubbed together and subjected to tests in which questions and answers are exchanged in good faith and without malice that finally, when human capacity is stretched to its limit, a spark of understanding and intelligence flashes out and illuminates the subject at issue” (Pbaealru: anal Letter; VII anal VIII, 140). My suggestion is that, in the journey undertaken in Re Republic, a kindred spark, or what I have call[...]fguess, or what Socrates himself calls a practice of “surmise,” not only arrives at the end but also guides the journey all along [be way. Philosophy, Plato teaches, begins in the imprecise pictures and contradictory opinions of everyday life: the philosopher, questioning these and stepping beyond them in order to arrive at gradually clarified definitions gathered in a broader synthetic account, moves toward the truth. Yet Plato also teaches that the way in which one picks up these opinions, the finesse or élan ofguess with which one turns them around or recasts them to set a philosophic conversation in motion, will have much to do with the way one comes to journey beyond them in the conversation as a whole. Gadamer, following Hegel, has given this teaching a central and illuminating place in his hermeneutic philosophy. One must, as the poets have always taught, listen to where our words have come from and where they are[...]e’ Angel Valente says, “involves an attention of all the senses to what the words are perhaps going to say” (Obra Pae‘iica, Vol. 2, 12). 14. Williams, Paiermn, 50. On “invention” in Williams, I’m sorry to say, I’ve not been able to locate a source, though I’m sure I read this long ago in some study of Williams. The late Gillian Rose, in her philosophic memoir Lave} War/e, writes: “Th[...]escribing a contemporary tendency] misunderstands the authority of reason, which is not the mirror of the dogma of superstition, but risk. Reason, the critical criterion, is for ever without ground. [. . .] I bring the charge that reason’s claim remains unrealised f[...]scendent ground on which we all wager, suspended in the air” (I27, 159)- |
 | [...]draw here also on Heschel, Re Propbeix, 119—20. According to the prophets, Heschel says, “our basicmalady is c[...]l metamorphosis,” see Frye, Re Greg! Code, 130. For a suggestive account of Jesus as aJewish holy man, see Vermes, Re Religion ofjexm [be/em 17. See Bloch, Re Principle ofHope. The open to which Jesus calls his disciples is beautifully evoked in his words encouraging us to abandon our usual anxiety: “Therefore I tell yo[...]will eat, or about your body, what you will wear. For life is more than food, and the body more than clothing. Consider the ravens: they neither sow nor reap, they have neit[...]God feeds them. thow much more value are you than the birds! And can any of you by worrying add a single hour to your span oflife? If then you are not able to do so small a thing as that, why do you worry about the rest? Consider the lilies ofthe field, how they grow: they neither toil nor spin; yet I tell you, even Solomon in all his glory was not clothed like one of these. But if God so clothes the grass of the field, which is alive today and tomorrow is thrown into the oven, how much more will he clothe you—you of little faith! And do not keep striving for what you are to eat and drink, and do not keep worrying. For it is the nations of the world that strive after all these things, and your Father knows that you need them. Instead, strive for the kingdom, and these things will be given to you as well” (Luke 12.22—31). This is the spiritual open to which Sylvie calls Ruth in Marilynne Robinson’s Home/eeeping, less a reali[...]xtraordinary visionary parable. 18. He says: “The sower sows the word. These are the ones on the path when the word is sown: when they hear, Satan immediately comes and takes away the word that is sown in them. And these are the ones sown on rocky ground: when they hear the word, they immediately receive it with joy. But they have no root, and endure only for a while; then, when trouble or persecution arises on account of the word, immediately they fall away. And others are those sown among the thorns: these are the ones who hear the word, but the cares of the world, and the lure of wealth, and the desire for other things come in and choke the word, and it yields nothing. And these are the ones sown on the good soil: they hear the word and accept it and bear fruit, thirty and six[...]fold” (Mark 4.13—20). Only a few words later the unfolding of the kingdom itself is evoked as a mysterious process of growth from seeds: “The kingdom ofGod is as if someone would scatter seed on the ground, and would sleep and rise night and day, and the seed would sprout and grow, he does not know how. The earth produces of itself, first the stalk, then the head, then the full grain in the head. But when the grain is ripe, at once he goes in with his sickle, because the harvest has come. [. . .] With what can we compare the kingdom ofGod, or what parable will we use for it? It is like a mustard seed, which, when sown upon the ground, is the smallest of all the seeds on earth; yet when it is sown it grows up and becomes the greatest ofall shrubs, and puts forth large branches, so that the birds of the air can make nests in its shade” (Mark 4.26—32). The inward and the outward |
 | [...]er. 19. Frye, Re Greoi Code, 129—30. Elsewhere in this book, too, Frye casts light on the difference between professed faith and lived faith: “There seem to be two levels of faith, the level of professed faith—what we say we believe, think we believe, believe we believe—and the level of what our actions show that we believe. Professed belief is essentially a statement of loyalty or adherence to a specific community. To profess a faith identifies us as Unitarians or T[...]sts or Shiite Muslims or whatever. Beyond this is the principle that all one’s positive acts express one’s real beliefs. In very highly integrated people the professed and the actual belief would be much the same thing, and the fact that they are usually not quite the same thing is not necessarily a sign of hypocrisy, merely of human weakness or the inadequacy of theory” (229). For other fine accounts ofJesus’ teaching in parables, see Vermes, Re Religion ofjexm [be/en),[...]Re Firxi Coming. 20. This “Socratic” element in the teaching ofJesus might be understood as a substantial qualification of Paul’s “anti—Socratic” thought in the Letter to the Romans: “For I do not do the good I want, but the evil I do not want is what I do” (Romans 7.19)[...]larger sense ofvocation, it risks becoming a word of complacency, an excuse for bad faith. It is possible to hold these two perspectives in mind at once. 21. Murdoch, Metapbyxiex ox a Guide [o Mo[...]nows more about from having lived with poetry”: the belief in the self whose dormant powers are coming to be, the beliefin another person with whom one enters into a relationship that is coming to be, the beliefin a work of art whose pattern and meaning are coming to be, and the beliefin a God whose promises are coming to be (“Education by Poetry” in Selected Proxe, 44—46). All of these sorts ofbelief, he says, involve going on intuition, going on searching faith, and, of course, going without any assurance that the going will come out well. 22. Layton, Re Gnoxtie Seribtmex, 399. Cf.: “Once Jesus was asked by the Pharisees when the kingdom of God was coming, and he answered, The kingdom ofGod is not coming with things that can[...]will they say, look, here it is, or, there it is. For, in fact, the kingdom of God is among [within] you” (Luke 17.20—21). 23. Mandelstam, “Conversation about Dante” in Comp/eie Criiiea/Proxe, 259; Duncan, “Preface” to Bending [be Bow, vi. 24. Gadamer, “Culture and the Word” in In Praixe ofReory, 12—15. 25. RonaldJohnson: “W[...]rds and worlds / you could put your foot through. To be // eye—deep in air, // and the inside ofall things / clear // to the horizon. Clear // to the core” (“Stereopticon [for Lorine Niedecker]” in Eye; 8 Objeeix, unpaginated). Seamus Heaney: “All afternoon, heat wavered on the steps / And the air we stood up to our eyes in wavered / Like the zigzag hieroglyph for life itself” (“Seeing Things” in Seeing Ringx, 19). Mark Edmundson writes: “Wittgenstein [. . .] thought that people came to philosophy, to serious thinking about their lives, out |
 | DRUMLUMMON VIEWS—FALL 2008 213 of confusion. The prelude to philosophy was a simple admission: ‘I have lost my way.’The same can be true for serious literary study” (Why Read?, 33). Plato[...]this as well. One could put it this way. We come to awareness of ourselves, first of all, as lost, disoriented, badly off balance. How did this happen to me, we say, how did I come to be here, living like this, dying like this, losin[...]g like this, mis—talking like this? Then we try to begin again. Thus the abiding relevance of Plato’s great allegory of the cave: the movement toward wisdom begins in disillusion. Thus the abiding relevance of the prophetic cry: why have you turned away from, when will you turn back to, what matters? Thus the abiding relevance of Blake’s renewed prophetic voice: “0 Earth 0 Earth return!” In Where Shall Wixdom Be Found? Harold Bloom writes: “After halfa century of teaching poetry,I have come to believe that I must urge my better students to possess great poems by memory. Choose a poem that[...]idge says, and read it deeply and often, out loud to yourself and to others. Internalizing the poems ofShakespeare, Milton, Whitman will teach you to think more comprehensively than Plato can. We cannot all become philosophers, but we can follow the poets in their ancient quarrel with philosophy, which may[...]not think that poetry offers a way oflife (except for a handful like Shelley and Hart Crane); it is too large, too Homeric for that. At the gates of death,I have recited poems to myself, but not searched for an interlocutor to engage in dialectic” (66). There is much wisdom in this, particularly in the suggestions, first, that an internalization of the words of poetry brings a power of insight in itself, and second, that poetry or literature i[...]ensive than philosophy. I have nevertheless tried to suggest here at least some parallels between the inifiatory movements of poetry, philosophy, and religion. VVar/es Cited Abrams, M. H. “The Greater Romantic Lyric.” “Structure and Style in the Greater Romantic Lyric.” Romantitixm and Conrt[...]ural Supernatura/ixm: Tradition andRe‘vo/ution in Romantit Literature. New York: Norton, 1971. Ado[...]by Robert Hullot- Kentor. Minneapolis: University of Minnesota Press, 1997. Altieri, Charles. Painter/y Aortraotion in ModernirtAmeritan Poetry. University Park: Pennsy[...]niversity Press, 1995. —. Self and Senrioi/ity in Contemporary Ameritan Poetry. New York: Cambridge[...]s, 1984. Baker, Robert. He Extravagant: Croningr of Modern Poetry and Modern Pbi/oropby. Notre Dame: University of Notre Dame Press, 2005. Bernstein,]. M. “The Causality of Fate: Modernity and Modernism.” In He Reto‘very of Etbita/ Life. London: Routledge, 1995. 159[...] |
 | [...]e Greek; and tbe Irrational. Berkeley: University of California Press, 1951.Edmundson, Mark. Wby Rea[...]urt Brace Jovanovich, 1982. Gadamer, Hans-Georg. In Praixe of 77)eory. Trans. Chris Dawson. New Haven: Yale Uni[...]s, 1998. —. Exertitex xpirituelx etpbiloxopbie antique. With a foreword by Arnold 1. Davidson. Rev and e[...]Michel, 2002. —. Qu’extete que lapbiloxopbie antique. Paris: Gallimard-Folio, 1995. Heaney, Seamus. S[...], Abraham. Bet-ween God and Man'An Interpretation of fudaixm. Ed. and with an introduction by Fritz A.[...], 1962. Howland, Jacob. He Repul7lit: He Odyxxey of Pbiloxopby. Philadelphia: Paul Dry Books, 1993. Johnson, Ronald. Eye; 53’ Olg/ettx. Highlands, NC: The Jargon Society, 1976. Kahn, Charles. Plato and t[...]versity Press, 1996. Langbaum, Robert. He Poetry of Experiente: He Dramatit Monologue in Modern Literary Tradition. London: Chatto &Windus[...]Point, CA.: Ardis, 1997. Martz, Louis. He Poetry of Meditation:A Study in Englixb Religioux Literature of tbe Se‘venteentb Century. New Haven: Yale Unive[...]to and Greek Religion.” He Caml7ridge Companion to Plato, ed. Richard Kraut, 227—47. New York: Cam[...]ress, 1990. Murdoch, lris. Metapbyxiu a5 a Guide to Moralx. New York: Penguin, 1992. Nietzsch[...] |
 | [...]k: Penguin, 1999.Poirier, Richard. 'Ibe Renewal of Literature: Emerjonian Reflectio n5. New Haven:[...]versity Press, 1978. Stevens, Wallace. 'Ibe Palm at tbe End of tbe Mind. Ed. Holly Stevens. New York: Ran[...] |
 | DRUMLUMMON VIEWS—FALL 2008 217 “Stuck Situations”in the Philanthropic Divide: The Need for Nonprofit Capacity Michael Schechtman Note: This essay first appeared in Pbilantbropy 8 Rural America, a publication ofTh[...]Senate Finance Committee Chairman Max Baucus and the Council on Foundations have brought national attention and focus to the philanthropic challenges and long—term, systemic under—funding of rural America. The conference held in Missoula, Montana, in August, 2007, showcased excellent projects in rural America that have been supported by some of the most thoughtful foundations in the country. Field trips organized by the Montana Community Foundation exposed attendees to exciting programs and projects being conducted by terrific local nonprofits. Many attendees left the conference energized to learn more and possibly fund the vital new work they had seen; others talked about[...]eagues whether these programs could be replicated in the rural areas tied to their missions focus.There was also genuine frustration among a number of conference attendees. Lurking in the wings was the crucial question: Why does so little foundation money make its way to rural America? On the first day of the conference, Aaron Dorfman, executive director of the National Committee for Responsive Philanthropy, highlighted findings f[...]t “inadequate organizational capacity” is one of the key barriers NCRP identified that constrains grants to rural nonprofits by regional and national foundations. One of the sessions on the last day addressed how to build philanthropy for rural America, and much attention was given to the lntergenerational Transfer of Wealth. Participants pointed to the vital role that local community foundations can play in helping capture a portion of the wealth transfer as a community— focused philanthropic legacy for generations to come. Frustration surfaced once again, this time over the poignant reality that many areas in rural America lack adequate philanthropic infrastructure to engage and assist rural residents regarding the Transfer of Wealth and the possibility of leaving a philanthropic legacy. Disparities in Funding for Rural and Urban Areas Building institutional infrastructure in rural America that can guide and nurture the development of philanthropy and nonprofits is a core strategy for both building local philanthropy and attracting a more equitable share of the nation’s annual foundation grantmaking. States vary with respect to their resources and capacity to build such infrastructure, which led my organization, the Montana—based Big Sky Institute for |
 | DRUMLUMMON VIEWS—FALL 2008 218 the Advancement of Nonprofits (BSI), to undertake research to document and articulate these disparities. BSI’[...]documented long—term systemic under— funding of a number of low—population rural states, a phenomenon BSI refers to as the “Philanthropic Divide.” The Philanthropic Divide is a complex phenomenon of limited philanthropic and nonprofit sector resources and infrastructure that places nonprofits in the ten Divide states at a competitive disadvantage with their counterparts in other states. For most of the last fifteen years, the ten Philanthropic Divide states have been Alaska,[...]has documented not only significant disparities in in— state foundation assets, but also in in—state per capita grantmaking. Limited foundation assets and low per capita grantmaking have been the lightning rod to draw attention to these states, whose operating conditions for nonprofits represent the extreme manifestation of the challenges and barriers facing rural America more generally. In particular, the term “Philanthropic Divide” has been used to focus on the rapidly increasing gap in in—state foundation assets between those states with the least and those with the most. According to data published in 1990 by the Foundation Center, the ten states with the least amount of foundation assets had an average of $63 million per state. The ten states with the most assets had an average of almost $9.26 bilion per state. The asset gap, comparing averages of the bottom ten states with the top ten states, was $9.2 bilion. According to data published in 2007 by the Foundation Center, the average amount of assets among the bottom ten states had increased to $757 milion per state, while the top ten states averaged $36.8 bilion per state. The Philanthropic Divide asset gap hac nearly quadrupled to $36.1 billion. When BSI first published its data regarding the Philanthropic Divide, some foundation staff scoffed at the numbers, alleging that there were so few people in these states that very few assets were needed to satisfy the funding needs of these states’ nonprofits. However, when BSI examined figures for per capita grantmaking among these states, we onc[...]parities, which grew over time. Data published by the Foundation Center in 2007 pegged per capita grantmaking for the ten states with the least assets at $34., compared to a national average of $117, and $171 per capita for the states with the most assets. Comparing averages among the bottom ten states to the top ten states showed a per capita grantmaking gap of $73 according to 2000 figures, with that gap increasing to $137 seven years later. The paucity of foundation resources in the Philanthropic Divide states is critically important to |
 | DRUMLUMMON VIEWS—FALL 2008 219 the question of how infrastructure can be built to assist in the development of philanthropic and nonprofit capacity for these rural states. In Montana, for example, the great majority of the in—state foundations are small and unstaffed. Most grantmaking is at the $10,000 level or less. Relatively few grants are made in the $50,000 to $100,000 range, and grants over $100,000 are scarce at best. The building of nonprofit and philanthropic infrastructure has generally been the domain of foundations that can make large grants ranging from $100,000 to $250,000 and greater. This led BSI to examine grantmaking by the Top 50 Foundation Grantmakers to each of the ten Divide states during the years 2000 through 2004. These preliminary findings were both illuminating and disturbing. Grantmaking to the 10 Philanthropic Divide states by the fifty Top Foundation grant—makers (by giving) to each state increased from a total of $205.9 million in 2000 to $320.9 million in 2004. Most of this growth, however, came from in—state foundations. The in—state foundations that made the Top 50 in their respective states in 2000 granted a total of $22.5 million that year; this increased to $122.6 million in 2004. Top 50 grantmaking to the Divide states from national foundations was $103.7 million in 2000. By 2004, however, the national foundation total had declined to $96 million. More importantly, the percentage of total Top 50 grant dollars from national foundations to the Philanthropic Divide states declined precipitously from a very significant 50.4 percent in 2000 to 29.9 percent in 2004. Work Underway to Build Infrastructure to Strengthen Rural Philanthropy and Nonprofits The Philanthropic Divide states have not sat by idly, awaiting a reversal in national foundation grantmaking trends, to figure out how to build infrastructure that can strengthen philanthropy and nonprofits. Some brief examples: ' In Alaska, nonprofit and philanthropic leaders worked together to found the Foraker Group, which is currently a multi—milli[...]ulting, training, and management support services to nonprofits of all sizes throughout this vast state with many remote and isolated communities. ' West Virginia established the West Virginia Grantmakers Association with a full—time Executive Director to serve and help strengthen the state’s growing ranks of family foundations, as well as a consortium of twenty—six local community foundations. ' In New Hampshire, a consortium of in—state |
 | [...]IEWS—FALL 2008 220 funders pooled resources to underwrite a multi— year nonprofit capacity building initiative, in which the state’s nonprofit association, the New Hampshire Center for Nonprofits, has ramped up and emerged with an extremely robust program of professional development and Board training opportunities for nonprofits all over the state. ' In Montana, special attention has been given to organizing and incubating diverse partnerships in order to coalesce resources and leadership to underwrite infrastructure development. Two illustrative examples are: the Montana Nonprofit Organizational Effectiveness Grantmaking Program and the Indian Philanthropy and Nonprofit Group Initiative. BSI has partnered with a growing collaboration of in—state foundations to develop the Montana Nonprofit Organizational Effectiveness G[...]gram. Currently, if a nonprofit decides it wants to strengthen its capacity—whether it be through d[...]ies—there are no statewide grantmaking programs to which nonprofits can turn for support to hire a consultant. In addition to seed funding from the W. K. Kellogg Foundation for the OEG Program, seven Montana foundations have provided funds for this initiative, and several others are exploring participation this year. Program partners worked in collaboration with BSI and several national consultants to design the Montana OEG Program, which is being launched with[...]tween $150,000 and $200,000. Following six months of program development during the first half of 2008, the OEG Program will begin making grants for organizational assessments, as well as grants to support organizational development projects. Current plans call for three years of demonstration activities, followed by evaluation and assessment to determine how to continue the program on a sustainable basis. Senator Baucus’ interest in growing philanthropy for Montana and the rest of rural America is strongly mirrored by the interests of the state’s governor, Brian Schweitzer. Governor S[...]ted a Conversation on Endowments and Philanthropy in November of 2006 that generated keen interest in building philanthropy for Indian Country in Montana. Governor Schweitzer has appointed more Native Americans to his cabinet than any other governor in Montana’s history. He supported his economic development specialist for the seven Indian reservations in Montana and the Coordinator of Indian Affairs to work with the Governor’s Task Force on Endowments and Philanthropy and BSI to develop an initiative |
 | DRUMLUMMON VIEWS—FALL 2008 221 to build philanthropic resources and nonprofit development assistance for Indian—led nonprofits on the reservations and urban—based Indian communities. At present, this effort is known as the Indian Philanthropy and Nonprofit Group Initiative. ‘At its heart, the IPNG Initiative has brought together leadership from Indian Country, state government, in—state foundations, and nonprofit sector infrastructure organizations to develop a long—term collaboration. A twenty—four—member working group has begun sharing information to develop common understandings regarding nonprofit needs in Indian Country, the availability of resources within the state, new and emerging programs and projects that potentially could be tailored to assist nonprofits in Indian Country, and trends/new opportunities within regional and national funding circles. When this initial work to build shared understandings is completed, the working group will establish priorities and plans for building philanthropy and nonprofit resources for Indian Country. B51 is providing fiscal sponsors[...]services, during this initial development stage. In both of these examples, Montanans have taken “stuck situations” and created new strategies to get them “unstuck.”All too often, infrastructure development in a Philanthropic Divide state like Montana has appeared far too daunting in complexity and cost for individual foundations to become involved. Historically, the localized focus of so many of the state’s grantmakers, the lack of a statewide grantmakers association, and the overall problem of geographic isolation have constrained funders fro[...]lopment needs. Efforts by Philanthropy Northwest, the Governor’s Task Force on Endowments and Philanthropy, the Montana Nonprofit Association, B51, and others have helped establish a new chapter in building diverse partnerships and better resource[...]promising efforts also present new opportunities for regional and national foundations to partner with in—state organizations where there is a confluence of interest in developing infrastructure that can help build philanthropy and nonprofit capacity. Despite the overall positive tone and constructive direction of the rural philanthropy conference in Missoula, those of us living and working in rural states are still asking the important question: Why are so few national and regional foundation dollars making their way to rural areas? With promising and successful efforts like those described in this essay, and many more that also could be highlighted, rural and national foundations need to recognize that the old excuses are no longer valid. Terrific organizations doing fabulous work stand ready to partner with interested funders. |
 | [...]EWS—FALL 2008 222 Notes I. Data published in 2007 by the Foundation Center indicate that Wyoming and Maine have pushed their way out of the bottom ten, being replaced by New Mexico and Idaho. B81 is currently engaged in research activities that will develop a more comprehensive and definitive set of philanthropic metrics and associated indicators r[...]c Divide designation. It is anticipated that when the research is completed, the number of states receiving Philanthropic Divide desi[...] |
 | [...]ix ‘flefiwHolter A Serendipitoux Life:An Exxay in Biography Rick NewbyIntroduction Probing the Unknown A miracle ix bappening [0 you And you ar[...]eligb[. from “Trio,” Beyond [be Morex: Poemx of Frieda Fligelman (Berkeley: Athe Press, 1965) Legend bax i[ [ba[ [bere were [breeprineex of Serendip, wba[eq)er [ba[ ix or wax, and [ba[ [beg] xe[ ou[ inin probing [be unknown. Norman J. Holter, “The Genesis of Biotelemetry,” Bio[eleme[ry (New York: Academic[...]Mon[ana Hix[orieal Sotie[y (Lo[3 Box 5 Folder 4) At the southeast corner ofWomen’s Park in the heart of Helena, Montana’s capital city, stands a grand[...]an apartment block destroyed by fire). Affixed to the left side of the arch is a bronze plaque that reads, “In Loving Memory of Norman JeHeris Holter, 1914—1983, and His Many Contributions to Science, Medicine, Business, Community, the Arts, and Learning.” Inscribed at the bottom of the plaque (donated by Joan Treacy Holter, the honoree’s widow) is the phrase: “The one thing no one can take from you is what you know.” Holter himself had given the arch to the city in 1982, just |
 | DRUMLUMMON VIEWS—FALL 2008 225 frfiHolter at work in tbe Holter Rexearel; Foundation laboratory[...] |
 | DRUMLUMMON VIEWS—FALL 2008 226 before his death, in memory of his parents, Norman B. and Florence J. Holter, an[...]P. and Anton M. Holter, “Pioneers and Builders of Montana and of Helena.” Although he was certainly a local her[...], neither Norman Jefferis “ eff” Holter—nor the global impact of his scientific contributions—have been fully appreciated beyond a small circle of physicians and researchers. This essay seeks to correct that oversight, attempting to shed light on both the character of this singular man and his important work. At the same time, it makes no claims to be a full biography. Rather, it focuses almost ex[...]s scientific achievements. It gives short shrift to Holter’s family and social life and his myriad interests outside the sciences (except as those came into contact with,[...]na, Montana, and La Jolla, California—was a man of the world, passionate about ideas and the arts (especially sculpture, jazz, and photography), infinitely curious, and dedicated to making a difference in the lives of his fellow humans. The scion of a remarkable Montana pioneer dynasty, he believed in the virtues of education, hard work, and intellectual independence, and because he had the means, he was able to establish a private foundation and laboratory wh[...]his insights, guesses, and accidental discoveries at will. It has been said that the greatest scientists—those who make the great discoveries—are very like artists, operat[...]by logic.Jeff Holter was an articulate proponent of what he called “non—goal— directed scientific research,”‘ and with his contributions to the field of what is today called “noninvasive electrocardiology” and his invention of the Holter Heart Monitor (and related technologies),[...]n approach can be mightily effective. Put simply, the highly portable Holter Heart Monitor (today the size of the smallest iPod) allows a physician to record the heart rhythms of a subject over many hours, while the patient engages in his or her daily routine. The physician can then quickly review the collected data, determining what the patient’s heart reveals over, for example, a twenty—four—hour period. Before the Holter Heart Monitor, the only heart information available was that collected in a matter of minutes while the patient was stationary. In describing his insight that such a monitor—which collected heart data over the long term—was desperately needed, Jeff Holter compared the recording of the heart to the assaying of ore (an apt comparison, given his family’s long connections with the gold and silver mining camps of Montana). He told an interviewer: |
 | DRUMLUMMON VIEWS—FALL 2008 227 If I owned all of Mount Helena [the mountain, now a city park, that overlooks Helena’s historic West Side], and I picked up a rock at the bottom ofit and sent it to a chemical analysis laboratory, and I said, “P[...]would conclude that all ofMount Helena consisted of the same amount. That’s what’s called poor sampling, in any kind of science. . . .The idea that I should conclude that that mountain has those percentages of minerals is absurd. But that’s exactly what you do when you take an electrocardiogram in the office. You take twelve to fourteen heartbeats. But in the meantime, the heart beats 120,000 times a day. So you look at twelve of them, and you say, “Oh, you’re very healthy,[...]nhealthy man. No smoking, please.” He went on to add: [S]ince when does life consist of holding your breath and lying down and not moving[...]airs? People having three meals, one right on top of the other? Or getting drunk as a skunk? Or being hit in the butt by an automobile? None of that is measured when you’re lying down. . . .2 Undeniably, the Holter Heart Monitor, developed by Holter and his team at the Holter Research Foundation in Helena (beginning in 194.7), has saved countless lives and helped launch a whole new field of medicine. As William C. Roberts, editor—in—chief of 7773 Amerimnjournnl ofC’nrdiology, wrote soon after Holter’s death in 1983, “nearly 7,000 articles have been publishe[...]emetry and Patient Monitoring) was started purely for publications on the subject.” Roberts added, “Not a bad accomplishment for a man who had neither an MD nor a PhD degree, who funded his own research, began his own laboratory located in a former train station in a town with a population of less than 30,000, and unassociated with a medical[...]d far away from any medical research center.”3 In 1984., Holter’s discovery received further validation when a group of physicians and research scientists formed the International Society for Holter and Noninvasive Electrocardiology (ISHNE).They created ISHNE to “promote and advance the science of noninvasive electrocardiology in all its phases and to encourage the continuing education of physicians, scientists and the general public in the science of Holter |
 | [...]fifHolter on board on a US. Navy xln'p during 1in Keri/ice ax a plyyxicixt in World war II. Plyotograplyer unknown. Coarr texy[...]ardiology.”4 ISHNE’s journal is called Annalx of Noninvaxiwe Elettrocardz'ology. As a physicist, Jefi Holter served on the Navyteams that conducted atomic bomb tests at Bikini Atoll and hydrogen bomb tests at Eniwetok Atoll immediately after the Second World War. He was among the earliest scientists to see the therapeutic possibilities of radioactivity, and he is still remembered for his pivotal role in the formation of the Society ofNuclear Medicine (SNM). C. Craig Harris noted in a 1996 history ofthe Society, “The Society of Nuclear Medicine was created and constructed by persons from many branches of medicine and the physical sciences, but it originated mostly in the mind of a chemist—physicist—engineer named Norman ‘Jefi’ Holter.” Holter and a handful of colleagues launched the Pacific Northwest Society of Nuclear Medicine in 1954., only fifty—seven years after Marie Curie named the mysterious rays emanating from uranium “radioac[...]d only eighteen years after John H. Lawrence made the first clinical therapeutic application of radiation when he used phosphorus—32 to treat leukemia. Holter served as the president of the national Society from its founding in 1956 until 1967. The Society remains vigorous into the twenty—first century, and as Harris |
 | DRUMLUMMON VIEWS—FALL 2008 229 concluded in his history of SNM, “[Jeff Holter] was a clever innovator; his name is known to thousands of cardiologists and their patients from the Holter Monitor, which he invented. He also invented the Society of Nuclear Medicine.”5 Nearly all the commentators on Jeff Holter’s career marvel at his ability to have had such a major impact on the scientific community—from his home in the wilds of Montana. However, Joan, the scientist’s widow, speculates that, because of his relative isolation (and therefore relative fr[...]accomplished a great deal more than he might have in an academic or governmental setting on either coa[...]fer from his isolation, but when he found himself in academia (in 1964., he accepted a full professorship as a “Specialist in Physics” in the Institute of Geophysics and Planetary Physics at the University of California, San Diego), he quickly found that it was not to his liking. Instead, he favored an environment where he was free of rigid thinking, arbitrary boundaries, and jealous colleagues. Jeff Holter was a gregarious man who refused to be bounded by social distinctions, and he was frankly uncomfortable with his fame. At the end of his life, he told historian Bill Lang: I get a funny little feeling when I get very far out of Helena, and doctors begin to ask me for my autograph. I say, “What the hell? I’m not a movie star.” . . .I never went to Famous School, so I give an autograph and then sa[...]I just have been doing what gives me a great deal of pleasure. And that’s to search out the unknown. 5 The life of Jeff Holter might well serve as instructive in a time (the early twenty—first century) when science educa[...]important within an increasingly global economy. In a United States House hearing in 2006, Dr. Joseph Heppert, chair of the American Chemical Society’s Committee on Educat[...]er be competing with her fellow American students for an ‘American’ job [in the life sciences]. She will be competing with all of the outstanding students in her field on the planet for the best, most rewarding high— tech jobs—jobs that know no national or geographic boundaries. In such an environment, she and other students of her generation need to be well prepared.”7 At the same time, Heppert pointed out, there are[...] |
 | DRUMLUMMON VIEWS—FALL 2008 230 international tests of science knowledge, declining student interest in science careers, and many high school graduates who do not have sufficient preparation to choose scientific and technical career pathways.” A 2005 article in the New York Timex, “Not Invented Here: Are U.S. In[...]ive Edge?” by Timothy L. O’Brien, underscores the sense that Jeff Holter can be seen as an important figure in American science, not only because of his laboratory’s discoveries, but also because he stands as an exemplar of an independent researcher whose approach resembles that of an artist as much as it does that of a traditional scientist. O’Brien notes, “Inventors [and he includes research scientists in this category] have always held a special place in American history and business lore, embodying innovation and economic progress in a country that has long prized individual creativity and the power of great ideas. In recent decades, tinkerers and researchers have gi[...]ller machines, among other devices.”9 Certainly the Holter Heart Monitor belongs on such a list. It[...]researchers, however, that speaks most powerfully to Holter’s accomplishment. O’Brien quotes Ilene Busch— Vishniac, a professor at Johns Hopkins University (who might almost be quoting Holter’s thoughts on serendipity and being open to accidents), “For an inventor to be successful they have to think outside the box and propose things that are wildly different.[...]then quotes innovation consultant Peter Arnell on the importance of independent research, “When inventors work independently, the accident itself is seen as an opportunity, whereas in the corporate world accidents are seen as failures. When people exist outside of the corporate model and have vision and passion, then[...]utiful things.”‘° Sadly, O’Brien reports, the U.S. is on the verge of losing its advantage in the field of innovation. He writes, “[P}rivate and public capital [i]s not being adequately funneled to the kinds of projects and people that foster invention. The study of science is not valued in enough homes . . . and science education in grade school and high school is sorely lacking.”" Jeff Holter’s story can offer a powerful corrective at this juncture when the United States stands on the verge of losing that distinctly American mix of inventiveness, independent thinking, and pleasure in discoveryflnd perhaps his example will inspire a few young scientists to follow a more independent path, helping to keep alive that grand American tradition of genuine innovation, a tradition that includes Benjamin Franklin and Thomas Edison, as well as thousands of less well—known inventors who dared to break the |
 | [...]Bill Glaxxcock, jeflHolteri" clyief collaborator at tlye Holter Rexearcly Foundation, textx a Holter Heart Monitor ontlye xtreetx of Helena, no date. Plyotograplyer unknown. Collection of joan Treaty Holter. rules. As a report from Massachusetts Institute of Technology’s Program for Inventors asserts, “Indeed, invention itself can be perceived as an act of rebellion against the status quo.”“JeH Holter certainly possessed a profoundly restless curiosity and the will, the skill, and the means to follow his intuitions. This brilliant, intrepid,[...]ratitude—and much greater exposure, well beyond the limited spheres of the medical community and highly specialized journals. Cardiologist Harold L. Kennedy concurs, writing in his 2006 essay, “The History, Science, and Innovation of Holter Technology”: It is memorable to have known personally the modest lifestyle that Jefl" Holter lived, and his continuing struggle that he endured to pursue his scientific endeavors in Helena, Montana. . . . Every form of electrocardiographic information of humans who go about their daily activities and is protracted over a long duration of time “without touching" (i.e. without cables) i[...]Holter should be widely regarded and accepted as the “Father of Ambulatory and Long-Term Electrocardiograp[...] |
 | DRUMLUMMON VIEWS—FALL 2008 232 ignore and fail to recognize the clear footstep of a giant [who] lived within our own time.” In a tribute to Holter in 7773 Amerimnjournol ofC’am/iology, the authors—in thanking him for his “monumental contribution”—quoted the Montana scientist approvingly. Holter, they wrote, “remarked near the end: “Through training and observation, I have[...]ty and integrity are not just cliches but sources of both self respect and enlightened self interest.’”Thein 1914. in the family home in Helena, directly across the street from the house where he would spend much of his adult life. The physician who delivered him was John Lear Treacy, the father of his future bride,Joan Treacy Holter. His paternal[...]er (1831—1921), a Norwegian immigrant, had come to the United States in 1854.. As a writer for the Mountain Stator Monitor asserted in 1919, “ [Anton Holter] came when civilization first struggled to gain a foothold on the frontier, and he proved himself a veritable pione[...]indomitable energy.”‘5 A. M. Holter was one of Montana’s greatest entrepreneurs, and it can b[...]m his distinguished forbear—who was knighted by the King of Norway for his contributions to educationfl predilection for quick thinking and “non—rigid” exploration (when one business enterprise failed to succeed, Anton quickly turned to another until he achieved success). Anton was known as the father of Montana’s lumbering industry (he started the first sawmill in the territory near Virginia City in 1863), and his many other business interests inc[...]mining supplies, and mining and milling machinery at both wholesale and retai), the Virginia City Water Company and other utiity companies (including the United Missouri River Power Company, which built[...]dams near Helena), and numerous mining operations in Montana, Idaho, and British Columbia. Through ne[...]andson would, a resourceful and skilled inventor. In his memoir, “Pioneer Lumbering in Montana,” Anton recalled that, in setting up that first sawmill, . . . we soon encountered what seemed to be the worst obstacle yet. This was that we had no gearing for the log carriage, not even the track irons or pinion—and to devise some mechanism that would give the carriage the forward and reverse movement became the |
 | [...]3 Anton M. Holter, tbepioneerpatriartly of tbe Montana Holter clan. From Progressive Men of Montana (Clyicar go'A. W Bowen 59’ Company, ca.[...]AC 942*6’20). paramount problem. After a great of thought and experimenting we finally succeeded in inventing a device which years later was patented and widely used under the name of “Rope Feed." . . . [Hm order to construct this, we had to first build a turning lathe, and when we came to turn iron shafting, it took much Mary P. Holter,[...](PAC 9427831). experimenting, before we learned to temper the chisels so they would stand the cutting of iron. . . .We finally got the mill started and sawed about 5,000 feet of lumber before we ever had a beast of burden in the camp.’6 By his own account, JeH was deeply influenced by his grandfather. Although Ant[...] |
 | [...]rigbt) gatlyer witly tbez'r extended fizmz‘ly at tbez'r Helena borne, September 1905. Plyot[...] |
 | [...]frfi’xfiztber, Norman B. Holter, at a Holter Hardware Companypienie, june 1930. Pboto[...]ation (“[h]e was a carpenter”), he inculcated in his children and grandchildren the mantra, “You’ve got to work. You’ve got to work. You’ve got to be educated. You’ve got to work.”This family credo was seconded by Jeff’[...]Jeff’s father, Norman Bernard Holter (educated at Columbia University as a mining engineer), and No[...]ers Aubrey L. and Edwin O. Holter, took over many of the businesses started by the energetic Anton and developed them further. Among these were the hardware company, the vast N—B ar Ranch in central Montana, the Holter Realty Company, and a closed—end investment company named the Holter Company, which invested in mining, oil, and California real estate. The brothers’ only sister, Clara, held stock in each of the family companies. But it was Norman B. who took primary responsibility for the family enterprises, and upon his father’s retir[...]inherit those responsibilities.Jeff Holter came of age in a time when American science education was seriously deficient. In an interview at the end of his life, he recalled—with considerable chagrin—the failures of his science education in the Helena public schools (and a private high school in Philadelphia, where he spent |
 | [...]otiety (Lot 3 Box 4 Folder 12). his sophomore year). As a brilliant young chemist (he began his first experiments at age seven or eight and noted that “since the day I was born, I wanted desperately to be a chemist”), he was told that, as a freshman in high school, he was too young to study chemistry and that he’d have to wait—just like everyone else—until he was a s[...]though he had been “studying high school texts for the previous three or four years.” This short—sighted attitude maddened him, but he was fortunate in two regards: First, his family did not discourage him (“In fact, they didn’t encourage or discourage me. They just said, “Do whatever you want to do”); one Christmas his parents’ gift of a chemistry set had launched his passion for that science. And second, early on, he found a mentor who actively encouraged his passion. The German—born Dr. Emil Starz, owner of the local Starz Pharmacy and a chemist in the Montana state veterinary laboratory, took young Jeff under his wing. At the end of his life, Holter fondly recounted his experiences in Starz’ lab: Dr. Starz came over from Germany in the 1800s, a very highly educated man in chemistry. . . . there was no place for a PhD. in chemistry in Montana in the 1880s. . . So, he finally got a job—what was itP—in the state veterinarian laboratory, which I guess |
 | DRUMLUMMON VIEWS—FALL 2008 237 spent most of their time analyzing cowsy stomachs and what not. . . . during that era, I was carrying the Saturday Evening Part on Thursdays, paid three cents, sold them for a nickel. . . . And I would usually have a clear ten cents, twenty cents, one for the movie on Saturday afternoon . . . and the other to take the streetcar, out to Dr. Starz’laboratory— which is where I got s[...]ook time out from his “pretty heavy schedule” to guide the high school student through experiments: It was the state veterinarian’s chemical analysis laborato[...]nice, small, pretty well-equipped laboratory. And of course, the smells and everything else thrilled the hell out of me. . . . And he was a charming old gentleman—much maligned in the First World War by super-patriots—but Dr. Emil Starz., [IfHolter’xfirrt mentor in ebernz'rtry, he would sit me up in the corner and every Helena, 1936’. Plyotograplyer unknown. Courtery Montana once in a while . . . he’d come over and say, Hirtorz'e[...]AC 9457085). “Well, now you put ‘dis solution in disy solution and tell me yvot happens."[...] |
 | [...]S—FALL 2008 238 . . .”Those were probably the biggest thrills of my high school days, of everything.” Holter spoke of Starz with considerable emotion, and it is clear that each man held the other in high esteem. After he departed Helena for higher education, Holter kept in touch with his mentor. Holter recalled: [A]fter he had got old and retired, I went to his house on Ninth. Chemistry was advancing rapidly in those days, and l was a graduate student. And I would remember his taking his time . . . to see that I learned something. So I would bicycle out to his house with a little package, and we would sit there and I would ask him ifhe’d heard of the such-and-so reaction. Or the new developments in what’s-his-name. And he hadn’t, so I would la[...]loved it. . . . [A]s I look back . . . those were the absolute highlights, the visits to his laboratory. In 1927, when Jeff was thirteen, Starz sent the young chemist a gift. “My dear young friend,” he wrote, “Herewith I present you with a set of analytical weights, the same I used when I first entered College in 1884.. You may have use for it & if not I rather see you have it, than anyone else.”“ Starz would offer his protege best wishes—in 1939, on the eve of Jeff ’5 receipt of his master’s degree in physics from the University of California, Los Angeles—with some prescient words, “Knowing you will make a mark in your chosen profession & cognizant of the fact that science will hear from you in the years to come, I wish you the success & fortitude to master the final proof of your proficiency.”22 Though Jeff Holter would never receive the PhD Starz alluded to, the “final proof ” of his proficiency would come just as certainly, through his contributions to science at the Holter Research Laboratory. Holter was always willing to go against the grain if doing so made good sense to him.This willingness to follow his own direction manifested itself in his experience as a Boy Scout. He recalled: [M]y great claim to fame . . . is that I’m the only person with twenty-nine merit badges [who] n[...]ng fine and I got all these God- knows-what-kind-of merit badges, most of which were a breeze. Go down and rescue a flat iron from the bottom of the pool at the Y. . . . And go into the forest with a rusty razor blade and come[...] |
 | [...]more or less, “Up yours, you haven’t got one of the required merit badges, which is the athletic merit badge."I said, “Athletics, smashletics; what the hell, I’ve got twenty-one merit badges. Give me my Eagle."They said, “Rules are rules."]ust like the IRS.Holter did try for his athletic merit badge, but throwing a baseball the necessary distance eluded him—he was “ten feet short” each time he tried. Finally he said, mPhooey on the Eagle Scouts.Who needs them?’ And I went on to other things.”3 As he entered high school, JeH worried that “some bully would beat me up because I liked chemistry,” but though the pressure to conform to the male norm in 19305 Montana must have been great, he remained committed to his passions. He was, for the most part, an honest and law—abiding young man (though hardly lacking in spirit). He admitted to, “back in our foolish years,” getting “a little tanked[...]e and some friends did steal a switch engine from the Northern Pacific depot. But, while his peers were shoplifting gum from the corner store, Holter “got my thrills out of making bombs. Set fire to my father’s house accidentally. . . .”[...] |
 | DRUMLUMMON VIEWS—FALL 2008 24c predilection for pyrotechnics would extend throughout his life, from his time at the nuclear bomb tests in the Pacific to his sculpting of metal with dynamite to the family Fourth of July celebrations at their Colorado Gulch cabin, which always involved[...]curiosity and inventiveness could prove alarming to his parents. He recalled that his mother called up a friend and asked, “[W]hat am I going to do with this naughty little boy? He’s always bu[...]glar alarm. . . . I had a little laboratory room in the cellar. . . AndI had this [life-sized dummy] attached to the ceiling horizontally, hung by the head with a release mechanism on the feet so that, when you opened the door, this whole thing would come swinging right down and bat you in the face. And my poor, dear mother—I wish I could’ve apologized to her—she went down to see what’s going on in there and she opened the door and this monster came down and batted her right in the puss. And I said, “Well, that’s a poor way to treat your mother, but it’s a good burglar alarm?“ jefl’x motlyer, Floreneejeflerix, at [lye time of lyer big/y xelyool graduation, San Rafael,[...] |
 | [...]and alarming initiatives, JeffHolter cared deeply for his parents, and particularly for his mother, Florence, who suffered the severe chronic pain of rheumatoid arthritis. Because of Florence Holter’s condition, she and her son we[...]s he pursued a quality education and she traveled in search of relief from her suffering. In November 1927, when he was thirteen years old,Jeffwrote to his mother from the Benjamin Franklin Hotel (where he lived while attending the Episcopal Academy of Overbrook, Pennsylvania, a neighborhood of Philadelphia), “I am glad to hear that Dr. Pemberton seems to be helping. . . . I’m sorry you have to get so tired out and I suppose you would like to come home but as it seems to do you some good I hope you will stay.” As Christmas approached that year, Jeffwtote his mother, “It seems kind of empty like without you & Daddy to help wrap stuff up. I am sure that it will be better for you to have Christmas where you are. . . .” Clearly, during the winter of 1928—1929, the notion of home for Jeff Holter must have seemed a moving target.”Thein Carpentry, Music, Chemistry, Personal Health, and[...]he had received his first class and star badges at a Boy Scout court of honor. But foremost, he wrote, “I am glad to hear that you are getting much better and I hope[...]on and I suppose you do, too.”27This solicitude for his wheelchair—bound mother, and desire to see her suffering cease, pervades his letters to her. Perhaps his empathy for his mother’s pain had something to do with his later career. Despite his disclaimers[...]hearts; I was into curiositym—he war interested in more than pure research. With his passion for science and a highly developed capacity for compassion (like other children of the chronically ill), he was intent on making a real difference in the health and well—being of his fellow humans. As literary scholar Elaine Scarry has argued in 7773 Body in Pain, the obverse of pain’s destructive nature is its ability to stimulate our capacity for imagining; it can lead not only to the “deconstruction of the world, but [also] to that world’s construction or reconstruction.”9 Back home in Helena, Jeff ’5 private researches continued unabated in his basement laboratory, and he reported, “I’[...]alright with my chemistry and am now making a lot of stuff.” At the moment (in March 1928), he was making a “Hectograph,” a[...]cating machine that uses special inks and gelatin to print text and images.30 As he progressed through high school, Jeff regularly reported his grades to his faraway parents |
 | [...]F lorence jfirix Holter (mentor), on a vixit to Atlantic City, Newjerxey, in xearcly of relief from lyer rlyeumar toia' art/yritix[...] |
 | [...]IEWS—FALL 2008 243 (they generally wintered in Beverly Hills, again on behalf of his mother’s health). His marks revealed a pronounced talent (and predilection) for the sciences. In November 1929, he wrote that his final grades for the quarter were: “Algebra 86, English 92, Latin 87, French 87, Chemistry 97.” In algebra he “was the only one in the class of 21 that passed,I also had the highest chemistry and next to highest English grades.” He wrote further, “I made some glass in my furnace and some rayon (artificial silk). I am laboratory assistant at school and do all my experiments at home.”3‘ In January I930,Jeff wrote to thank his parents for the “very pleasant surprise of your movie camera and projector.” He reported that Carl Hermann of Starz Pharmacy had “come up and showed several films including some in color.” He also noted that the “film starring Miss Marion Holter [Jeff’s ol[...]onel Charles A. Lindbergh has been shown a number of times” and that the young Holters had “sent in the first film of our own to be developed.” Later in the month, he expressed pleasure at being back in Montana. “Even with more to distract me here at home,” he wrote, “I find it easier to study than when I was cooped up in the hotel” in Philadelphia. His parents continued to be supportive of his scientific interests. In the same letter, he noted, “I got your letters and the chemical stuff that Mother forwarded. . . . Thank[...]must have kept during these years includes scores of clippings about discoveries by great scientists, not just by those who found practical applications for great discoveries (like Edison), but also purely theoretical discoveries, especially those of Albert Einstein and other physicists. Clearly, even as a boy, the nascent scientist was following the masters of innovation and implicitly modeling his own aspira[...]lishments. Mrs. Ellen Myers, who had helped care for Jeff’s mother, wrote in 1940 (soon after Florence’s death) that “I mi[...]ambition when he had his works down basement was to “do something someday,’ and he sure has a goo[...]Jefferis Holter graduated from Helena High School in June 1931. His friend and mentor Emil Starz wrot[...]ulatory note: You have . . . successfully fought the first round in the struggle for higher education and are now on the way to face the second one with an abundance of faith, ambition and energy. . . . “Per aspera ad astra” [“through adversity to the stars” or, as some would have it, “through suffering to renown”] was |
 | DRUMLUMMON VIEWS—FALL 2008 244 'h. Emil Starz at 1in borne on Nint/a Avenue, Helena, 1942. Plyo[...] |
 | DRUMLUMMON VIEWS—FALL 2008 24 5 always the battle cry of the Holters and they succeeded as history has proprerly recorded. With such a family record back of you you can not fail to add more honors and fame to the name of the Holters!4 With high school behind him, Jeff moved to southern California and enrolled first in Los Angeles Junior College and then the University of California at Los Angeles (UCLA), where he received his AB. in Chemistry in 1937.The summer of 1937 took him to Heidelberg, Germany, where he studied the German language in preparation for graduate school. This journey into the heart of Germany just before the Second World War seems to have marked him profoundly. Despite the rise of Nazism, he found much to love about German culture, and in his spare time, he immersed himself in opera, the visual arts, architecture, and literature. Much of his later book collecting would focus on first editions of classic German scientific texts, like Goethe’s 1790 study of plant metamorphosis, Vizrrutb die Metamorpbore de[...]erkloren, and Albrecht Durer’s stunning work on the proportions of the human body, Hierin rind [regrfim vier Barber won memtblitber Proportion of 1528. While in transit to and during his stay in Germany, Jeff endeavored to keep friends and family informed about his adventures. On the outgoing voyage, on the Deutrtbland of the Hamburg—America Line (which advertised itself as the “fastest steamer in the world”), he wrote to his father that, in a few days of speaking with his fellow passengers, “1 have picked up more German . . . than in many weeks of college study.” He found one elderly woman espe[...]t have a single word ofEnglish. She does not care to learn so the improvement is all on my side.” He also made the acquaintance of a “very intelligent and attractive girl from Carolina who is going to Europe to study medicine.” He added, “We have tried to speak German exclusively and have found that reading a German newspaper to each other is very good practice.“5 On the twenty—sixth of June, he reported, “Today we are seeing land for the first time,” and a day or two later, he announced, “We are entering the North Sea and the water is getting rougher. I feel quite the traveller, having spent a few minutes each in France & England.” His address in Heidelberg would be “Hirschgasse 20 Telefon 373735" On June 30, he wrote his mother that he had arrived in Heidelberg the previous evening to an “excellent dinner.” He was pleased with his accommodations: “a room on the top floor of this very nice house owned by Dr. Fohnenb[...] |
 | [...]VIEWS—FALL 2008 246 wife,” adding that “the view from my ‘study’window”— which included a large castle directly across the Necker River—”is very beautiful.” His fello[...]German girl, and “German is spoken exclusively at the table.” “We are now waiting for lunch,” he concluded, “after which we will b[...]l[er family and friendr ga[ber on [be from x[e]>x of [be Norman] Hol[er bome, Helena, unda[ed j[...] |
 | [...]3: 771e xtadentx witly wlyomjeflHolter traveled to Heidelberg, Germany, jane I 93 7. jefl it in tlye back row, fiftly from tlye left. Plyotograp[...]rote his mother that he had “just returned from the greatest chemical exposition in the world” in Frankfurt. “The exposition,” he wrote, “was beyond description and was so large I didn’t begin to see it in two solid days of walking |
 | [...]L 2008 248 through massive halls filled with the latest in chemical science.” He was struck by the German effort to use chemistry to solve the “problem of lack of natural resources.” He elaborated: “Starting with wood only, thousands of products have been made to replace metal parts etc. Silk, flexible glass, plumbing fixtures, synthetic metals are only a few of the results.”38 Jeff Holter had reason to be impressed. As economist Doug Dowd has written: Mention has been made of Germany’s large aims and limited resources. That it was nonetheless able to move forward rapidly and effectively into heavy industrialization was partially but importantly an outcome of its earlier checkerboard existence as hundreds of principalities and their associated bureaucracies.The serendipitous product was the most literate society in the world and the highest proportion of skilled craftspeople: a deep mine of talent that provided Germany with much of the “social capital” it needed to deal effectively with problems of organization, science, and technology. For Germany, more than others in its era, “necessity was the mother of invention.” The successful fusing ofscience and technology was the source of Germany’s ability to develop substitutes (“ersatz”) for resource deficiencies. The most important of these substitutes was coal tar derivatives, which not only made up for petroleum deficiencies, but also became the basis for Germany’s vanguard explosives industry.” Of course, this fusing of science and technology (including the development of ermiz products), when joined with fascist ideology, resulted in catastrophe. It allowed Hitler’s Germany to build a war machine second to none and undertake its expansionist aggressions during the coming years of world war. Meanwhile, Jeff found his schooling “very interesting.” He wrote, “The classes are composed of every nationality in Europe and only German can be spoken.” Because his course of study was the German language, he spent his day studying grammar, engaged in conversation for two straight hours with fellow class members, and listening to lectures in German “covering a wide range of subjects.”He was free to choose the lectures he audited and then choose “whatever final exam he [felt] prepared for.” In early July, he wasn’t yet sure “whether the lower courses are too easy or the upper courses too hard.“0 Jeff was developing a powerful interest in photography and was eager to purchase a fine German camera “to record my trip better,” finally settling on a |
 | [...]JeflHolter may bave taken tbixplyotograply of a Nazi xoldier witly flye Zein" Contax camera beparclyaxed during 1in Heidelberg Hay, I93 7. Coartexy Montana Hixtorica[...]Folder 6 ) Zeiss ContaX f/ 1.2 (which cost $4.25 in California and only $112 in Heidelberg). After asking his mother to send him suflcicient Reichsmarks (500) to cover this expense, he wrote, “It is a gorgeous evening and I wish you could all see the beautiful Necker valley from this porch with me. Every time I see it,I thank you and Father for this trip. Harrison wants to argue a little quantum theory, so see you later.”‘“ JeH continued to find his German stay productive. “On the whole,” he reported, “there are many fewer diversions here and it is easier to study.” Back home, he noted, his family alway[...]ically and mechanically . . . without being aware of the fact that many times Iwould much rather read an interesting biography or article in a non-technical field. In spite of my interest, it has been a struggle and a constant inner pep-talk to get my work done.“ He did admit to an occasional distraction even in Heidelberg, though the “novelty of speaking German [to German girls]. . . is now no more andI can’t dance to these brass bands”: Sometimes I round a corner and run into a crowd of girls from Vassar or Smith touring the country. There is usually one or more who are attractive and miss Benny Goodman so I am late for dinner.43 |
 | DRUMLUMMON VIEWS—FALL 2008 250 At the end of July, he reported that he had “about exhausted the supply of things to see.” Most importantly, he and his friend Harri[...]ited “every hospital and clinic within a radius of ten miles” of Heidelberg. At the Kaiser—Wilhelm Institute, a “very hospitable doctor—chemist—bacteriologist took me all through the laboratories and explained what work was in progress.” He was delighted to report that he was able to converse easily with the German scientist since “my technical vocabulary is necessarily more complete” because of his intensive language studies.44 In his effort to fully encounter the German language, he sought out literature labeled verboten by the Nazi regime: I have had fun trying to locate a book of short stories by Thomas Mann who is decidely diso[...]ny. It seems like a speakeasy during prohibition to go in and whisper what you want. Several book handlers have taken me confidentially into the cellar and shown me the forbidden books which they neglected to burn. Others are quick to explain what a horrible menace Mann is to the welfare of Germany.“ On a day when his professor was ill,[...]iend Harrison rode their bicycles (“we are both in good condition”) out of town, hoping to “round up a symphony concert or two.”They cycled to Stuttgart, passing through innumerable smaller vi[...]towns and “never missed a side trip, seeing all the castles, museums and exhibitions of which the country side is full.”They covered more than two hundred kilometers in two days, returning by train “in time for school.”The trip, Jeff wrote, was “so full of interesting details that I couldn’t begin to remember them all.” His old camera was “too big to take along,” but he used Harrison’s smaller camera to take pictures of a “tremendous crash in Stuttgart between three street cars and a truck.” His sole disappointment was that they failed to acquire tickets to a concert by renowned conductor Arturo Toscaninifi" Immediately after the Stuttgart trip, Jeff bought the new camera, writing his father in a letter dated August 5: Ihanks again for the wherewithal for the camera. . . . [I] will be able to accurately record all the rest of my trip. This camera is especially made for scientific work as well as general photography and has many special applications not obtainable in any other camera. Very high speed pictures[...] |
 | DRUMLUMMON VIEWS—FALL 2008 251 He was glad, he wrote, to hear of his father’s “beer bust with Dr. Starz and the rest ofto final exams and graduate school. The two exams included one on general aspects of German and the other on “technical German principally in the field of physical chemistry.” He felt unsure whether he[...]“if I do pass, I will have completed one—half of the language requirement for the chemical doctorate.” He had been eager to attend Massachusetts Institute of Technology—“one semester at M.I.T. will offer me more advantages than will CalTech”—but the Boston school had told him that “I am a little short on higher mathematics to enter the graduate school.” His father wanted him to attend a California university, but Jeff implored him, “Please let me be the judge of what school is best for my requirements.”The University of Wisconsin, he noted, “has come into consideration, and if I do go there I will be at least that much closer to home.” He remained hopeful that, with a little make—up math at UCLA “or wherever I go,” he could still atten[...]amburg and sailing on August 19 from Auxhaven.48 In a nearly twenty—page missive addressed “Dear People” (probably meant for his family),Jeff offered a kind of journal of this final trip. Penned on Hamburg— America Li[...]tarted on August IO, when he and Harrison set out for Switzerland, and ended August 24., when—liner—bound for New York—he contemplated the next steps in his young life. His account would be, he wrote, a “hodge podge of impressions patterned after [Walter] Winchell’s column or whatever style suits the purpose.” Jeff found Zurich “quite the cosmopolitan city and it is not unusual to see a sign which is written in a mixture of languages.” He and Harrison enjoyed a Schubert concert on the shores of Lake Constance, and in a Swiss nightclub “where waiters were busy carrying around trays of pastry and ice cream instead of gin and seltzer water,” he visited with a German—speaking black jazz musician who had recently toured in the Soviet Union, where two of the members of his band had “spent three months in prison for discussing politics “out of school.” Jeff declared himself “not overly i[...]h European culture.” He felt that there existed in Europe “about the same minority of people who are genuinely interested in something besides the movies and radio as there is in America.” He noticed that the visitors to the art museum in Zurich were mostly American and English, and the operas he attended “all over Germany seem to cater almost exclusively to the tourist tradefl sort of commercialized culture.” Only the “tourist filled |
 | [...]—FALL 2008 252 A xtudz'ouxjtfiHolter in 1in room in Heidelberg, 193 7. Pbotogmpber unknown. Courier};[...]cafes” oHered “good string music” instead of “cheap Rembrandt reproduction for his friend Hal Jenkin, vaudeville,” and “the truly native places were much and spending one entire day in Munich exploring lower than our American ‘joints’ yet were patronized by the Deutsches Museum. Devoted to science and what would correspond to our middle class.” technology, the museum was the “largest in the world Meanwhile Jefi continued to happily consume of its kind.”The exhibits held Jefi rapt: European high c[...] |
 | [...]resented so that its complete evolution was seen. For example, one walks into an alchemical laboratory of 1200 and then into one typical of13oo, 1400 etc. up to the modern completely equipped laboratory. . . .The histories of music, sculpture, mathematics, art perspective an[...]were objectively presented.I took some pictures of one of Bach’s pianos. The next day he visited the famed Pinakothek art galleries, but for him the more important discovery was the Deutsches Museum library. This remarkable repository thrilled him with its “current issues of 1000 scientific monthly journals as well as bound volumes of all previous issues.” He lamented, “I only had time to walk around and see what was there—would like to spend a summer.” During a long walk through the city, he was less than thrilled by the heavy military presence, and at the changing of the guard at a “tomb of some Nazis,” he found himself “caught in the midst of a bunch of goose stepping soldiers and marched through most of the ceremony with them.” He and Harrison also visited the impressive new “House of German Art,” which Hitler had had built to showcase “proper” contemporary art, as opposed to the “degenerate” modern variety denounced by the regime.Jeff found the exhibition “most interesting,” but the “very quantity” of work made him “suspicious about some of the quality.” At a concert of Richard Strauss’ comic opera Der Roxenkamzlier, he found himself—“upholding the Holter tradition for coincidence”—standing next to an old friend, Carl Ross, “that good looking fellow that I ran around with at Junior College before he went off to Stanford.” Ross was “rounding . . . off” hi[...]an tour. On August 16, Jeff and Harrison arrived in Berlin, where they “passed several groups of soldiers . . . practicing dragging cannons up and down hills.” He commented, too, on the heavy police presence. He had hoped to visit Dr. Starz’s relatives in Potsdam, but ran out of time; “I am sorry,” he wrote, “as I really wanted to say hello to them.” On August 18, the two young men caught the “Flying Hamburger,” the famous streamlined train running between Berlin and Hamburg. The “Hamburger” maintained the “fastest schedule in the world” and averaged “about 100 miles an hour.” Early the next morning they boarded the ship bound for home. To the envy of his traveling companions, Jeff had “eight very nice letters” waiting for him, including one from Dr. Starz. He soon found[...]ing English again and wondered whether “7 weeks in Germany would really affect one’s Engli[...] |
 | [...]“using German word order when I speak.” Many of his fellow passengers were seasick, but he seemed immune. He reveled in a return tofor art andscience. He wrote: Hope I don’t seem too cold-blooded if I try to correlate two fields of interest by reading Mathematik and Ma/erei [“Ma[...]ainting”], a book which analyzes mathematically the more famous paintings ofwell known artists. . . . Go ahead and call me eccentric—I can enjoy a sunset in its full beauty by viewing it as a whole and then[...]wing what makes it beautiful. He looked forward to his time in graduate school: This whole business of higher education demands some thought.I realize that it is a rather selfish interest which makes me want to continue in school, but I do think that everyone can share in the benefits. It means three, four or more years of being seen only at meals or not at all if my betterance indicates periods of study away from home. The work will be of the most difficult and exacting kind. . . . I have never been able to know whether my actions are understood. . . .I kn[...]ne-track—mind,” etc. . . . While he objected to this characterization, he concluded his letter by admitting, I will have to shelf the things which I enjoyed this summer, with the knowledge that after I have a doctorate I can then sit back and enjoy music, literature and art.The other alternative would be to take time now to read all the books from the book-of—the-month club, take time now for enjoying the broadening interests which are a part of me, and remain forever mediocre as a scientist. Thus resolute, he prepared to undertake this “most difficult and exacting” enterprise. Although he would not realize his dreams of attending MIT. or obtaining a doctorate, Jeff Holter was well on his way to becoming not “forever mediocre,” but r[...] |
 | The Genesis ofof the Montana Historical Society, December 1982—]anua[...]Historical Society Archives (hereinafter referred to as N.]. Holter, Lang interview, MHS).3. William C. Roberts, MD, “From the Editor: Who Was HolterP,” Re American/0mm]ofCar[...]. 4. “ISHNE About Us,” International Society for Holter and Noninvasive Electrocardiology (ISHNE) website, http://www.ishne.org/english/in_icial_ eng.htm 5. C. Craig Harris, “The Formation and Evolution of the Society of Nuclear Medicine,” Seminar; in Nuclear Medicine, )QCVI: 3 (July 1996), 190. 6.[...]view, MHS. 7. “Testimony ofDr. Joseph Heppert to the House Committee on Science, Washington, DC, May 3, 2006,” http:// www.house.gov/scienc[...]2005, 3:1. 10. Ibid., 3:6. 11. Ibid. 12. Qioted in O’Brien, “Not Invented Here,”New York Timex[...]d L. Kennedy, M.D., M.P.H., F.A.C.C., F.E.S.C.,“The History, Science, and Innovation of Holter Technology,”Anmz/3 ofNoninvoJive Electromrdio/ogy, 11:1 (January 2006), 93. 14. Qioted in1919, 12. 16. Anton M. Holter, “Narrative by A. M.[...]9. Ibid. 20. Ibid. 21. Ibid.; Emil Starz, letter to Jeff Holter, Holter Research Foundation Records,[...]hereinafter MC 173, MHS). 22. Emil Starz, letter to JeffHolter,]uly 27, 1939, MC 173, Box 3, Folder 2[...]HS. 24. Ibid. 25. Ibid. 26. N.]. Holter, letters to Florence]. Holter, November 5 and December[...] |
 | [...]hereinafter MC 80, MHS). 27. N.J. Holter, letter to Florence]. Holter,January 25, 1928, MC 80, Box 32[...]Lang interview, MHS. 29. Elaine Scarry, Re Body in Pain: Re Making and Unma/eing oftbe World (New Y[...]rsity Press, 1985), 161. 30. N.J. Holter, letter to Florence J. Holter, March 2, 1928, MC 80, Box 32, Folder 3, MHS. 31. N.J. Holter, letter to Florence J. Holter, November 14, 1929, MC 80, Box 32, Folder 3, MHS. 32. N.J. Holter, letters to Norman B. and Florence J. Holter,January 7 and Ja[...], Box 32, Folder 3, MHS. 33. Ellen Myers, letter to the Holter family, January 20, 1940, MC 173, Box 3, Folder 4, MHS. 34. Emil Starz, letter to N.J. Holter, June 1, 1931, MC 173, Box 3, Folder 2, MHS. 35. N.J. Holter, letter to Norman B. Holter,June 22, 1937, MC 80, Box 32, Folder 3, MHS. 36. N.J. Holter, letter to Norman B. Holter,June 22—27, 1937, MC 80, Box 32, Folder 3, MHS. 37. N.J. Holter, letter to Florence J. Holter,June 30, 1937, MC 80, Box 32, Folder 3, MHS. 38. N.J. Holter, letter to Florence J. Holter,July 3, 1937, MC 80, Box 32, Folder 3, MHS. 39. Doug Dowd, “Against Decadence: The Work of Robert A. Brady (1901— 63),”jommz/ ofEmnomit[...]VIII, No. 4, Dec. 1994. 40. N. J. Holter, letter to Florence J. Holter,July 3, 1937, MC 80, Box 32, Folder 3, MHS. 41. Ibid. 42. N.J. Holter, letter to Florence J. Holter,July 20, 1937, MC 80, Box 32, Folder 3, MHS. 43. Ibid. 44. N.J. Holter, letter to FlorenceJ. Holter,July 30, 1937, MC 80, Box 32,[...]HS. 45. Ibid. 46. Ibid. 47. N.J. Holter, letter to Norman B. Holter, August 5, 1937, MC 80, Box 32, Folder 3, MHS. 48. Ibid. 49. N.J. Holter, letter to “Dear People,” August 10—24, MC 173[...] |
 | DRUMLUMMON VIEWS—FALL 2008 258 The Hegemam'c Eye: Can the Hand S urvive? Chris Staley Note: Ceramic artis[...]nd Helena, Montana, first presented this lecture at the 2004 annual conference of the National Council on Education for the Ceramic Arts in Indianapolis, Indiana. Many thanks to Chris for permission to reprint. Have you ever had a broken heart? Perhaps a pet you had for a long time passed away or a partner decided to leave. I can remember my heart aching when someone I loved left me. We often use a part ofour bodies to describe our feelings and reactions, such as “Y[...]e, “they are thin—skinned.”This confluence of our thoughts and feelings with our bodies is one of the most profound aspects of our human experience. We are the only animal that sheds tears when happy or sad. I am interested in the senses of the body, because I believe there has been a dramatic change in how we use them.I am concerned that we underestimate the extent to which our senses are used, how they Cbrir Sta[...]re, 2005, 2 7 x 20 int/Tm. © 2005 Cbrir Staley. influence our well—being. The writer Saul Bellow once said, “People are literally dying for something real when day is done.” It is my beli[...]lives are becoming increasingly ocular—centric. In other words circumstances in our lives increasingly call upon us to use our eyes at the expense ofour other senses. As vision becomes more dominant, our interaction with the world becomes flatter and the joy and fullness of our lives is diminished. |
 | DRUMLUMMON VIEWS—FALL 2008 259 Part of the catalyst for my interest in this topic is what I do for a living. I am a potter and teacher at a large university. How I touch clay is a fundamental consideration when making a pot. I was recently asked to have electronic sensors attached to my hands as I was throwing a pot, to stimulate the creation of a form on a computer laser machine. With computers we can disseminate information to large audiences as never before. Why not teach a pottery course online? It might be the largest pottery class ever taught. What might some of the implications of this online learning be? I would like to discuss how the use of our senses can influence all facets of our lives, from how we learn to how we relate to others. In essence, how the use of our senses influences the quality of our lives. I would like to address four topics. First, how dramatically peoples’ lives have changed in recent times. Second, how sight and the eye are becoming more dominant. Third, how the sense of touch and the hand are vital to our well—being. And fourth, where hope can be found as we look into the future. Change With new scientific and technological innovations happening every year, human beings are experiencing change as never be[...]years ago our ancestors were painting animals on the walls of caves, and since then there have been 800 generations of human beings (twenty—five years being one generation). The realization that there has been more change in the past 4. generations than in the preceding 796 gives us some idea of how quickly the human experience is changing. Just over one hundred years ago a family’s primary source of transportation was a horse, the Wright Brothers flew a plane for the first time, and sixty—five years later we landed a man on the moon. So much has changed, so quickly, that sometimes it is difficult to realize how profound the change has been. The late designer Victor Papanek said the two biggest changes in the twentieth century are that we went from working primarily outdoors to working indoors and that we now have the capability to destroy the world as we know it. It was only one hundred years ago that the majority of people in our society worked on single—family farms, and[...]ss than I percent. And certainly our relationship to the world changed with the creation of the nuclear bomb and its devastating capabilities. For over 100,000 years our ancestors gathered around the flickering flames of campfires, yet it is only in the past fifty years that we have instead gathered around the glow of a television. After work and sleep, watching TV has become the most time—consuming activity for the average American. The average home has a TV turned on for over seven hours a day. The |
 | [...]verage person watches more than four hours a day. According to the national average, those of us wholive to be seventy—five years old will have spent over nine years of their lives in front of a TV. The difierent sensory experiences of watching a campfire and watching TV are worth noting. While the campfire can evoke silent contemplation, the TV creates a sense of anticipation according to its prescribed narrative. The big difierence is that, when we stare into the campfire, the story that is created is our own. Thinking back[...]t remarkable how many new ways have been invented to communicate. When I graduated from high school in 1973, there were no phone answering machines, cel[...]ating. This information revolution shows no signs of slowing down. With the increasing presence of TV in both private space and public space, from cars to airports and banks and schools, we are exposed to more information than ever before. By 2001 over h[...]icans were online, a statistic that has continued to grow by about two million Internet users a month. The writer Thomas Friedman says what comes next is not just the Internet but what he calls the “Evernet,” a world where we will be online all the time through a watch, cell phone, or portable PC. It is diflcicult to dispute these remarkable changes. Many of these innovations have enriched our lives, |
 | [...]05, 18 x J 9 inclyex. © 2005 Cbrir Staley.with the most tangible being that life expectancy has increased by thirty years in the past century. With innovation comes change. Often[...]be considered. Certainly when Henry Ford created the assembly line to build automobiles, he did not consider the phenomena of smog or global warming. Yet new electronic technologies have become part of our lives with such speed that we have had little time to consider the implications of these changes.There are two paradoxes in this new world of electronic communication. First, one of the supposed benefits of the new technology is its eflciciency and the free time that it allows. Yet this urgency to do more in less time has only fueled our desire to be more productive by working harder. The second paradox of technology is the more connected we become through the Internet, the more disconnected we become with each other. A student recently told me that he lives with several students in a house where it is easier to just e—mail each other from their respective rooms than to meet in the living room to talk. With this new technology we can work at home and be in contact with virtually anyone anywhere. Yet with these increased connections, we often begin to reduce the time we have available to spend with family and friends. Insofar as relationships can be messy, sometimes it just seems easier to either watch TV or surf the Internet than to deal with the reality of |
 | DRUMLUMMON VIEWS—FALL 2008 262 someone in the flesh. What has happened to our relationship with time? What is real time? Mo[...]ly, “Oh, I’ve been busy.” Who hasn’t been in an elevator and pressed buttons to make it move faster? It seems like we never have enough time to do all the things we want to do. After a while it seems our lives become a to—do list, racing from one thing to the next. In cultural critic James Gleick’s book Fairer, he[...]happy about it.” Socrates long ago anticipated the effects of a frenetic culture when he said, “Beware of the emptiness in a busy life.” He Eye In western culture the eye has been regarded as the noblest of senses, and vision as an extension of thinking itself. Aristotle once said, “Sight is the most noble of the senses because it approximates the intellect most closely.” During the Renaissance the five senses were understood to comprise a hierarchical system with vision being the highest and touch being the lowest. Many philosophers since then have reinforced this notion of the hegemonic eye and its connection to thethe notion of our other senses giving meaning to our lives is of lesser significance.The eye is the sense of privilege in our culture. As children we were often reminded of this when visiting someone’s home to just “look but don’t touch.”The phrase “out of sight, out of mind” reinforces the notion that what we see is what we think. In his book 7773 Objett Starex Bark, art historian James Elkins says that the act of looking is one of desire and that we want to possess what we see. He argues that looking is a search for what we want, and goes on to use the example of when we are shopping and the salesman asks, “May I help you?” We respond with, “No, I am just looking,” when in fact we are examining the merchandise and making judgments about what we see. “Do I like the fabric of this shirt? When would I wear it?”This doesn’[...]en we are shopping, but continually. What we look at triggers thoughts. For example, seeing an empty cup reminds us that we are thirsty, seeing a pile of mail on our desks reminds us that we haven’t corresponded with someone. The eye is being called upon as never before in our daily lives and when our thoughts are not rec[...]l experience, we increasingly feel separated from the world. In our ever—increasing technological world, the only part of our body that is fast enough to keep up with its rapid pace is our eyes. W[...] |
 | DRUMLUMMON VIEWS—FALL 2008 263 stream of images, whether on TV or the computer or periodicals, our eye dominates how we experience our lives. According to the Association of American Advertising Agencies, the average person is exposed to 1,500 advertisements a day. Less than 60 of those are even noticed. TV advertising is more co[...]ver, with corporations paying 2.3 million dollars for a thirty—second commercial during the Super Bowl. Over the years TV commercials have gotten shorter and shorter, challenging the eye to process what it sees. Advertising has become so u[...]s caused what philosopher Jean Baudrillard refers to as a sense of lacking because consumption is irrepressible, and in the end we continually feel empty. Increasingly we live in a culture where the desires for money and status are the primary goals in peoples’ lives. With a steady diet of visual information, ironically we become numb. As we “tune in,” we “tune out.” When the hegemonic eye dominates touch, hearing, taste, and smell, it diminishes our feeling of participation. The most obvious example is watching wild animals on the Discovery Channel versus actually experiencing them out—of—doors where suddenly our whole body is responding. This detachment of our other senses leads to alienation from the world that we live in. Since 1839, when the first photo was taken in Paris, photography has transformed our lives in thein a hospital in front of the glow of TV. Certainly in ceramics a photograph of a pot can have profound implications. Often it is[...]ital images that determine what art schools we go to, what jobs we get, or where we sell our work. And[...]il it is used. As a young potter I was told that the quality of a 4x5 transparency was more important than the pot itself, simply because more people would see the photo. When we experience art, in this case pottery, solely through our eyes, we become an audience of viewers, which is much different than the full sensory experience of using a favorite cup. By using a cup we reclaim personal experience. The essay, “The Work of Art in the Age of Mechanical Reproduction,” written by Walter Benjamin over fifty years ago, is about how the photographic image has changed the way we experience art. Most people today experien[...]nes, books, announcement cards, or images online. The mass production of images has depersonalized the interaction between the art object and a person. Recently, I stood in front of a painting of shoes by Van Gogh. I got very close to the painting to look at individual brush strokes. The metaphysical energy of a brush stroke took me to that moment when |
 | [...]re, 2005, 20 x 24 inc/yet. © 2005 Clam" Staley.the brush stroke was applied to the canvas.l was with Van Gogh.Time had stopped. The images of the shoes had drawn me in—yet it was the memory of my hands having experienced thick textures, once[...]strokes and felt their thickness, that enabled me to realize thatl could “virtually” touch a brush stroke of Van Gogh’s and stirred my emotions. It’s worth noting how our relationship to time itself is changing. For centuries our existence revolved around the sun and the cycles of day and night. Then was a time when we worked outdoors and we were very attuned to the rhythms of nature. According to historian Daniel Boorstin, about seven hundred years ago, mechanical clocks were used for the first time on church towers and the hour was born. Time became something measurable, something to use more eflclciently. We have become accustomed to the idea of “time as money.”Time has become a commodity—something to spend wisely. We lose something with this eflclciency: our ability to play and to create moments of silent reflection.With almost daily scientific[...]erent than their parents’. Recently, my eight—year—old daughter Tori asked me, “Dad, who is more[...]“Because we have more time.” When a “lack of time” becomes a state of being, we lose part of ourselves. We can lose our curiosity |
 | DRUMLUMMON VIEWS—FALL 2008 265 to go on a walk with no particular place to go, or our compassion to just check on how a friend is doing. As a teacher[...]ould last if students had a remote control device in their hands and I was just another character or channel on TV. The writer Milan Kundera has observed that often when[...]ople talking, one person is giving a speech while the other person listens impatiently for that person to finish or pause so they can interrupt to give their speech, with no one really listening. The Hand As a professor at a large university, I’ve often thought how unusual it is to be teaching students to make pottery. On a basic level I am teaching students how to use their hands to shape clay. In almost every other subject, students are asked to use their eyes and ears to process information and expand their minds. The nuances of touch are rarely called upon by the academic institutions.The interconnections between the ancient art of making pottery and a generation of students raised in a new visual electronic world are profound.When s[...]ing earth. I can remember how challenging it was to learn how to throw clay on the wheel. I remember learning how to center and attempting to connect my thoughts with the movement of my hands. Wondering how much pressure and from what direction do I push? It is this moment of connection between touch and thought where time s[...]w we are touching, our consciousness is following the lead of our fingertips.I believe it is the direct consequence of how we touch the clay that is so satisfying. Part of clay’s appeal is its malleability—how responsive it is to our touch.I would be hard—pressed to teach someone how to throw without showing them.I often demonstrate how I hold my hands, the speed of the wheel, how much water to use; in doing so the student begins to sense what to do. The essence of making with the hand is the wisdom of the body and its stored memory. It is our past history of tactile experiences that assist in guiding the hand.I have always been intrigued by the fact that when ceramic artists visit our program, students invariably ask them to demonstrate how they shape the clay. We want to watch their hands, and it is only through this c[...]. Why don’t painters set up an easel and paint? The answer, I believe is complex, yet part of the answer is that clay is formless when it is dug from the earth. It takes on the shape of the shovel, and when it is put into a plastic bag it takes on the shape of the bag. It’s been said that shaping clay is like drawing in space—instantaneously creating three—[...] |
 | [...]8 266 fingerprints, which when fired remain for thousands of years. While we are throwing on the wheel, the water and clay slowly move through our hands with new forms seeming to emerge on their own. It’s no wonder the self—proclaimed world’s greatest potter George Ohr once called his pots “clay babies.” Often the cups that I use at home are the ones that have been made on the slower—moving treadle wheel. Potters who throw[...]often use much wetter clay, and this contributes to a great deal of variation in wall thickness of the pot. I believe we are drawn to this variation because it reminds us of the same sensation of touching the human body. When using the cup I imagine touching someone’s hand. Time and[...]feel a connection through touch it is beneficial to their well—being. What are the experiences that make you feel most alive? Who hasn’t marveled at the interior of a bird’s nest? A bird gathers blades of grass and twigs and shapes them with its whole body, using its chest and even the palpitations of its heart to conform the nest to its body. Part of our appreciation for the bird’s nest is that we realize the time and care it took to build such a simple structure. Our body memory understands that some things take time to build. Standing on a beach and gazing towards the horizon line where the ocean ends and the sky begins is like staring into the future. The distance of the long horizontal line creates the allure of tomorrow. When I pick up a stone polished by the tumbling of endless waves, it’s like holding time in my hand. Feeling the stone’s weight in my hand I have a feeling of connection not only to the stone, but to its past as well. Somehow the touch creates a greater sense of awe about where it’s been. UltimatelyI feel immense gratitude for holding such a gift, smooth and dense in color with an interior that only adds to its mystery. When I touch the stone, time slows down and seems larger and I feel more alive. I remember the excitement of getting dirty when I was younger and then the pleasure of taking a shower and watching all the water turn brown. And, more recently, digging into the black earth with my hands and the pleasant surprise of finding a potato has given me pleasure. Dirt is full of paradox. Plants and life come from it, and plants and animals die and return to it. Clay closely resembles dirt and as an artistic medium has always struggled to be considered a material worthy of high art. There are complex reasons for this bias that I won’t go into in this essay. Yet clay as a medium has great potential to address issues of our mortality Gone are the days on the farm when we saw animals butchered for food and witnessed grandparents passing away in our homes. Death has become an out—of—sight, out—of— mind proposition. What the messiness of clay does is connect us to the cycles of life. In contrast technology is both “clean” a[...] |
 | DRUMLUMMON VIEWS—FALL 2008 267 sometimes breaks in the firing or when we are using it, we become participants in the evolution of a pot’s life. As our own bodies change with time, a pot’s fragility can be humanizing. We are part of a culture that fears growing older. We want to erase the effects of aging on our skin with Botox or face lifts. Yet pottery is often at its best when it reveals the process by which it was made, thus revealing passage of time. We can feel a kinship with a pot’s history because the marks left by the hand, a tool, or the firing process are much like the wrinkles and scars that we acquire during our lif[...]otherwise we would have no shelf space available for new ones. As our bodies age and begin to decline, we can have a shift from the physical world to one of reflection and compassion. Robert Turner once told me to look to the inside of the pot for answers. It’s this empty space and its potential to be filled with anything that reminds us of our own potential to change. In the forming of the pot, it is the pushing from within that shapes the pots exterior. So too in our existence do our inner doubts and dreams shape the lives we live. Hope A cup is meant to be used and isn’t complete until someone actually draws the cup to his or her lips and drinks from it. Having a kitchen full of handmade cups enriches our lives in many ways. Certain cups get used more than others.The many reasons for this are the weight, color, gesture; often it just feels right[...]r Rowan why she liked using handmade cups instead of the machine—made cups at school, she said, “Because they have mistakes.” Rowan found these so—called mistakes to be comforting. Handmade cups represent a fired moment in the journey ofa potter’s life. When we hold a cup and can feel the indentation made by the potter while the clay was still wet, it becomes a shared moment. Hence the cup becomes a catalyst that brings two people together to celebrate the beauty and difficulties in life. In the past several years I’ve wondered why fewer ceramic students are interested in making functional pots. Perhaps part of the answer is their busy schedules. They eat a bag of Doritos on the run in one hand and talk on a cell phone with the other. Who has time to cook a meal or hassle doing dishes? Today Americans consume half of all their food outside of their homes. I recall reading that the three aspects ofa childhood that people most remember are dinner time, family vacations, and experiences in nature. Everyday people put a cup to their lips to drink. This can be an unconscious activity or one of deep reflection.I have been curious about my students’ memories of their dinner time while growing up. I often start the conversation by asking what is the difference between |
 | [...]hey recall about family dinners while growing up. The discussion that follows is engaging and often tho[...]duals who study child development have found that the sit—down family dinner is one of the most significant ways a child can experience the family coming together and as a result feel a sen[...]hter Tori was three years old and we had sat down for dinner as a family after a particularly busy day. As Kate and I started to eat, Tori reached out, wanting to hold hands to do what we usually do, have a moment of silence before we eat. Obviously this sense of coming together was important to her.How we experience our surroundings is both complex and innate. When I’ve become stuck in a long traffic jam,I become quite agitated.I believe the reason most of us have a hard time being stuck in traffic is that it is unnatural, since for almost all of human existence we just walked when we needed to go somewhere. Being buckled into a seat and wanting to go forward feels frustrating. I also believe a si[...]en our computers crash and we are suddenly unable to use them to communicate with someone. This seems unnatural, particularly when we have no idea what went wrong with the computer. Odd how disconnected we can feel whereas in the not—too—distant past we would write a letter or walk to a neighbor’s to talk. Perhaps these examples seem simplistic yet[...]ow our innate desires have been formed over years of evolution. Ellen Dissanayake has written extensively about how human beings have a biological need to make objects of meaning with their hands. Art—making is an essential part of the human condition. To make something special is fundamental to our humanity—from college freshmen wanting to decorate their dorm rooms to wanting to dress up for a special occasion. This making things special is a form of caring. Whether it is making art, or playing in an open field—when our senses are wide open we[...]ivities that charge our senses can be experienced in a myriad of personal ways. Yet it is this subjectivity, this personal expression in the arts that is often thought of as non—essential to learning. Since the arts are not easy to quantify or measure, our culture finds them diffith to assess and find relevant. Often music, art, or dance are the first areas in school curricula to be cut when budget concerns arise. Our schools are increasingly driven by standardized testing. In not—so— subtle ways our students learn that passing tests is more valued than nurturing the curiosity to learn. The arts |
 | [...]a message that each student has a personal story to express and it is essential that they be heard.Art inspires us to ask questions, and questions are profound things. Art, whether it’s a song, a poem, or a cup, has the potential to reawaken the childhood wonder we all once had. We live in such frenetic times that you think we would spend more time reflecting on what really matters in our one short precious life. When author Norman Maclean writes, “It is in the world of slow time that truth and art become one,”I believe he is saying that in order to have a sense of awe we can’t be working on our “to—do list.” For it is in the world of reflection and in quiet moments that epiphanies and a sense of awe can be discovered. As poet Mary Oliver writes so eloquently, “Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese harsh and exciting, over and over announcing your place in the family of things.” So our challenge is not to let our lives become flatter and more ocular—centric, but to reach out and engage life with all our senses. When we experience all the nuances of life, the sadness in another’s face, the warmth of the sun’s rays on a cool day, these enable us to feel connected to something larger than ourselves. It’s the ability to pay attention to life’s subtleties and ambiguities that enables us to make our lives deeper and richer. It is in the moments of slow time when we lean into life that meaning can[...]it is when our hand touches clay that we embrace the moment. |
 | DRUMLUMMON VIEWS—FALL 2008 270 RudyAutio: Coming Home to the Figure Rick Newby Note: This essay first appeared in the catalog accompanying the exhibition, RudyAutio: Ee Infinite Figure, at the Holter Museum ofArt, Helena, Montana, Summer 2006[...]inted here by kind permission ofthe Holter Museum of Art. Our thanks to Rudy Autio (1927—2007) and his family, especially Lela and Chris, as well as Liz Gans, Marcia Eidel, and the rest of the staff at the Holter Museum, for their invaluable assistance. Although Rudy Autio passed away on June 20, 2007, I’ve retained the present tense in this essay, to honor Rudy’s living spirit. For more tributes to Rudy, see Chris Autio’s video, which follows this essay, and the In Memoriam section in this issue ofDrum/ummon Viewx. I. 77m Journey F igarer placed to complement eacly otlyer in gerture like complementary colorr. —Henry Meloy‘ Rudy Autio is celebrated for many things: As seminal force in the launching of a modern ceramic tradition that has successfully blurred, even erased, the line between craft and fine art. As founding art[...]se, 1997, xerigrap/y, 38 x 52 inc/yer. Collection of [lye Holter M areum of Art. 0ft of Miriam Sample. Plyotograply h; Kart Keller. of the Archie Bray Foundation for the Ceramic Arts, one of the great centers for ceramic creativity in the world. As creator of significant works of public art in Montana and beyond. And as an influential teacher whose students have carried the torch of ceramic modernism throughout the United States} These accomplishments, important as they are, often overshadow Rudy’s central achievement of the past twenty—five years: the making of large stoneware (and sometimes porcelain)[...] |
 | DRUMLUMMON VIEWS—FALL 2008 271 Rudy Autio, Return of the Pinto, 1983, aerylz'e on paper, 34 x 34 inelyex. Colleetz'on of [lye Halter Muxeum ofArt. Cf! of Miriam Sample. Plyotograply h; Kurt Keller. These works of Rudy’s maturity, as Montana State University art historian Harvey Hamburgh has written, are “metaphors for elusive happiness. They belong to the realm of the classical, in the sense that their easy, seemingly endless linear movements trace an uncomplicated world of pleasure that is beyond our grasp, and perhaps exists only in imagination and art.” Another Montana art histo[...]ssessment, adding that Rudy’s “figures probe the complex relationship between an Arcadian vision of the celebration of sensual beauty and an almost baroque sadness about the transience of life.”3 The son of Finnish immigrants who settled in the mining metropolis of Butte, Montana, Rudy Autio did not come easily to this bittersweet vision. It was only after a series of explorations, encounters, and detours that he found the exact melding of material and imagery “where I’m at home.”4 Rudy first began to find creative “home” in the late 1970s, as he turned away from the Abstract Expressionist pots he’d been making (h[...]e had a handle” on Abstract Expressionism5) and the large—scale bronze, concrete, and steel sculptures to which he had never fully lent his heart. Rudy had discovered clay under the tutelage of Frances Senska during his undergraduate studies at Montana State College, Bozeman, immediately following World War 11. And of course, the encounter |
 | [...]ay and his fledgling foundation had been central to Rudy’s development as a ceramist, especially the early workshops by such international figures as the British potter and thinker Bernard Leach; the Japanese master potter Shoji Hamada; the scholar of Japanese folk art, Soetsu Yanagi; and the Bauhaus—trained potter Marguerite Wildenhain. Rudy meanwhile studied sculpture during graduate school at Washington State University, Pullman, where he worked in many diEerent media (wood, stone, aluminum, steel[...]uralist Diego Rivera.After receiving his Master of Fine Arts, Rudy returned to the Bray (as it became afiectionately known), and went to work fulltime for the foundation and adjoining brickyard. As an aspiring sculptor, Rudy was not interested in making conventional pots; in fact, he yearned to work with “serious” materials like bronze and steel. Change was in the air, and when Pete Voulkos returned from a visit to Black Mountain College in the summer of 1953, he introduced Rudy to the Abstract Expressionist ethos and energies he had encountered at the avant—garde institution hidden away in the hills of North Carolina. Soon the two young mavericks “started to do wild sculpture in clay,”6 thereby launching in Montana a revolution that would forever alter the character of American—and world—ceramics. Simultaneously[...]1999, xtoneware, 33 x 25 x 23 inc/yet. Collection of tbe artixt. Plyotogmply by Kurt Keller. |
 | DRUMLUMMON VIEWS—FALL 2008 273 Rudy Autio, Goodbye to the Girls of Galena Street, 1986, stoneware, 36 x 25 x 25 inches. Collection of the art- ist. Photograph by Kurt Keller. Rudy was designing and creating large-scale carved- brick murals for clients of Archie Bray’s brickyard; almost all of these murals were figurative, depicting Biblical[...]ana pioneer life—depending on whether they were for churches in Great Falls and Anaconda, or for secular institutions like banks and schools. After Rudy left the Bray for a teaching job in the art department at The University of Montana, he alternated between crafting his Abstr[...]onist vessels and fulfilling various commissions for public art, ranging from stained glass windows to tile murals, monumental bronzes to Cor-Ten and stainless steel abstractions. Despite his evident success, he felt that something was missing. The metal sculptures, he told his biographer Luanna Lackey, were “a hell of a lot of work, and I found [that] something I had wanted to do all my life really wasn’t that interesting. By now I recognized the beauty of clay.”7 At the same time, Rudy found himself weary of abstraction. He’d always been “pretty good at drawing the figure,” even as a boy, and he finally asked himself, “Why abandon the figure?” He thought back to his early encounter with Montana (and New York) artist Henry Meloy, who had painted countless studies of nude models and had decorated the pots of his brother, Peter Meloy (a co—founder of the Bray),with marvelous horses based upon Tan[...] |
 | DRUMLUMMON VIEWS—FALL 2008 274 thought, too, of his own earlier figurative murals. Even though they were works for hire, he had found working on them, in some way, deeply satisfying. Now, weary of the “same—old, same—old,” he was ready to generate figures of his own choosing. He “toyed” for a moment with the idea of becoming a painter, but quickly realized that “it’s just not the same”—he needed that third dimension, and the materiality of clay, to realize his vision. One day in the late 1970s, while teaching a workshop in Apple Valley, California, Rudy “hand— slabbed” a vessel and, while constructing it, began talking to his students about working with the figure. A woman in the audience challenged him, “Why don’t you do a figure?”That “scared me to death,” Rudy recalls. “Here’s this audience watching me. Did I still know how to do a figure on a piece?” He stuc.ied the slabs he’d assembled into a vessel and told the participants, “‘Well, I can see a head here—maybe I can move the body this way, and have it envelop and go arounc.[...]ts, “It turned out pretty good. . . . I started to gouge it with my fingers, and reinforce it with trowe lines . . . painted some black line and filled the lines wit1 difierent colors. . . . It had an energy that really intrigued me.” The Apple Valley workshop—a genuine epiphany—helped to launch what Ruc.y now calls a “major move” in his evolution. And just a few years later, a[...]II, 2004, xtoneware, 3.5 x 27 inc/yer. Collection of [lye artixt. Plyotogmply h; Kurt Keller. figural vessels drew increasing critical attention, and galleries in Chicago, New York, and San Francisco were clamoring for the new work. In 1981, he enjoyed another encounter that further cemented his commitment to the new approach. He was contemplating retirement from The University of Montana, and he applied for a National Endowment for the Arts fellowship, in order to travel to Finland. His stay in Helsinki, working at |
 | [...]200], xtoneware, 34 x 3] x 2] inc/m". Collection of tbe arlixt. Plyotogmply by Kurt Keller |
 | DRUMLUMMON VIEWS—FALL 2008 276 the Arabia Porcelain Factory, was revelatory. Not only was he able to work without interruption after all those years of teaching, he had access to new materials (including a lovely Finnish porcelain and commercial glazes of dazzling hues) and he was treated “like a king.” At the end of his stay, the factory remodeled its salesroom into a swank gallery appropriate for the Finnish—American’s farewell exhibition, and h[...]ors, and critics. Rudy Autio had truly come home: to his ancestral homeland, to a passionate investigation of the figure, and to a sense of himself as a painter whose canvases happened tothe rich paintings that cover their surfaces.”8 11. M ode]: and Masters Liner in [befigure are direttiom to infinity. —Henry Meloyg It is a commonplace to call Rudy Autio the “Matisse of ceramics,” and certainly Rudy has drawn inspiration from the French master. Early in his career, he found both Pablo Picasso and Henri Matisse worthy models, especially for their energy and mastery of line—but ultimately he preferred Matisse because his paintings contained “a kind of tenderness” that Picasso’s lacked. A later encounter with 7773 Dante (I), 1909, at the Museum of Modern Art, New York, cemented Rudy’s sense that Matisse was an ideal model for the kind of work he was eager to pursue. He recalls, “I said, “My god! This guy was doing what I’d like to do now!) . . . the way he invented that line and made it work and work as painting, but also describing the figure. It was just very canny.”m Matisseflnd Rudy’s fellow Montanan Henry Meloy—were not the only models for Rudy’s newfound devotion to the figure. He discovered affinities with the simplifications of Egyptian art, with the complex illuminated letters in medieval manuscripts, with Marc Chagall’s magically floating figures, and with the woodcuts of modern Japanese printmaker Shiko Munakata. Looking at Munakata’s prints, which blend Japanese woodblo[...]helped Rudy resolve thorny compositional issues. In Rudy’s view, Munakata “was just as interesting as Matisse,” and he admired in Munakata’s works “a certain kind of traditional elegance and a formal way of solving figure description. . . . a very lyrical kind of line.”" He found the same elegance, simplicity, and lyricism in the decorations on Greek black figure vases. Here was an ancient ceramic tradition that spoke directly to his enterprise. He has said, “Those line[...] |
 | [...]ine, and you could see where they started up here at the arm and came down. . . . Came down and described fingers and hands and arms, as it related to the whole.” Rudy noted, “I’m sure that the Greek potters, when they were making their pots too, wondered how’s this side going to fit with what [they did] on the other side ..... They tried to keep a union of things going,” just as he wanted to “have these forms relate to parts of figures as they round the pot and [create] a new configuration of shape relationships.“2More and more Rudy found himself drawn to older traditions, not just for technical reasons, but in terms of feeling and meaning. He recalls a visit to the National Gallery in Washington, DC, where he saw a “choice” show of Impressionist painters; he then proceeded downstairs, where he encountered an installation of new American art—“Franz Kline and others.” His response was that the brash Americans “weren’t any kind of match for the Impressionists—they were so ego—centered.” He speaks critically of “so much jazz and pizzazz” in contemporary art and admits that he prefers the “calmer side of hard studious art [of earlier centuries]. It was really meaningful—we’ve lost a lot of that. . . . Maybe it’s an extension of violence. We have to have everything now, it has to be different, it has to be original, it has to be novel. . . .I admire the old work much more—so much more solid. A place I’d rather be.” Just as he responded more to the tenderness of Matisse than to the sheer force of Picasso, this ceramic revolutionary of the 19505 today finds himself willing to risk “a little sentimentality” and to embrace beauty (for decades a forbidden notion in contemporary art) rather than contribute to the “jazz and pizzazz”flnd what he sees as the deficit of meaning—in much twenty—first— century art and life. 11[...]ngx: eitber [be bero or [be vittim oft/5e mtident of 171} beritnge and environment. —Henry Meloy13[...]is truly an international artist, revered as much in Finland and Japan as he is in the United States. At the same time, a universal art often emerges out of the particulars of the local. Rudy’s colleague at The University of Montana, painter and printmaker James Todd, has w[...]understand Rudy’s work if we ignore his origins in Butte. A western mining metropolis second to none, Butte was, in Rudy’s words: a very interesting busy,[...] |
 | [...]tra, 1993, xtoneware, 3 x 28 inelyex. Collection of [lye artixt. Plyotogmply h; Kurt Keller. |
 | [...]VIEWS—FALL 2008 279 between Minneapolis and the Coast; it was the big city! With opera, acting companies, the arts, boxing matches. . . . there were the Italians and the Yugoslavians and the Finlanders and the Jewish people and the Cornishmen, and all kinds of ethnic groups that maintained their own cultural identities in their own little colonies around the city. [A]ll of the company heads—the ACM [Anaconda Copper Mining Company] heads—were living in the same community, practically next door to the miners. . . . So, they didn’t live in New York and clip coupons, but they lived right in the city, in their splendid houses, with servants and everything like that. But the miners were just down the block, a few houses down. It was this kind of mix that made Butte interesting. . . . [M]y b[...]farming. . . . city life is what I knew and kind of grew up in—tenements, housing tenements, one right next to another, three- RudyAutio, Astarte II, 2005, xton[...]enements. No yards, no lawns. inc/yer. Collection of tbe artixt. Plyotogmply by Kurt Keller. It was like living in Brooklyn!” Todd notes, “ [H] ow appropriate it seems that the claymaker Rudy Autio came from this city where the |
 | RudyAutio, The Chase, 1997, xnzgrapb, 38 x 52 inelyex. Colleetz'on of [lye Halter Muxeum ofArt. Gift of Miriam Sample. Plyotograply by Kurt Keller. |
 | [...]983, acrylic onpaper, 34 x 34 inc/yex. Collection of tbe Halter M uxeum ofArt. Gift of Miriam Sample. Plyotograply by Kurt Keller. |
 | DRUMLUMMON VIEWS—FALL 2008 282 materials of earth determine the destiny of its citizens” and he adds that, because of this dependency, Butte’s citizenry have developed “special characteristics of realism, optimism, fatalism, flexibility and sim[...]tte’s distinctive culture lent Rudy an openness to the broader world, a profound respect for other cultures, and the fondness of an urbanite for the complex mixing of elements, whether of social classes, ethnicities, or the rough and the refined (especially evident in his work). Out of this colorful place, Rudy took inspiration and a clear understanding that the world was never simple—only endlessly fascinating. IV. He Work 777ere eould be movement in liner and in rbnper C97 eolorx C97 valuer. . . . [be idea bein[...]. . . Life is [be tbing derireditbe tbing we wirb to bring into being. —Henry Meloy16 The grace and vivacity of Rudy Autio’s painted figures and the energetic monumentality of his vessels produce a powerful and, at times, uncanny tension. Rudy speaks of wanting to “make an agreeable composition of form and surprise and color, dark and light, and[...]ls and plates and paintings and prints. His sense of play and improvisation, his marvelous eye for what pleases, are wonderfully present in his works created within the last twenty—five years. But Rudy achieves much more than this. If we look closely at these floating nudes and their attendant horses[...]t, as often as they suggest “an Arcadian vision of the celebration of sensual beauty,” call up darker themes, darker tonalities—of melancholia alongside rapture, of unspoken threats alongside delightful promises, of the inevitability of death alongside the miracle of fertility. One has the sense that, despite the gorgeousness of these leisurely and paradisiacal scenes, terror a[...]This is as it should be. This tension, this sense of the complexity of existence, lends these works their power to hold us; they possess the qualities of Eros which, as Guy Davenport has written, is “a[...]moving, fluttering . . . colliding frequencies of meaning which sometimes dance together . . . and sometimes remain opposed butjoined.” In Eros, Anne Carson has written, a “simultaneity of pleasure and pain is at issue”; we stagger “under the weight of Eros.” In Rudy Autio’s tumbling visions, his chases and escapades, we sense the unfolding of desire, in all its fierceness and its tenderness. H[...] |
 | [...]rse with skulls and doves.“ Whether Rudy refers in his titles to classicalmyths (Artarte, Electra, Daedalur, Icarur), to cultural and natural landscapes of Montana (Magic Horrer of Columbia Gardenr, Heart Butte Pony, Lady at Kicking Horre Creek, Goodlg/e to tbe Girlr of Galena Street), or simply to places or themes, he aims to “evoke a kind of story.” (For him, titling—which he sees as an “enriching[...]cially his wife Lela Autio, an exceptional artist in her own right.) The poetry of these titles only serves to reinforce Rudy Autio’s stature as a poet of the visible and the tactile, a visionary artist who has emerged out of the American West to bring us meaningful, tender, haunting works, works that speak to our desires and our fears. Notes 1. Henry M[...]MT: Henry Meloy Educational Trust, n.d.), 8. 2. For more on Rudy Autio’s role in the founding of the Archie Bray Foundation, see Rick Newby and Chere Jiusto, mA Beautiful Spirit’: Origins of the Archie Bray Foundation for the Ceramic Arts,” and Patricia Failing, “The Archie Bray Foundation: A Legacy Reframed,” in A Ceramic Continuum: Fifty Year; oftbe Archie Bray Influence (Seattle/ Helena, MT: University of Washington Press/Holter Museum ofArt, 2001). For more on Rudy’s career, see Matthew Kangas, “Rudy Autio,” in Autio:A Retroxpective (Missoula, MT: University of Montana, School ofFine Arts, 1983), and Lela Aut[...](Missoula, MT: White Swan Press, 1996). See also, for the fullest biography of Rudy to date, Louanna M. Lackey, Rudy Autio (Westerville,[...]. Harvey Hamburgh, Re Poetic Vixion: Vixua/ Form; in F ive Montana Artixtx (Bozeman, MT: The Haynes Fine Arts Gallery, Montana State University, 1995), 6; Hipolito Rafael Chacon, untitled essay in RudyAutio: Work 1983-1996, 53- 4. All quotation[...]therwise noted, are drawn from an interview with the author, April 7, 2006, Missoula, MT. 5. Rudy Aut[...]d Seattle, WA, Oral History Collection, Archives of American Art, Smithsonian Institution, Washington, DC (hereafter OHC, AAA); see www.aaa.si.edu/coll[...]OHC, AAA. 7. Lackey, Rudy Autio, 76. 8. Chacon, in RudyAutio: Work 1983— 1995, 50- 9. Melo[...] |
 | [...]15. James Todd, “Rudy Autio Retrospective,” in AuiimA Reimxpedive, 3.16. Meloy, Noiex, 1. 17.[...]Harrington, OHC, AAA. 18. Guy Davenport, “Eros the Bittersweet” [a review ofme [be Biflerx[...] |
 | [...]2008 285 Rudy Autio, Gala, 2003, ngned Hutio, at Kaneko’x 5/03, ” xtoneware, 40 x 3] x 16 inc/m". Collection of tbe artixt. Plyotogmply by Kurt Keller. |
 | [...]1995, stoneware, 32 x 26 x 19 inches. Collection ofthe artist. Photograph by Kurt Keller. |
 | DRUMLUMMON VIEW s—FALL 2008 287 Clare to Home: The Photography of Richard Bmwell Julian Cox Note: This essay first appeared as the introduction to Richard Buswell’s new book, Tracer: Manama} From‘ier Rmixiz‘ed (University of Montana Press), which accompanied the exhibition of the same name at the Montana Museum of Art 8c Culture,The University of Montana, Missoula, Autumn 2007. It is reprinted here by kind permission of the author and the Montana Museum ofArt 8c Culture. Our thanks to Richard Buswell and Julian Cox, as well as Barbara Koostra, Manuela Well—Off—Man, and the staff at MMAC for their invaluable assistance. Richard Buswell’s photographs of Montana’s abandoned, overgrown homesteads are precisely realized individual works, intended to be studied and savored one at a time. In a sustained practice spanning more than thirty five years, Buswell has used the camera to explore the visual profundity and unique historical complexion of his native state. The laconic intensity of his vision is central to his project: to begin to understand things, we must look patiently, without prejudice, at what is actuale there. Buswell’s photographic subjects have an air of eternity about them: individual circumstances may change, but the Riclmrd S. Buxwell, Bedroom, xiii/er gela[...] |
 | [...]ver gelatin print. © Ritbard S. Buswell.forces at work are timeless. Beaten and weathered facades become as sublime as the cloud dappled, never ending Montana sky. In the world as seen through Buswell’s eyes, history and archaeology are inextricably meshed. History provides the link between then and now, and archaeology the means to understand and reconstruct the passage of time. Richard Buswell has been a fastidious collector of images since he dedicated himself to photography in theto use it on pilgrimages to the ghost towns of his childhood.‘ Trained as a physician, photography appealed to his appetite for precise work. Largely self—taught, within a few short years he became accomplished in the fundamental techniques ofthe medium. In spite of the relentless march of digital technology, he continues to cherish the smooth, luminous surface of fiber—based gelatin silver paper and the immediacy of working with traditional materials that allow for an expressive latitude which suits his procliviti[...]optimal portability and flexibility when working in the field. Buswell very seldom crops his pictures, preferring to fully resolve the composition prior to exposure in the camera. He is a consummate printer, who follows closely the exacting procedures first |
 | [...]VIEWS—FALL 2008 290 outlined by Ansel Adams in the 1930s.: No prints have left his studio that were anything less than the very best he could make. From the moment of its invention, photography allowed its practitioners to be archivists of their own world, record keepers of the soon to vanish and recorders of the newly uncovered. The earliest cameramen set up their tripods and aimed their lenses at countless monuments along the Nile, at medieval cloisters in Europe and at jungle covered temples in Mesoamerica. From the Enlightenment onwards, monumental ruins have been interpreted as metaphors for the transience and persistence of human history. The foundation of Western civilization—the Greek and Roman classical past—comes to us almost entirely in the form of fragments, shards and ruins. There is enormous value in these fragments and ruins. With their original utility gone, they become ours in an important way—to be used for new ends, as spurs to the imagination. Of course human presence is more frequently inscribed in the landscape in ordinary domestic and industrial structures, buildings not usually accorded the respect or attention of ruined monuments.These remnants of everyday existence seem to imply not the grand march of history, but the Riclmrd S. Buxwell, Half House, xiii/er gelatin print. © Riclmrd S. Buxwell. fragility of the social order. The history of landscape photography has kept pace with ever—shifting concepts of the land and our place within it. Nineteenth century[...]eton Watkins and William Henry Jackson documented the American landscape and, along with it, the expanding evidence of our inhabitation. Signs of human presence on the land, such as shacks, farmsteads, railway tracks, bridges, mining sites and other tokens of progress and industry were frequently portrayed uncritically as part of the natural order of things and even celebrated for their harmony with the land. In the work of Edward Weston and |
 | [...]mpletely exempt from civilization—as something to be preserved and isolated from human reach. Roads[...]spectators were customarily treated as violations of a sublime wildness and excluded from photographic scenery. The American West is littered with abandonment. Historian Patricia Nelson Limerick has called the Riclyard S. Buxwell, Cactus- Covered Roof N0. 1,[...]n print. © Ric/yard S. Buxwell. West “a cult of ruins.”3 During the late nineteenth and early twentieth century, the Great Plains and the neighboring states to the north tolerated tens of thousands of settlers from the eastern half of the continent, but they also heartlessly expelled an enormous number, and the ruins that pepper the landscape bear witness to their sometimes rapid departure. The very climate that drove families away— |
 | [...]unerringly steady dryness—now preserves, almost to a fault, their leavings.Many of the sites that are the subject of Buswell’s photographs are rarely visited, sometimes requiring more than a day of solitary hiking in the backcountry to reach. But this is the environment he grew up in, and Buswell’s recollections of his youth spent rambling in the mountains with his parents underscore his love for the land: “My dad was an amateur geologist . . . and my earliest memories are camping out in ghost towns. We had this ’49 Dodge pickup that[...]’d spread our sleeping bags all tucked together in the truck bed.” In this way Buswell’s project is like an ongoing homage to his native state, and the settlers and homesteaders of its rugged outback. Although he cites but a handful of photographers as guiding influences in his work (among them are Paul Strand and Ansel Adams), Buswell’s aflinity with thethe most significant portrait of the people and artifacts of the Great Plains, and seamlessly interweaves text and photographs. It is also highly personal, and deeply influenced by his time spent on the family farm near Norfolk, Nebraska. Morris was as much a man of Nebraska as Buswell is Riclmrd S. B[...] |
 | [...]fMontana, both men sharing a life long commitment to recording and “saving” the visual history of their beloved home states. Morris once wrote: “Photography discovers, recovers, reclaims, and at unsuspecting moments collaborates with the creation of what we call history.”"—phrasing which seems to resonate withBuswell’s project and philosophical outlook. It is the unmistakable fly—in—amber quality of the photograph—with its unique conjunction of place and subject at a particular moment in time—that allies it with the study of the past. The photographic frame yields a concrete, time bound unit of information from which one may construct narratives about the people and objects recorded and the relationships between them. This quality of memorial also connects photography to transience—it is the nature of the photograph to preserve, as it underscores the recognition that something which existed at the moment the shutter was released is destined to dissolve into nothingness. Buswell’s still life photographs of torn posters, wallpapers and popular engravings, such as Trunk Lid have an antique or even nostalgic quality. Much like Frederick Sommer’s richly nuanced still life of a collage of shredded posters and engravings, I Adore You, 194.7, Buswell’s photographs of these found narratives stand as emblems of memory, hints of a warmly remembered but now vanished way of life. Buswell transforms these trivial relics into objects of talismanic power and mystery. His photographs suggest a spectrum of human experience; not simply the pathos of decay and dissolution, but the power of dream and the inexhaustible forces of mutation. The photograph is both a record of the visible traces of the past and an artifact of its own particular moment. Buswell’s images are direct descendants of the early appreciation of the utility of photography for recording ruined remnants of the past. But as a photographic collector of material culture, a process that inevitably produces the construction of typologies—in this case a typology of abandoned structures and objects in Montana—Buswell is also of his own cultural moment. He is drawn to places and objects with histories; things imbued with the evidence oftime and chance.Just as Eugene Atget and Walker Evans created unique photographic records of their respective times and cultures, Buswell has[...]bled with discrimination and acutely honed powers of observation, which precede and inform the enterprise of collecting, grouping, and naming. Photography is well suited to the construction of typologies. The photographic act removes fragments of the physical world from the flow of time, isolates |
 | [...]them from continuous space, and preserves them for comparison and study. In part, it is this sense of the archive, not the lone individual print that is the appropriate framework for understanding the inherent value and importance of Richard Buswell’s “traces” of Montana’s frontier. Diane Arbus located Walker Evans’s photographic power in: “a profound historical empathy which permitted him to see things around him as destined for extinction and to photographically preserve them as prospective relics.”5 Evans discovered rich picture making potential in fragmentary building materials. In his study of a Stamped Tin Refit, 1929, Evans takes delight in the familiar texture of pressed tin paneling, the light caressing every crimp and crease. The same heightened visual acuity is present in Buswell’s work, which reveals a similar instinct for the imminent disappearance of places and things. With great precision and dignity, Buswell records the desiccated remains of a scrubby patch of linoleum floor, its surface etched with an arterial system of cracks and fissures. He is keenly attuned to the lived beauty of this object; his picture is a concise visual poem to beauty. The object is recorded, but also transformed by the camera. In Buswell’s hands each object seems mysteriously[...]wn presence, charged with a pure and deep quality of recognition.Buswell is modest about the details of his creative approach, but he has said more than once that he endeavors to go about his work with his eyes and mind open to new possibilities: “I don’t know what I’m looking for, but I’ll know it when I see it.” His image e[...]resents a rare instance where he pre—visualized the scene. He first encountered the subject (roughly eighteen miles northwest of Helena) during the summer, and realized that a dusting of snow would enhance the geometry and mood of this architectural space, with its complementary formal elements of peeling ceiling, weather—beaten floorboards and tree reaching in through an unglazed window, which he seamlessly shaped into this memorable picture. Similarly, the striking study, 8633; Sbed, Interior, has staying power because it avoids the formulaic predictability that characterizes so many design—in— Mother—Nature photographs. The strength of the picture lies in the fact that Buswell has recognized and celebrated not only the forms of the building itself, but also the fleeting and “accidental” designs imprinted by the sunlight leaking through the roof and into the structure. Buswell has discovered a new structure, a new set of relationships, made half of fact and half of aspect, which amplifies the significance of his subject. Buswell’s project is as much about geography as it is about time.The time dedicated to his photography |
 | DRUMLUMMON VIEWS—FALL 2008 298 represents thousands of hours and miles spent crossing and re—crossing the state of Montanafl land mass as large as the British Isles, but populated by less than a milli[...]tances have been traversed on unmaintained roads, in week long excursions, striking out into the backcountry from one small town or another. The remote geography is not explicit in Buswell’s most recent photographs, but rather deftly implied in the small interiors. Structures are derelict, weather beaten and openly vulnerable against the forces of nature. Occasionally there are great surprises, as in HalfHome, which looks like one of Gordon Matta—Clark’s “building cuts” from the 1970s, the site specific artworks he made in abandoned buildings in which he variously cut and removed sections of floors, ceiling, and walls for sculptural effect.“ Buswell’s photograph radically alters our perception of the building and its place within its environment. No truer a picture of the precarious nature of existence on remote plains has ever been made. In another, quite different study, Cattux Covered Roof No. 1, Buswell pictures a blacksmith shop in a stage stop in the Elkhorn Mountains, roofed with prickly pear cactus rather than sod, which underscores the harsh, unforgiving elements of high plains existence. Setting up the tripod on the roof of his Jeep (and extending it as high as it would go) Buswell’s composition captures the unique blend of natural materials and the ingenuity of vernacular construction. In addition to being part of a remarkable catalogue of structures, places and objects, the best of Buswell’s photographs are a celebration of the heart and soul of frontier experience, laced with the ebullience and indomitable spirit of one of the great American poets, Walt Whitman. They are simu[...]conditions and relationships, and ballads singing of beauty, heartbreak and longing. The impact of Richard Buswell’s dedicated visual record of frontier Montana lies in the tension between his use of the neutral archaeological record and carefully constructed details that trigger the emotional response elicited by an abandonment that is close in spirit as well as time to our own lives. While his subjects are commonplace, the intensity and persistence of his vision has a transformative effect. For Buswell, as it was for Paul Strand before him, the subject is not merely the occasion but the reason for the picture. His close—up studies are intimate, miniature landscapes, organized with the same rigor and described with the same sensitivity to light and space as he accords the grand vista. He takes obvious pleasure in graphic adventures, which in recent years has led him to investigate an increasingly abstract approach in his photographs.Yet he has continued to shape his body of work and define the terms of its meaning with clarity and insight. He knows that it is through common or abandoned things that some of the most significant |
 | DRUMLUMMON VIEWS—FALL 2008 299 ideas in our culture can be eHecfively expressed. In the panoply of photographic images that now sustains our optical understanding of nature, Richard Buswell’s work occupies a special place—and provides a lasting reminder that the most unique forms of beauty and invention can often be found close to home. Notes I. I mention Buswell’s biography only briefly. The details are well covered in his previous two publications: Eclyoexuq VixaalRtjlection, (Missoula: Archival Press in Association with the Museum of Fine Arts, The University of Montana, 1997), unp. and Silent Frontier: Iconx of Montana’x Early Settlement, (Missoula: Montana Museum of Art 8c Culture, 2002), unp. 2. The most influential of all Ansel Adams books is Making a Plyotograp/yufn Introduction to Plyotograp/yy, (London: Macmillan, 1935), which provides information and instruction on the fundamentals of light, optics, and darkroom chemistry and techniq[...]elAdamx P/yotograplyy S eriex, which includes the definitive volumes, 77Je Riclyard S. Buxwell, Ho[...]ricia Nelson Limerick, ‘Haunted by Rhyolite,” in 77Je Big E nifty: Exxayx on Wettern Landrc[...] |
 | DRUMLUMMON VIEWS—FALL 2008 300 University of New Mexico Press, 1994.), 28. Wright Morris, “The Camera Eye”, Critiml Inquiry, Autumn 1981, reprinted in I/Vriglyt Morrix: Time Pieeex: P/yotograplyx, Wr[...]Aperture, 1999), 14.. Diane Arbus, “Allusions to Presence”, in 77Je Nation, 11 November, 1978. For details on the life and work of Matta—Clark, see Gordon Matta—Clark, “YouAre [be Meaxure” (New York: Whitney Museum of American Art, 2007). Rielmrd S. Buxwe[...] |
 | DRUMLUMMON VIEWS—FALL 2008 309 Dinner at Olympia} Gilles Stockton No sooner would we get the courage to pick up speed, we would hit a bump, and everything—including us— would fly through the air and rearrange. We had given up traveling on the highway, the lack of maintenance had finally ended in the potholes outnumbering the smooth. But the barrow ditch was not that much better. And from the ditch, I could not see the harvest of maize and sesame, or the livestock headed to water. We were, however, in a hurry. For we were invited to dinner at Olympia’s and when you are invited to Olympia’s, you don’t arrive late. At the price of some discomfort and a broken mineral water bottle, we had made up for the late start. Ahead I could see, on the underside of the low formless clouds, the rose reflection of the sand dunes. Once we reached the source of that reflection, we would turn left and follow the narrow road that finds its way through the dunes to the sea. No matter how many times I have seen it, the sight of the blue Indian Ocean, edged by the white beaches of East Africa makes me catch my breath.The contrast between the formless monotony of the flat Somali bush, through which we had just been subjected to an uncomfortable ride, and the cheery bright waves breaking on the reef gives the impression of not being in the same place. And in a sense we are not. The coast of East Africa belongs more to Arabiafl strip three kilometers wide and five thousand kilometers long. The demarcation is a ridge of sand and clay that the sea breezes have built to a height of 100 meters.The newest sand to arrive on that ridge collects into dunes that march into Africa. But they fail when the ocean breezes fail, and Africa claims them with flat topped acacias. From where the road feels its way out from between the dunes on the ridge above the ocean,I could see Merca. An ancient town. The explorers Ibn Battuta and Vasco deGama both walke[...]s—shackled—on non—voluntary one way voyages to the slave markets of Arabia. Merca is a jumble of two and three story homes built of coral blocks and mortared with lime baked from the same coral reefs. Small dunes drift in very narrow streets where only donkey carts can pass. The men dress in white nightshirts, their heads covered by turbans or elaborately embroidered white fezzes. The women in black with black veils. They descend from the sailors and merchants who traded on these shores for centuries. It is a city devoted to the international trade of ivory, gold, and slaves; cargo for the dhows that no longer sail these seas. But we don’t enter the town because Olympia’s villa sits high on the ridge. A large brick block. It is not |
 | [...], it is a very solid Italian country house, built to be both a home in which to raise a family and the center of a financial empire.Olympia met us at the door, a good looking woman of 85 years, dressed in a low cut tangerine mumu. Perhaps a little incongruent in a woman her age but loose fitting, cotton clothing makes sense when you live so close to the equator. Around her neck was a string of huge pearls. I was introduced, since I was the only one of our little company she did not know. Yusif was a weekly guest and he brought Joe with him a number of times. Joe and Yusif were close friends.They looked like brothers: the same height, the same build, the same hair style. Just a different shade of skin. Joe and I first came to Somalia twenty years before in the Peace Corps. But he returned in the early 1980’s to work in the camps for Ethiopian refugees. During those years he had perfected Somali which is one of the harder languages to learn. After the introduction we settled into the guest bungalow to shower and change. There was not much time because cocktails are served promptly at six. We sat at a little table on the south side of the house; the sun was settling over the sand dunes; the tide was coming in over the reef where the waves were pushed on and encouraged by a pleasan[...]ting company; a very civilized and an idyllic way to start an evening. Dinner was served promptly at seven. The long table in the main hall was set with china, crystal, and silver. Three forks on the left, two knives on the right, and a pyramid of five spoons climbing in the center above the plates.The five spoons have bothered me for years. There was a great big spoon to help the big fork twirl up the spaghetti. There was a big spoon for the soup. There was a regular spoon for the dessert and a teeny little spoon for the coffee. But why the fifth spoon? Olympia apologized for the serving girl’s ineptitude. The maid of forty years had retired, too crippled to keep up this big house. This girl was skinny and[...]nd her large black bare feet stuck out from under the hem. She kept trying to serve from the right and clear from the left but would remember at the last moment. This added to her awkwardness, embarrassment, and perplexity. I don’t blame her for being perplexed, formal dinning is a strange ritu[...]lly every evening whether she had guests or not. The cook brought in the spaghetti and hovered around for a little while and bantered with Olympia. They were the same age and he had been her cook for nearly 60 years. He wasn’t intimidated b[...] |
 | DRUMLUMMON VIEWS—FALL 2008 31 1 scattered around the world, her friends had died or retired back to Italy, and Merca was no longer a center of colonialist activity. Just her, her old cook, and her big house.The spaghetti was the bestI ever ate, and I come from a family of Franco—Italian good cooks. Olympia and I conversed in French. I learned that her mother was French and father Austrian. She grew up in Paris. In 1925 she married an Italian who was newly appointed the physician for the Governor General of Italian Somaliland.I asked if she often visits Pa[...]like it was.” I wondered if my grandparents had the same impression of Paris in the 20’s. Italian immigrants—my grandfather working in the Citroen factory spraying lead—based paint on automobiles he could never afford. But after the Great War, Paris must have been a magical exciting place for the children of the rich. Then she reached over and slapped Yusif’s hand. “ Hold your fork right!” She snapped.To me, in French she explained,“ It is impossible toof food stifling a laugh. Yusif, forty years old, Sultan of his tribe, vice president of the national bank, owner of a large and prosperous banana plantation, apologi[...]ry week when he visited his plantation, he stayed in Olympia’s home. He brought her things from Mogadiscio and shepherded her affairs through the labyrinthine Somali bureaucracy. In the early 1970’s, just out of school, he was a bank administrator in Merca. The Italian—controlled banking system had been nationalized by the new dictator. Scientific Socialism was the Somali way to the future, and Olympia needed someone to help her circumvent the currency restrictions. Yusif, unlike most Somalies, felt a need to master the mysteries of European society. Through the years they developed a grandmother—grandson relationship. She confided to me that not only do Somalies never master the fork, “their water glasses always end up on the left side of their plates.” “ They eat with the fingers of the right hand, so they drink with their left.” “No manners!” In sixty two years in Somalia she had been invited many times to eat Somali fashion under a tree in the bush. Somehow she had managed to avoid the indignity. “There are standards to maintain!” At eight o’clock dinner was over and we moved to the sitting room for brandy and conversation. We were four people each speaking two of four different languages. Conversation worked—but slowly. Olympia and Yusif would speak in Italian. Then Yusif would translate to Joe in Somali. Joe and I would discuss it in English. And finally Olympia and I would speak in |
 | DRUMLUMMON VIEWS—FALL 2008 312 French. Than the conversation would flow the other way, from French to English to Somali to Italian like a slow moving alternating current caught in a loop. But always beginning and ending with Olympia. I was fascinated by this woman and wanted to know more about her and her life, but etiquette r[...]ing” she commented “Flora leaving her husband for a younger man?” I knew Flora and had met her hu[...]were expert farmers. Everything grew—all kinds of crops and trees, flowers of all colors festooned the edges of the lanes and irrigation canals. Flora marketed vegetables to the ex—pats in Mogadiscio. Twice a week, for five dollars, each subscriber received a two bushel basket of fresh vegetables. Sometimes included in the basket would be a bundle of flowers that would release its fragrance only at night—in pulses—that would spread through the house to surprise you. “My husband brought Bubolini from Italy to be our mechanic.” “His land is part of the plantation we developed.”“Still,” she added[...]man, and so much older.” “But it is diffith for the children.” Olympia and her husband cleared and developed 5,000 hectares of bush and jungle along the river and pioneered banana cultivation in Somalia. Every morning Olympia’s husband would ride a mule across the dunes to oversee the work. He stopped practicing medicine and started a construction business. He built the highways in Somalia and he built a kiln to fire the bricks for their villa. “The dunes” I asked, sensing an answer tothe dunes have always been like they are.” It was as I suspected. The development agencies were spending an inordinate amount of money and energy planting trees to stabilize the dunes. Experts were flying in from the capitals of the world. Four—wheel—drive vehicles were bouncing along the no longer existent highway system. Reports were issued and important meetings held. All to stem the desertification of southern Somalia. But the dunes were no more a problem than they had been 6[...]re. “My husband spent nine years as a prisoner of war in Kenya and was not released until 194.9.” “We[...]you know.” “Those were very difficult years, the children were little, but we survived.” Many years before, while traveling in Kenya, it was pointed out to me that the highway that descended into the rift valley, and a little stone chapel along that highway, had been built by Italian prisoners of war. Could Olympia’s husband have been in charge of that construction? |
 | [...]EWS—FALL 2008 313 I never found out because at nine o’clock Olympia excused herself. She told us she was too old to stay up, and unless we told him not to, the guard would turn the electrical generator of at ten. I got the impression that she was not recommending that we stay up any later. That night I lay in bed mulling over the ironies. A young aristocratic couple—colonialis[...]ion systems, planted bananas, and built highways. In the process they forced entire villages of recently emancipated slaves to work the fields. The Somali dictator, a fascist of a different color, depended on the export of bananas for hard currency. To keep his government cronies from destroying banana cultivation, as they had ruined all of the other industries, the dictator cut a deal with Italian organized crime. Bananas grew in organized rows and ship loads of green bananas left for Italy at organized intervals. The workers, however, lived in the mud and filth of unorganized villages, just as ignorant and just as exploited as their ancestors. With the money, the dictator imported Toyota Landcruisers as rewards for his lieutenants. But the vehicles were quickly destroyed by a road system that never received maintenance because the Minister of Public Works pocketed all the money. Meanwhile, foreign experts, with degrees in Social Forestry, were earnestly endeavoring to fix an ecological disaster that didn’t[...] |
 | DRUMLUMMON VIEWS—FALL 2008 314 Lang Line; of Dancing Letters The Japanese Drawings quutriciu Farsberg Rick Newby “We struggle to locate ourselves in a tangle of histories. . . .There are more things in modernity than are dreamed of by our economics and sociology.” —James Clifford, On [be Edger of Antbropology, 2003 “[OJne’s sight changes: y[...]an eye more Japanese, you feel colour differently The Japanese draw quickly, very quickly, like a light[...]feeling simpler.” —Vincent Van Gogh, letter to Theo van Gogh, Arles,June 5, I888 Browsing a stack of books I own but haven’t read, I come upon this quotation from A Guide to [be Gum/em onyoto: “It is not the materials in isolation that form a garden but the fragments in relation. . . .” Montana artist Patricia Forsbe[...]e properly, her mixed—media works—crafted out of ink and gouache and fragments of splendid Japanese Pairitia Forxberg, Heart Twisting in the Wind, 2006, gouatbe, ink and collage onpaper, 4.[...]ie. papers—resonate with this characterization of classic Japanese gardens (and by extension, Japanese design in general). Like Van Gogh, who found his Japan in the south of France, and like the French theorist Roland Barthes, who saw in Japan a paradigmatic Empire of Signs (“The author has never, in any sense, photographed Japan,” writes Barthes; rather, “Japan has starred him with any number of ‘flashes;’ or better still . . . a situation of writing”), Patricia Forsberg finds in Japanese culture a kind of aesthetic paradise |
 | [...]LL 2008 315 Pairitia Forxberg, Holding You in Me Still, 2005, gouatbe, ink and collage onpaper[...]orxberg. Pboiogmpb by Cbrix Amie. where, ideally at least, the literary and visual arts meld into daily life in ways that are meaningful, spiritually resonant, a[...]heir compatriots elsewhere, given their proximity to the Pacific, artists in the American West have long been drawn to Asia and its arts.Think of the Pacific Northwest abstractionists Morris Graves and Mark Tobey, and their adoption of elements from Chinese and Japanese painting. Or of the profound impact on western ceramic artists of such Japanese potters and thinkers as Shoji Hamada and Soetsu Yanagi (especially their visits in 1952 to the Chouinard Art Institute in Los Angeles and Montana’s Archie Bray Foundation). In Montana, of course, Townsend ranch kid (and Columbia Universi[...]her Peter’s pots, and Rudy Autio looked as much to Japanese sources (Hamada, Yanagi, and especially the printmaker Shiko Munakata) as he did to Matisse and the Greek figure vase tradition. Beth Lo has explored both the ceramic traditions of her Chinese heritage and the rich contradictions that surround her experience[...]and other Montana ceramists have embraced aspects of the Yixing teapot aesthetic, rendering their o[...] |
 | [...]008 316 scholar Marvin Sweet has named Helena the epicenter in the U.S. of what he calls the “Yixing Effect” (see Sweet’s book by the same name, published by Beijing’s Foreign Languages Press and serving as the catalog to a major 2006 exhibition— mounted by Helena’s Holter Museum of Art—of both traditional Chinese and contemporary American “Yixing” pots). All of which is to say that Patricia Forsberg is not alone in her explorations of Asian aesthetic principles, cultural values, and spiritual traditions. At the same time, her series of drawings, created over more than ten years and numbering in excess of 300 intimate works, stands as one of the most engaging, masterful, and achingly lyrical engagements by an artist of the West with a specifically Asian culture.Just as P[...](“it is a beautiful Japanese dream,” he wrote of the Provencal countryside), Patricia has found her Japan within the confines of an artist’s studio. Created in theof Weeping, 2006, gouatbe, ink and collage on paper,[...]oiogmpb by Cbrix Amie. “Japanese” works echo the ancient tradition—in both Chinese and Japanese cultures—of the seamless bringing together of painting and poetry. And Patricia’s drawings/ collages honor (and borrow from) the blossoming of the first truly homegrown Japanese culture, m[...] |
 | DRUMLUMMON VIEWS—FALL 2008 317 Behind all of Forsberg’s Japanese works hovers the extraordinary world of Japan’s Heian era (794—1185 AD). At least since Arthur Waley translated Lady Murasaki’s six—volume The Tale of Genji (published ca. 1015 AD and considered to be the first psychological novel in world literature) in 1921—1923, women artists in the West have looked to the period and especially to the Japanese court’s exceptionally talented female[...]d inspirations. Virigina Woolf famously reviewed the first volume of Waley’s translation of Genji in 1925 and expressed her envy of a time and circumstance when, instead of focusing on war and politics, a culture could dwell almost entirely within the aesthetic dimension. While Europeans of the Dark Ages “burst rudely and hoarsely into crude spasms of song,”Woolf wrote, “the Lady Murasaki was looking out into her garden, and noticing how ‘among the leaves were white flowers with petals half unfolded like lips of people smiling at their own thoughts.” Of course, this era of relative tranquility and luxurious introspection was temporary, only to be followed by centuries of civil war and brutal rule by warlords. In the grand tradition of American self— invention, Patricia Forsberg has seized upon the aestheticism of the Heian court as a part of her own cultural ancestry. Kakuzo Okakura has written in his Book of Tea that this is not “aestheticism in the ordinary Patricia Forsherg, The Geisha’s Pose, 2006, gouache, ink and c[...] |
 | LONG LINEs or DANCING LETTERS 318 acceptance of the term, for it expresses conjointly with ethics and religion our [the Japanese] whole point of view about man and nature.” As Ivan Morris writes in his classic study, 777e World oft/be Sbining Prime: Court Life in Aneientjopon, the Heian era will always be remembered for the way in which its people pursued that cult of beauty in art and in nature which has played so important a part in Japan’s cultural history. . . . Ihe “rule of taste” applied not only to the formal arts but to nearly every aspect of the lives of the upper classes in the capital. It was central to Heian Buddhism, making . . . religion into an art[...]ion. . . . Ihe immense leisure enjoyed by members of the upper class allowed them to indulge in a minute cultivation of taste. Their sophisticated aesthetic code applied even to the smallest details, such as the exact shade of the blossom to which one attached a letter or the precise nuance of scent that one would use for a particular occasion. Morris adds, “Finally, the aesthetic cult . . . provided the framework in which the ‘good people’ not only expressed but even exp[...]ven when Murasaki’s characters are plunged into the most agonizing grief . . . they express their emotions in elegantly—turned poems of thirty—one syllables.” Freed by servants of all domestic duties, the women of the court, imperial consorts and ladies—in— waiting, lived together in the palace, where they whiled away their leisure play[...]graphy and music, entertaining male visitors, and in many cases, writing poems, tales, and memoirs. While Japanese men of the time wrote their works in Chinese (the official language of the time, just as Latin was in the West), the women were free to write in the Japanese vernacular. Using the komz phonetic script, they could, in Ivan Morris’s words, “record the native Japanese language, the language that was actually spoken, in a direct, simple fashion that was impossible in . . . pure Chinese.” Because of their leisure, their access to this strong, vivid language, and their genius, the women of the Heian court have left us an unparalleled record. Among the important works are Lady Murasaki’s diary and h[...]Sei Shonagon’s witty and richly observed Pillow Book, Lady Sarashina’s melancholy Ar I Cromed a Bridge ofDreomr, and the poems of Ono no Komachi and Izumi Shikibu, available in English in 777e Ink Dark Moon, beautifully translated by poet Jane Hirshfield with Mariko Aratani. (Many of the titles of Patricia’s drawings are drawn from Koma[...] |
 | [...]ia Forsherg. Photograph hy Chris Autio. exhibits the work, she couples each drawing with the complete poem that has lent it its title.) As Hirshfield writes in her introduction, these “court attendants must surely have been the most illustrious company of women writers ever to share a set of roofs.” Their literary works have clearly served as sources and inspirations in Patricia’s re—imagining and transfiguration ofHeian culture, but it is more diflclcult to trace her influences from Japanese visual arts. Certainly her drawings partake of the “Japanese genius,” in the words of art historian Jack Hillier, “for the expressive line, for pattern and design, the representation of natural objects as a means to an end, not an end in itself.” For Japanese printmakers and painters, the making of art, “like poetry,” notes Hillier, was “the ‘spontaneous overflow of powerful feelings’ and took its origin from ‘emotion recollected in tranquility,” (echoing Wordsworth). This quality of restraint, which yet contains undercurrents of intense emotion, is evident in Patricia’s drawings, where we find ourselves in the midst of moments of repose colored by melancholy, outright grief, fl[...]Some event has just transpired or is anticipated: the arrival or departure of a loved one, the change of seasons, an ongoing solitude for which there is no respite (“Call It Loneliness, That Deep, Beautiful Color,” as one of her drawings is titled). |
 | LONG LINEs or DANCING LETTERS 320 Perhaps the closest source for Patricia’s drawings might be woodcuts created in the 16005 to illustrate a later edition of 7773 Tole ofGenji (examples can be seen in Edward Seidensticker’s 1976 translation of the novel). These marvelous prints depict life within the palace, a world made ever more interior by screen[...]s. Even when these men and women venture outside, the omnipresent fog seems to tame and contain them; this is a profoundly inward—looking universe. As Sei Shonagon wrote in her Pillow Book, [W]e women generally stay hidden behind our screens or curtains. It is delightfully quiet there. . . . In the winter one sometimes catches the sound of a woman gently stirring the embers in her brazier. . . . On other occasions one may hea[...]ht, especially when beneath them one can make out the many layers of a woman’s clothes emerging from under brilliantly coloured curtains of state. The sense of enclosure so central to Patricia’s Japanese works resonates with these words, and the women we see in her drawings might be said to be, if not delighted, at least content within the comforting embrace of a familiar room. Some appear to be truly insouciant, happy to nap for a lazy moment or a long afternoon; others curl into themselves, radiating grief; some confront the viewer frankly, with their sexuality or their bor[...]uddle against cold or loss. Although a few appear to be Japanese, most of these women seem ancestrally European and profoundly modern in spirit. Their sheer nakedness would have marked them as otber in the Heian world. Lady Murasaki and her cohorts wore clothing that was, in Ivan Morris’s words, immensely elaborate and cumbersome, consisting inter olia of a heavy outer costume and a set of unlined silk robes (twelve was the standard number). . . . So that their fastidious blending of patterns and colours might be properly admired, women wore the robes in such a way that each sleeve was longer as it came closer to the skin. And in fact, the naked female form was considered anything but beautiful in Heian culture. Lady Murasaki, at the sight of a pair of maids whose clothes had been stolen during the night, wrote: “Unforgettably horrible is the naked body. It really does not have the slightest charm.” Female experience has long been central to |
 | [...]ctionate and insightful exploration/appropriation of other cultures. Witness, for example, her works of the 1980s,when she immersed herself in another culture obsessed with beauty, that of Renaissance Italy. For those who know her Renaissance—inspired paintin[...]humor, Patricia’s Japanese drawings seem models of restraint and calm. But her concerns remain much the same; in 1985, she spoke of the essential elements with whichshe sought to imbue her work. Her paintings would be “pattern[...]sked, humorous, dramatic, energetic, and alive.”The Renaissance paintings were, for the most part, interiors (like the Japanese drawings)—and in 1985, she wrote of the tension in that earlier work between the “pursuit of freedom, choice, and space” and the “inevitable taming and containment of the environment, animals, and our lives.” That tension between freedom and containment, this modernity of spirit— the absolute nakedness of theIn their exploration of the Photograph hy Chm Autio. interior life of women today, these drawings are, quite simply, marvelous expressions of one artist’s allusive imagination, speaking acr[...]rained feeling, quiet power, and a riveting sense of beauty all their own. |
 | in Tears, 1998, gouache, ink and collage onpa[...] |
 | [...]LL 2008 327 Pairitia Forxberg, Alone as the Autumn Deepens, 2002, gouatbe, ink and col[...] |
 | [...]2008 328 Patricia Forsherg, Long Lines of Dancing Letters, 1999, gouache, ink and co[...] |
 | [...]S—FALL 2008 329 Pairitia Forxberg, Heart of One Who Feeds the Fire, 2000, gouatbe, ink and collage onpap[...] |
 | [...]008 33c Patricia Forxberg, Listening to the Rustle of Bamboo Leaves, 2000, gouatbe, ink and coll[...] |
 | for White Beads, 2000, gouatbe, ink and collag[...] |
 | [...]Patricia Forxberg, Tonight, with No One to Wait For, 1999, gouatbe, ink and collage onpaper, 1[...] |
 | [...]—FALL 2008 335 Patricia Forxberg, Flower of the Evening Faces, 2008, gouatbe, ink and coll[...] |
 | [...]IEWS—FALL 2008 337 Pairitia Forxberg, Color of the Night, 2008, gouache and collage onpaper,[...] |
 | [...]ALL 2008 338 Patricia Forxberg, A Slice of Silence, 2006, gouatbe, ink and collage on[...] |
 | [...]rough measures desperate and modest, they attempt to reimagine themselves one last time, to reconceive their status, their identity, their me[...]gain, those efforts are thwarted, especially when the characters journey to the Big Sky. Montana is the place where desire meets its check, its limit, its defeat.McGuane has long been the poet of the absurd, able to locate the reader in a perfectly plausible situation that somehow explodes in hilarious incongruity. He’s working the same vein in this short story collection, for as one character says to another, seemingly describing the writer himself, “You probably get of watching people make mistakes” (4.9). But here McGuane’s narrators seem far kinder in representing the longing for change. Unlike, say, Nobody} Angel, this collection grants the hapless and haphazard characters a modicum of dignity in their defeats. The dominant tone might be called “McGuane melancholia,” a recognition of the human need for self—respect and acknowledgment, combined with an assured knowledge that such needs will ultimately come to naught. The reader is likely to feel both amused and uncomfortable witnessing these occasions of defeat, for of course, we’re implicated in the action—we share these characters’ impulses an[...]never been more exquisite. He has an eye and ear for the classical line, a genius for epigrammatic phrasing. He’s able to summon an entire web of implications in pithy sentences: “The air was so clear that [the clouds’] shadows appeared like birthmarks on the grass hillsides” (53). And in another self—referential moment, McGuane’s na[...]came my way that could not be magnified” (39). At times the writer allows himself a fuller riff, an opportunity to let the lyric potential of the English language override a concern for immediate sense— making. “The Refugee,” a longish sea tale that falls somewhere between Stephen Crane’s “The Open Boat” and Hemingway’s Old Man and [be Sea in philosophy and style, provides an extended, mesmerizing account of the anti—hero’s riding out a Caribbean storm in a small yawl. At moments such as this McGuane hovers on the suggestion, the possibility that the brilliant human voice, articulating the microprocesses of survival against the elements, can save us from our meager selves. But the story’s ending (not to be given away) discourages even that hope for our salved dignity. A surprising |
 | DRUMLUMMON VIEWS—FALL 2008 341 number of these stories insinuate a karmic justice, punishment for acts of indifference or cruelty, though retribution seems more the work of writerly wit than cosmic law. At the same time, McGuane is a clever ventriloquist, able to inhabit diverse worlds and idiosyncratic languages. If in “Cowboy” he takes on the voice of an aging con converted into a cowboy by an irascible brother and sister act, in the title story he enters into the first—person perspective of a middle— aged realtor who tries and fails to win a woman with a macho driving trick. We journey also into the creeping madness of a scion to a banking manager, the hapless romanticism of a retiree who leaves Boston for Montana (only to be bested by a paraplegic ex—son—in— law), and the rueful restlessness of a lawyer who retreats to Montana to heal from his bouts of global injustice. This last character—John Briggs—seems especially close to the writer, both in his canny sense of his own foibles and his deep connection to the Montana landscape. In one of the few moments of intellectual and spiritual epiphany, Briggs demands that a visitor pay attention to the wonder of a homesteader graveyard, an original fragment of the Old West: “. . . please try to get something out of these beautiful surroundings” (55). And that de[...]zes McGuane’s take on Montana as a whole: while the landscape is spectacular, the culture is paltry. Make no mistake, this is very[...]en culture. Characters repeatedly cast themselves in roles imagined for them by popular culture, whether cowboy, crazed killer, or aging Lothario. And the material artifacts comprise a repository of the cheap, cast—off toys of American manufacture. Montana cannot provide a simple escape from the simulated life of mass culture. McGuane’s sardonic view of this contemporary malaise has taken on a global cast here, as a farmer’s market displays goods from around the world and John Briggs participates in complex legal negotiations all over the planet. Lurking latent in the text is a deep romanticism that McGuane will not quite allow to declare itself. If only we could turn to the land, enter into an original relation outside the categories of selfhood inculcated by television and the Internet, we might just realize joy. But the satirist conquers the romantic with his sure, deadly accurate eye. We are often fools for love, of ourselves and others, and we cannot transcend the ludicrous means handed us by a dispiritin[...] |
 | DRUMLUMMON VIEWS—FALL 2008 342 The Tao; Truth Game Earl Ganz University ofNev; Mexi[...]eviewed by Rebecca Stanfel “Unless you explain in a preface who Myron Brinig was, readers will think you made him up,” Earl Ganz writes in the afterword of his novel, 777e Tam Trutb Game. But although Ganz has woven a fictionalized account of Brinig’s life—what he calls “a story of what may have happened or could have happened”—Brinig did certainly exist, living to the venerable age of ninety—four and publishing tvventy—one novels. Ganz wrote 777e Taor Trutb Game partly to resurrect Brinig from literary obscurity. Although once hailed by the London Timer as one of the two best young writers in America (Thomas Wolfe was the other), all but one of Brinig’s prodigious oeuvre is out of print. Even though many of Brinig’s books became bestsellers, and one, 777[...]g’s work is rarely included (or even mentioned) in the ubiquitous “best of ” anthologies that should contain his work: Mo[...]Jewish writers, gay writers, or some combination of these three. Within Montana literature, the attention paid to Brinig is primarily due to Earl Ganz. Ganz wrote the introduction to the reissue of Brinig’s novel, Wide Open Town (Farcountry Pres[...]Ganz’s essay on Brinig’s life and writing, “The Truth Game,” appeared in Writing Montana: Literature Una/er tbe Big Sky (Montana Center for the Book, 1996). Perhaps Brinig is overlooked precisely because he eludes classification.Though raised in Butte, Montana, during the hardscrabble mining town’s heyday, Brinig was h[...]rvant Jews, and his father a successful merchant. In fact, his first novel, Singermann, was one of the earliest novels about the immigrant Jewish experience written in English (and a source of inspiration for Henry Roth’s seminal Call It Sleep). But Brinig was eager to leave behind the strictures of his family, religion, and hometown, to write his way out of Butte, as his fictional character explains to a friend in 777e Tam Trutb Game. (91) Although Brinig has rec[...]ed some attention as a gay writer, here too, even the long shadow of Brokelzaek Mountain isn’t enough to propel him to posthumous fame. Brinig slips between categories, perhaps because he sought to write not as a westerner, not as Jew, not[...] |
 | [...]zed biography—or epistemological pinning down—of Brinig. Instead, the book is as multifaceted as its subject. Part romance, part voyeuristic insiders’ view of catty salon society, part humorous expose of the lives of the rich and talented, and part mournful glance at the process of dissolving into obscurity, the novel makes Brinig and the world he inhabits come alive. The narrative begins in 1933, when a young Brinig arrives in Taos, New Mexico, on his way from New York to Los Angeles. Already famous for two novels, which are still regarded as his best work: Singermann (the 1929 semi— autobiographical story of his Orthodox Jewish family in Butte, Montana) and Wide Open Town (a 1931 novel about labor unrest in Butte’s mines), Brinig doesn’t plan to stay in the desert. But he is looking for an escape— from a failed relationship with a ma[...]quickly becomes involved with painter Cady Wells, the wealthy scion of an East Coast industrialist. Much of 7773 72101 Trail; Game explores Brinig’s on—a[...]p with Wells, a man so different from Brinig that the Butte native thinks of Wells as a “Martian.”The gap between Brinig and Wells isn’t about money or power, as much as Brinig’s character would like to reduce it to that. Rather, Wells is comfortable with his ident[...]d who or what I am,” Wells tells Brinig,early in their doomed affair. (33) Brinig’s sexuality, on the other hand, is ultimately a source of shame. Even his first erotic experience, as he t[...]th incestuous innuendos, and when he brings Wells to meet his mother in Butte, “[h]e was afraid to show his family what he was.” (190) Self—loathing accompanies most of his sexual encounters. When awakening next to a man after a one—night stand, Brinig is fille[...]) Throughout 7773 72101 Trail; Game—and indeed for his entire life—Brinig claimed to be “bisexual,” not gay. He tells the same “lie” (as he calls it) several times in the novel: “It’s part of the writer’s job to experience everything. It helps my work too. Whenever I’m in a rut and can’t get going, I have an affair with someone of a different sex from the one I’ve been with. It’s like space travel.” (290—291) Staying in the closet in the middle third of the twentieth century—even in the relative security of artistic colonies like Taos—did make a certain amount of sense. As Brinig mused, “No one would publish a[...]ual hero living a homosexual life. It was against the law. They’d sent Oscar Wilde to jail for it. For most people it was the same thing as making love to a sheep.” (292) But Brinig keeps the closet door firmly shut, even when T5101 Trutb Game steps into the present in its foreword and afterword and Myron continues to deny his homosexuality with |
 | [...]4 an almost Biblical repetition, lacking only the crowing of roosters as a background. Whatever the cause of Brinig’s repression, Ganz’s novel obliquely suggests that it contributed to his literary decline. Like Brinig’s life, 7773[...]s curiously lacking a compelling narrative force. The book follows Brinig on the almost meandering and random path his life takes.[...], and then drifts into another artistic community in Carmel, California, drifts back to Taos, and eventually lands in New York. By not owning up to who he is, Ganz suggests, Brinig is left with little but tired routines, like the recurring bisexual—space travel line and a shtick where he proclaims, “You just shook the hand that shook the hand of Teddy Roosevelt.” The listlessness of the narrative can be tiring to read, but it works to convey a writer’s energies dwindling in the face of avoiding himself and his past. One thing that Br[...]avoid, however, is celebrity. Soon after arriving in Taos, he becomes an integral part—and a recipient of patronage—of Mabel Dodge Luhan’s salon. Luhan, who drew D. H. Lawrence to Taos in the twenties by giving him title to a ranch in exchange for a manuscript copy of Sam andLoverx, surrounded herself with writers and artists, many of whom make cameo appearances in 7773 Tam Trutb Game. Brinig encounters Frieda La[...]as Wolfe, and Thornton Wilder, among others. Many of these celebrity sightings are delightful, including a hilarious episode in which various claimants to Lawrence’s legacy (including Luhan herself) connive to gain possession of the dead writer’s cremated remains—although it turns out the great man’s ashes might have inadvertently been dumped into (and consumed in) a pot of chili. Brinig finagles his way into the center of such situations, sipping scotch with Wolfe before breakfast, sitting with Una Jeffers after she has tried to commit suicide, and negotiating peace (or attempting to do so) between Luhan and her rivals for the Lawrence legacy. However, the celebrity parade—and its inside look at the pettiness and cruelty of Luhan’s salon— eventually get in the way of both Brinig and 7773 Tam Trutb Game. Several times throughout the novel, Brinig asks himself something to the effect of, “What am I doing with these people? Why am I playing these stupid games?” (111) Moreover, the abrupt gear shifting between Brinig’s development as a character and his lurching among the rich and the famous, slows the novel’s already leisurely pace. But perhaps this is Ganz’s point, to reveal in the novel’s very structure how Brinig runs from himself—and the truth about himself—to anyone or anything that will distract him. Ironically, truth is at the centerpiece of Luhan’s |
 | [...]08 34 5 salon. On his first evening with her in Taos, she introduces the “truth game,” a fancified version of the middle school slumber party horror, in which each person must tell the absolute “truth” to any question posed. A few weeks later, Brinig refines the game into a writing exercise, where for ten minutes everyone writes something “wittily and truthfully” about another person in the room. The passages are cutting and, in the case of those about Brinig, true. He is described by another writer as “[having] no form of his own to hold him up and has never bothered to get one from Heaven or make one for himself, being so busy writing books.” (59) Brinig ends up playing the highest—stakes version of the truth game when he writes what is recognized by his friends as his best novel, Florente Grexbam, a portrait of Mabel Dodge Luhan. He admits to another writer that even in his acclaimed novel Singermann, “I didn’t do justice to the material.” (289) With Florente Grexbam, though, he is able to write the truth (albeit of another), “to get inside Mabel.” (296) But since the novel exposes Luhan in ways that could lead to her downfall, Brinig doesn’t publish it. A jealous lover burns his copies years later, and the work is forever lost. Even without the triumphant publication of F [oreme Grexbam, Brinig was nevertheless an incr[...]rtrait, which uses Brinig’s unpublished memoirs for inspiration, will generate interest in a unique writer—one who was forged in the tumult of Butte, yet hated his childhood home; one who was[...]rote novels with a machine—like precision, only to withhold publication of his best work to save a friend’s honor. |
 | DRUMLUMMON VIEWS—FALL 2008 346 The Miterxbed Yearx Russell Rowland Riverbend Publishing; Helena, M 7; 2007. 2 53 pa ges. $12.95 sqfttaver. Reviewedbyjadi Sthmitz When writing a book about the West as it was in tie days of sprawling ranches and endless miles of swaying prairie grass, it can be difficult to straddle the line between just the right amount of description and cownright rambling. 7773 I/Vaterrbed learr by Russell Rowland is a prime example of an effective mix of cialogue and description. The reader is drawn in by tie portrait Rowland paints of ranch life, with all its triumphs and hardships, while still feeling attached to tie characters in the story. Rowland, also the author of the novel In Open Spares, is obviously familiar with ranching in eastern Montana, and this book successfully c1ronicles the struggles that a ranching family can have even in times of arguably good fortune. For this family, tie Arbuckles, sometimes not even an end to a long crought and an unexpected series of better—than—usual harvests can bring peace to their lives. The passages of description in this novel are powerful and effective, nearly always conveying the intended emotions. In one passage about the damage caused to the wheat crop by a hail storm, the narrator, Blake, says, From the minute we were close enough to see, I knew my hope had been futile. Between every row, a casserole of icy pellets and grain littered the ground.The stalks that weren’t broken stood naked, with on[...]a slender fiber. Many stalks were broken, bowing in apology. The word choice is beautiful, compelling the reader to feel the intense sorrow of the situation almost as acutely as Blake does himself. On the other hand, a snag in this novel is the amount of space devoted to character development. Simply stated, there isn’t quite enough. One particularly fascinating story line is the account of Blake’s brother Jack. During the Depression, Jack disappeared from the ranch, leaving his wife and son behind, and didn’t turn up again until years later. Unfortunately, the reader isn’t given enough insight into Jack’s character, aside from the obvious dislike that Blake has for him, to understand the motives behind Jack’s mysterious departure.Jack[...]s wife Rita (who is also Jack’s ex—wife), and the reader is forced to believe this version of him simply because there is no other |
 | [...]explanation available. There also isn’t enough of a conclusion to wrap up some of the questions about Jack that Rowland brings up over the course of the novel. Allusions are made to his possible participation in the drowning death of his brother George, but nothing is definitively cleared up by the end. He seems to be a bad guy, but no evidence is given to prove this. Another minor character weakness is the way Blake and Rita’s relationship is portrayed. It seems that the happy couple is bordering on just a little bit too happy to be completely realistic. Granted, they are newly married, but given the stresses inherent in the first year of marriage, the difficulties of being a ranching family, and the tension mounting in the rest of the family, one would think that Blake and Rita would[...]wasn’t quite so perfect and all—encompassing. In fact, when Rita finds out that Blake has lied to her about a promise he made that could leave their family without the home they’ve always had, she is only mildly angry for a very short time. Any other woman would have had a lot more to say on the subject. Aside from these small difficulties in the flow of the novel, 7773 I/Vaterrbed Kean is superbly written and Rowland’s talent for storytelling is evident from the very first page. One of the ways he creates such interest is by turning a seemingly commonplace subject into something much more. According to Guy Vanderhaeghe, author of 7773 Lari Crom'ng, “Russell Rowland’s compelling Montanans show us the extraordinary that lurks in ordinary lives.” Indeed, this book tells us a s[...]ssed had so many secrets if we saw them just from the outside. The Arbuckles are easily recognizable characters; they could be the ranching family down the road from any one of us. However, Rowland weaves this family’s situa[...]scinating and powerful. He gives us a peek inside the lives of people dealing with pressures well beyond the norm, and makes it feel intensely real. Even the title is surprisingly indicative of how the story will unfold. In the very first pages of the book, the word “watershed” is defined as either “a ridge of high land dividing two areas that are drained by[...]critical point that marks a division or a change of course; a turning point.” By the end of the book, the reader realizes that the events that have taken place are indeed a turning point for the Arbuckle family, and we’re left wondering what will happen next to this captivating Montana family. |
 | [...]L 2008 348 Montana Women Writerrfl Geography of the Heart Edited by Caroline Patterson Introduction[...]logies end up as bookends—less than ten percent of the selections read and very little knowledge of the editor’s focus gained—but Montana Women Writerx:A Geograpby oft/5e Heart deserves to be fully read, each of the thirty—nine authors leading the reader to a better knowledge of Montana’s literary legacy and promising publishing future. Caroline Patterson has brought together a[...]ofshort stories, poems, and essays that represent the story of Montana. Relationships are tested, battles with the land are lost, death visits, and children become adults in an instant. Patterson notes in her preface that the organization of the book into three types of places (plains, mountains, and towns) came out of her desire to allow “the different pieces to speak to one another, regardless of time.”This organization bestows an “unanthologyness” to the book. The reader is treated to a collection that feels more like a well—respec[...]g a chronology or even a division between genres, the anthology provides, as Sue Hart puts it in her introduction, “the experience of Montana.” In a matter of pages, we move from Mary MacLane’s reflections on turn—of—the—century Butte to Frances Kuffel’s tale of vigilante children to Frieda Fligelman’s contemplation on keeping a harem of men. History, rage, and hope—Montana as it is experienced by those who live in the demystified West. Reviewing an exceptional anthology is much like attempting to describe dim rum to someone who has never tried it. The choices are so varied, unique on their own, but together forming an enjoyable meal presented in a way that is unlike any other dining experience. You will only get a slight taste of the truly delicious morsels that await you in Montana Women Writerx in this review, but that will have to do until you actually read the book. And read the book you should, because other than William Kittr[...]Tbe Laxt Bert Plate:A Montana Antbology, this is the only book that has been brave enough to take on the varied writings ofMontana authors. In A Geograpby oft/5e Heart, the poets speak of the four elements, inspired by the Montana landscape to reflect on the power of wind, the unforgiving earth, the permanence of fire, and the weight ofwater. M. L. |
 | DRUMLUMMON VIEWS—FALL 2008 349 Smoker writes in “Borrowing Blue” of the wind that howls across northeastern Montana: “How can I speak of this wind, / how it has no color, no sense, / no guilt.” The fire provides safety from strangers in Bonnie Buckley Maldonado’s “Annie’s Bonfir[...]Ranch, 1937”: “An auction sale / is no place for private things. /Tonight they’ll burn, / my last chore before / we leave tomorrow.”The earth provides a resting place for a dog in Tami Haaland’s “The Dog,”but only after a fight, “We dug near the wild plums / to ground so hard we had to beat / each piece with iron.” The anthology includes three poems by Grace Stone Coa[...]ofmany talents, whose stories have been included in such prestigious anthologies as 777e Lart Bert Plate and BertAmeriean Sbort Storier of tbe Twentietb Century. The poems that Patterson has chosen serve to whet the reader’s appetite for Drumlummon Institute’s recently released Food ofGoa/ and Starvelingr: 777e Seleeted Poemr of Grate Stone Coater. Lee Rostad’s essay “An Alien Land” (also included in Montana Women Writerr) is a wonderful complement to Coates’ poems. As for Coates’view of poetry, Rostad writes, “She maintained the purpose of all poetry is to give one a chance to say, in verse, what would otherwise be said with flowers—or kisses—or a rolling pin.” We sense the rolling pin in “The Hardness of Women”: There is a hardness in woman like the hardness of falling water That repulses what it compels; her life is barred To man by her moving purpose. Who has caught her? Though she curve to him like a wave her strength is hard. Coates was writing in 1930s Martinsdale, Montana, but with every line y[...]who certainly didn’t expect anything remarkable to come out of a place so far from the supposed centers of culture. The non—fiction pieces included in Montana Women Writerx resonate with memories of harsh lessons. Judy Blunt’s “Salvage,” from her 2002 memoir Breaking Clean, begins the collection with such brute force that I wonder if[...]: Beware, this is not your grandma’s collection of nice farm stories. Blunt’s family survived the blizzard of 1964., but the livestock that did not leave her with memories a[...]“until children grew into them. They come down to me whole, stories of a blizzard that took the measure of any man, that became the measure of all storms to come.” Mary Clearman Blew’s “Paranoia” recounts her early years in teaching at Northern Montana College in Havre. A conversation with a colleague begins a scandal and teaches Blew the |
 | to deceptively simpler times as she traveled throughout the 194.05 and 1950s rodeo circuit with her father, a[...]ncer, and her mother, a former vaudeville dancer. The selection from Rain or Sbine:A Family Memoir is so deliciously detailed and heartbreaking at the same time. For example, McFadden writes, “Children are taught to be stoic before they’re taught to feed themselves.” The world she saw from the backseat of that Packard has a bittersweet quality to it. McFadden describes an aspect of Montana that is essential to the experience of the West: the perfect bar. She writes,A bar should be cool and dark, a cave hollowed out of the heat, and it should have a rail, ideally brass, where you can hook your boot heel, the better to settle in and ponder life. . . . A decent bar will produce a napkin for a lady, one with cheerfully crass cartoons on it, possibly the only napkin in the place. The cartoons will feature steatopygic women wearing n[...]“Just Bummin’ Around.” McFadden now lives in the San Francisco area, and in addition to her memoir, reprinted in 1998, she also published 7773 SeriaL‘A Yi’ar in [be Lifi ofMarin County which was made into a movie. The fiction pieces are meticulously chosen and give the reader an amazing sample of some of the best writing to come out of Montana. B. M. Bower’s “Cold Spring Ranch”[...]her husband on their land out West, her head full of illusions about to be squashed by reality. The husband may be appropriately named Manley, considering that “he seemed to feel that 1is love—making had all been done by letter, and that nothing now remained save the business of living.” “Heavenly Creatures” by Melanie Rae Thon is a glimpse into 1er forthcoming collection of stories. Thon’s main character, a mother whose ways are fodder for town gossios, tries to make a decent living through mending. She earns t[...]into 1er favorite lavender dress, as you stitched the seams to fit close where she’d shrunken, you touched her sdn and felt all the hands of all the people who had ever oved her.” Debra Ma[...]nd worth reading more than once. Earling teaches at the University of Montana, Missoula, and is a member of the Confederated Salish |
 | DRUMLUMMON VIEWS—FALL 2008 351 and Kootenai Tribes of the Flathead Reservation. “Bad Ways” is perhaps the pivotal piece of the entire anthology. We are transported to a time when the Indians were slowly being pushed aside while the white settlers took over the Montana landscape. The story is full of lessons we all still need to learn. In “Bad Ways,” a group of Indian men gamble with a white man and lose in such a monumental way that the smell of that loss permeates the Flathead Reservation to this day. In the midst of the bet, the Indian men wait: They sat a long time. They looked towards the river and talked among themselves.They wanted to feel the heavy coins in their hands. One talked about the gold watch and how he would smash the face to stop the white man’s time. They laughed at this, stopping time. Of course, time does not stop and Earling offers a final warning: A bad smell we should not ignore, like the musk smell ofa deer that has died without prayer. Because little by little, over all these many years, the power is still leaving us, and we have to hook it, snag it like a great struggling fish an[...]ling has published a novel, Perrna Red, which won the 2002 Mountains and Plains Booksellers Association Award. Her haunting text provides an anchor for Montana Women Writerx, since how can we envision the future of Montana without truly seeing the past? My only complaints with the anthology concern two drastically different writers and the amount of space they garnered in the pages of A Geograpby of tbe Heart. Elizabeth B. Custer, the widow of George Armstrong Custer, could have received less[...]er recollections from Booty and Saddler, Or Life in Dakota wit/.77 General Carter are of historical importance, her writing is so overwrought and overdone that her voice seems out of place alongside such exceptional writers. In contrast, there could have been more from the amazing Diane Smith. The selection from Smith’s Pietarer from an Expedition is so short, and although clearly full of arresting language, it does not play very well in such a limited space. Unfortunately, I was only able to touch on a few of the writers contained in A Geograpby oft/5e Heart. Not discussing such talent as the poets Ripley Schemm Hugo, Sandra Alcosser, Melissa Kwasny, Madeline DeFrees, or Patricia Goedicke, to name a few, feels like a crime. Or delving into the beautiful language of fiction writers like Mildred Walker, Deirdre McNamer, Annick Smith, or Maile Meloy leaves this review short of properly shining light |
 | DRUMLUMMON VIEWS—FALL 2008 352 on all of the stars within its pages. You miss the whole story ofMontana without mention of Mary Ronan’s ruminations on the frontier style of tourism, or Ellen Baumler’s lively piece regard[...]far as I’m concerned, anyone who is interested in Montana will benefit from reading Montana Women Writerx and spending some time with the work of some talented writers. |
 | DRUMLUMMON VIEWS—FALL 2008 353 Poems Across The Big Sky:An Anthology of Montana Poets Edited by LowellJaeger Many Voices[...]ted by William Kittredge and Allen Morris Jones—in the past few years.Two thousand and six saw the publication of Montana Women Writers:A Geograpby oft/be Heart, w[...]ch wider net, as it includes poems from 122 poets in just over 200 pages.This strong new collection illustrates the pluralistic character signified by the Press’s name. One of its chief delights comes in the continuing discovery of strong, less known poetic voices from many walks of life “across the Big Sky.”These poets take their place alongside well—known poets in its pages. Poems is the brainchild of longtime Flathead Valley Community College instru[...]“Board ofDirectors,” and invited each ofthem to invite and select poems from poets known to them. This group of ten—Sandra Alcosser, Roger Dunsmore, Tami Haala[...]yski— constitutes an impressive cross—section of Montana poetry, and each of them selected between nine and fifteen poets apiece. Poems organizes itself alphabetically according to the ten poets, and a photograph of each opens “their” section of the book. Ironically, the collection closes with a Charley Russell poem, and following it, one finds approximately thirty pages of biographical notes, publication acknowledgments, and a bibliography of published work by writers in the anthology. The “Editor’s Notes” chronicle the genesis of the anthology, and Jaeger pays generous tribute to three former students, all deceased—Brenda Nesbitt, Irvin Moen, and Aunda Cole—who represent “the spirits driving this project from the get—go.” Apparently, Jaeger found himself, more or less, in the role of literary executor, and wanted to give them voice: “It was their idea. They wanted to join their words in a collection of voices that reached out across the Big Sky, over the wide open spaces between us.” (6) I particularly admire the poems of Nesbitt and Moen. “This collage of voices” was intended to overcome the loneliness of the Montana poet, and it admirably succeeds in doing so. I am particularly impressed with Jaeger’s democratic vision: “this anthology opens space to the words of |
 | [...]n names among names already acclaimed. I am proud to present so many Native American poets in these pages, including poems in several Native languages.” (8)The group often includes M. L. Smoker, a young poet from the Fort Peck Reservation who is a graduate of Missoula’s prestigious MFA program. One of my favorite Native American poets, Richard Littlebear, includes his own English translation, line by line, of his Cheyenne poem, “We Are The Spirits of These Bones.” The scope of Poemr unsurprisingly means that the work feels occasionally uneven, with some poets of less interest or quality than others. Yet its wide angle, the presence of new voices on so many pages, more than compensates for the infrequent disappointment. Margaret Kingsland, a well—known humanist and advocate of Montana letters, provides in her Introduction, “All This Wild Beauty,” a gracious and broad survey of the riches that follow. In just three pages, she manages to allude to the majority of the anthology’s poets, and she ably places the anthology in the contemporary history of Big Sky literature. Painter Jennifer Fallein, also represented as a poet, painted the striking cover, which reflects her response to several of the poems. Jaeger and his nine fellow Board members are to be commended for this excellent project that provides such a panoramic survey of Montana poetry. As Kingsland points out in her Introduction, not all Montana poets are included, but in anthologies, comprehensively conceived or not, om[...]tle surprise. Poemr Arron 7773 Big Sky broadcasts the dense network of Montana’s community of poets and challenges that occupational loneliness cited by Jaeger in his opening essay. It is only the most recent evidence of the robust condition of literature in Big Sky country. |
 | DRUMLUMMON VIEWS—FALL 2008 355 Dancing to the Edge Ann Tappan/ Kelly Robertj/MJ Williams (with[...]by Keith Raether How, specifically, we come by the spontaneous, enlivening recognitions and associations that a work of art triggers, well ahead of any investigation of the linkage, remains a riddle. Why M] Williams’latest recording project, Danting to [be Edge, stirred for me, immediately and somewhat bittersweetly, Elizabeth Bishop’s signature poem, “Qlestions of Travel,” is mystifying. But no matter. A third of the way through my first cycle through the music, on Jaco PastoriousmThree Views of a Secret” with lyrics by Colleen O’Brien, it happened. Bishop’s lines themselves seemed to wink at the unpredictable event: “To stare at some inexplicable old stonework, / inexplicable and impenetrable, / at any view, / instantly seen and always, always del[...]bolt it was, Williams’ singing and its reminder of “Q1estions,”Bishop’s own prosodic song. (“—A pity not to have heard / the other, less primitive music of the fat brown bird / who sings above the broken gasoline pump / in a bamboo church of Jesuit baroque:”) And not so out of the blue, perhaps. For the more I listened to Danting to [be Edge, the more it yielded an equivalent of Bishops dialogue, one voice at home (Williams’ mainstream moorings), the other abroad (her exploratory treatments of standard material). Implicit in the title of Williams’ CDflfld confirmed in her playing and that of colleagues (pianist Ann Tappan bassist Kelly Roberti, drummer Brad Edwards)—is a sense of travel. The dancing is to something, namely, the edge.Though the recording comprises nine very different songs, most of them familiar, all exhibit the same propensity, an instinct that gets at the core of jazz: travel, stretch, exploration, expansion. Just as Virginia Woolf took us to the lighthouse and Bishop to “imagined places,” so, too, Wiliams’Danting pulls us toward the margins, the borcers, to glimpse a territory as exotic as Ouro Preto was for Bishop. It may be worth noting, in this context, that Wiliams is a founding member of the Montana Artists Refuge, a residency program not only for musicians but also writers and visual artists. That she has devoted the past twenty—plus years to the art of interpreting lyrics is clear evidence of her attraction to the writer’s medium. That she has chosen for her new recording project three compositions without lyrics into one of them (“Hermitage”) underscores that affinity. |
 | [...]t she holds singers Sheila Jordan and Jay Clayton in the highest regard. (Williams studied with both of them.) Her reason is simple: Jordan and Clayton are “fearless,” in her words. They approach the music with open ears and exploratory sensibilities, especially where harmony and timbre figure into the mix.That said, the greatest influence on Williams’ approach to singing remains her trombone playing, a tradition passed down from her father. Learning thein her phrasing. She also brings to the playing field an abiding interest in the work of two avowed explorers in jazz: Henry Threadgill, one of the original members of the Association for the Advancement of Creative Musicians and a leader of the groups Air, Sextett, Very Very Circus, and Zooid;[...]s and projects range from World Saxophone Qlartet to the F0 Deuk Revue. Just last year Williams worked with Murray in bassist Roberti’s sextet, a group that also inc[...]with David Murray . . . felt like I got a glimpse of some terrain that I suspected existed, but never[...]liams noted. She has clearly traveled a distance to arrive at the place where Banting resides—that junction of tradition and modern reconstruction—and no doubt will venture farther in a career that recognizes the improviser’s art as a lifelong apprenticeship. Twenty—one years ago Williams was in New York on a Montana Arts Council fellowship, auditing classes with Sheila Jordan at City College of New York. The following year she produced a collection of jazz standards and performed in the New York City Women in Jazz concert program. She has worked with Roberti on and off forin 1999.) Like Bill Evans’ trios, familiarity breeds adventure. One element that Williams seems to have gleaned from all of her inspirations—Monk to Mingus to Murray—and has applied to Banting is a decidedly unsentimental approach to potentially sentimental material. Standards notwithstanding (Cole Porter’s “I Love You,” the Rodgers and Hart chestnut “Lover,” Lennon and McCartney’s “For No One”), the character of the music on Williams’ new CD is anything but cloying. Romantic, yes. Saccharine, hardly. One of the pleasures of Dmm'ngflnd a rarity in recordings by vocalists anymore—is that it is n[...]or self—referential. Here again, I’m reminded of |
 | DRUMLUMMON VIEWS—FALL 2008 357 Bishop’s voice in putting forth the big questions in “Qlestions”: “Is it right to be watching strangers in a play / in this strangest of theatres?” And: “Oh, must we dream our dreams / and have them too?” Banting to [be Edge is a recording that seems to reveal layers, not only with each listening but also in the single span of its nine selections. In “I Love You,” we’re given a good window int[...]e, dynamics, and general sensibilities as well as the quartet’s conception and articulation. Though their voices are distinctly different, I’m reminded of the sadly unrecognized singer Irene Kral in Williams’ treatment of the Porter chestnut that Bing Crosby popularized. There is in her approach something of Kral’s deliberateness, understated search, and impeccable taste in choice of material. Kral’s style was more delicate and kept to a narrower range, but there was a quality of purposefulness in every word and corresponding musical value. For her part, Williams finds a gentle rain (to purloin a Kral album title) in the upper register and full—throated sound when she swoops down and opens out in the middle. Her scat singing is very horn—like, and like Kral, she uses vibrato judiciously, effectively. The trio behind her works with an independence that r[...]ious’ “Three Views” are pleasant surprises in lyric form. There is a yearning quality in much of Metheny’s music, and Williams, Tappan, and Roberti all articulate it in their solos, the latter with dead—on intonation and a tone that[...]ll rhythmic challenge, and Tappan’s negotiation of the labyrinth could be more relaxed. She acquits herself nicely in “Lover,” a duet with Williams, supplying arresting harmonic feeds to the singer in a treatment that is as deliberate and tender as the “surrender to my heart” in Hart’s lyric. “Evidence,” curiously, bespeaks its title in a personal way for Williams. In it we find the strongest sense of her exploratory nature and the clearest imprint of her horn—playing on her singing. The quartet’s reading of Monk’s gem has an exploratory character and feel from the start. Similarly, the deliberate treatment of Jobim’s “Waters of March” demonstrates the care Williams and her colleagues take with their material, the affinity they have for one another’s ideas, and the desire they share to live deep inside each composition. Like Bishop’s verse, the art Williams makes is direct and plainspoken, but with an ear trained closely on the musicality of each phrase. Listening to Banting to [be Edge, one can’t help but sense a diligence in Williams’ work, an awareness that the artist is ever a student, that she never[...] |
 | [...]8 358 never ends—but rather stops from time to time to gather and reflect before resuming the troubling and transporting creation of art. Put another way, there is always a distance to travel in the pursuit of truth. At the end of“Q1estions ofTravel,” Bishop is left with just[...]“Is it lack ofimagination that makes us come / to imagined places, not just stay at home? / Or could Pascal have been not entirely right / about just sitting quietly in one’s room?” For Williams, the matter of travel seems nearly an inversion of the question. To “stay at home,” as Bishop would have it, is not an option for the singer. Home for Williams is the very act of travel, the very essence ofthis thing called jazz. |
 | DRUMLUMMON IN MEMORIAM |
 | DRUMLUMMON VIEWS—FALL 2008 360 In Memoriam Arne Rudolf“ Rudy” Autio (1927—2007) Three Views 1. Stephen Glueckert (Read at the Rudy Autio memorial, Montana Theatre,The University ofMontana,J11ly 21,9007 in Missoula, MT) Rudy’s Hands His hands were simple hands, potters hands. They dug the dirt, kneaded the clay and stilled the wet earth. His hands loaded the kilns, flicked the match, mixed the glazes, lifted the bags of bentonite, hauled the sculptures, and climbed the scaffolds. His hands were artist’s hands, they[...]story when it was being told, putting mere words in their place. His hands whispered and laughed, we[...]with still many others. His hands penned letters to politicians, and wrote words of encouragement to aspiring artists. His hands were on the throttle of a scooter one moment |
 | [...]L 2008 361 and accepting awards and accolades the next. His hands were giving hands, and worked, and worked for community and never asked for anything. His hands rested on the shoulders of friend Voulkos, and mentor Hamada and effortless[...]aressed a glaze momentarily, and turned attention to the next sculpture, holding dirt between his fingers[...]s hands were giving hands, and worked, and worked for community and never asked for anything. His hands controlled a mouse and refi[...]nd potted. His hands playfully scratched through the frost on window, and embraced a family and held them close. These hands were the hands of an artist, workshop hands that traveled and shared. His hands were giving hands, and bore the scars of hard work. They were simple hands , potters hand[...]utio was a groundbreaking artist, a revolutionary in the ceramic arts, and an inspiration to all for his lifelong pursuit of his vision. He made some of his finest work in the last decade of 1is life. But his warmth, intelligence and humani[...]individuals. Rudy was a good person and knew how to live his life Wlt’l grace and generosity. I ha[...]children. Rudy would focus his deep gaze right on the child and speak directly and dndly to him or her, with humor and encouragement. Kids would open up to him, show him their artwork, want to share their crayons with him. Rudy managed to kee') up a tremendous outpouring of creative work in his ceramics and drawing, and yet had the focus and energy to raise an incredible family of wonderful children anc grandchildren. He also maintained deep friendships with multitudes of artists and former students. He and Lela kept the door |
 | DRUMLUMMON VIEWS—FALL 2008 362 open and chairs around the kitchen table ready for conversation. And when I would bring up yet another batch of students to visit his studio, he always found insightful and uplifting words of encouragement to offer, leaving my students breathless with inspir[...]s passed away, his life and artwork will continue to be a focus for me in all my walks oflife. He left us with so many wonderful lessons. No piece of writing about Rudy Autio would be complete without a bow to Lela, his wife and partner, who completed him and balanced him, at the same time embodying a different, equally original warm—hearted spirit. We are lucky to have her, Arnie, Lars, Lisa and Chris Autio in our lives and communities. 3. Richard Notkin (Presented at the Rudy Autio memorial, July 29, 2007, Archie Bray Foundation for the Ceramic Arts, Helena, MT) I would like to begin by thanking the Archie Bray Foundation for hosting this celebration of Rudy Autio’s life, and Lela and the Autio family for choosing the Bray as a place that was quite dear to Rudy. Like many of the artists who have passed through this cherished and world renowned institution, I was, on my first visit into live up to its reputation—I had been expecting a more dignified facade. But it only took a half—hour of visiting the artists in their ramshackle studios to understand that this was indeed a place of incredible potential and great magic. Today, the Foundation continues to support ceramic artists—young artists just out of art schools and universities, as well as established ceramists seeking to expand their aesthetics and explore new directions—in a fertile and encouraging environment. And thanks to the dedication and support of many former resident artists and arts supporters, the Foundation is now a bit less of a ghost town—it has morphed into a wonderfully incongruous conglomeration of obsolete brick—strewn factory ruins and state of the art ceramic studios—with the addition of the new Shaner Resident Artist Studio. Rudy was a lifetime supporter of the Bray. So . . . It is most fitting and appropriate that we gather here today to remember and pay tribute to Rudy Autio. It was here that Rudy and his lifelon[...]league, Pete Voulkos, were invited by Archie Bray to work at the Western Clay Manufacturing Company as the first two artists—in—residence. Were it not for Archie’s prescient choice of these two young art students—who would later become America’s finest and most influential ceramic artists—I doubt that the |
 | DRUMLUMMON VIEWS—FALL 2008 363 Bray would have grown to become the world’s premier ceramic arts residency program. I probably speak for the many artists gathered here today when I observe that very few of us would have ever come to Montana, much less settled here, were it not for these auspicious beginnings of the Bray. Rudy and Pete truly set the standard that all of us have tried, in our myriad ways, to uphold. For this, I thank you Archie, Pete, and Rudy. Your spirits live on, and touch all of us, through this place. Rudy was, perhaps, our last direct link to the presence of Archie and his family, the last resident artist who remembered Archie’s constant presence in every aspect of the brickworks and the fledgling foundation. I never heard Rudy refer to this place as the Archie Bray Foundation, or even “The Bray,” as current and former resident artists fondly call this amazing place. For Rudy, it was always “the Brays,” as in, “I’m going over to thefor everyone he knew, from the youngest aspiring ceramics student to the most revered icons of the art world. Rudy treated everyone as equals, recognizing that each person had a story to tell and a spirit worth encouraging. By his actions and his wordSflnd in the ever—probing inquisitiveness in his own art—Rudy recognized that the making of art was a difficult task on a daily basis, and[...]nd further inspired us with his words and wisdom, in person and in the form of letters and e—mails. He recognized the transformative power of art and the innate human spirit of creativity, and he celebrated these in his life, his work and his relationships with family, friends and colleagues. As an artist, he knew that in our innermost soul, each of us struggles with our creative passions, that in our most private, honest moments, we are deeply c[...]often unsatisfied with our work. Rudy understood the artist’s constant efforts to expand his or her parameters, both technically and aesthetically, and the inherent internal pressures for growth and evolution. Rudy knew that to make art was never easy, that there was always so much more to learn, that the true artist was always a student. I think that this was the basis for his constant encouragement of all of the artists whom he so naturally and genuinely mentor[...]e a peer, and we all felt comfortable and welcome in his presence. The Autio home is a haven of warmth and hospitality, and everyone who ever visited the Autios cherishes their time there. On a crisp fall day at the end of the last millennium, I drove Louanna Lackey over MacDonald Pass to Missoula, where she would be |
 | [...]S—FALL 2008 364 spending a few days putting the final touches on her biography of Rudy. We got there in the late morning, and, after visiting a few moments, were invited to share in a pot of stew that Lela had simmering on the stove. The two masons setting stone on a new wall being built along Duncan Avenue were invited in. Soon we were joined by several passersby, a few[...]ime assistant. It seemed that everyone gravitated to this loving home and Rudy and Lela’s generosity, and I was beginning to think of the famously crowded steamship cabin in the Marx Brothers film, A Nigbt at [be Opera, in which everyone who knocked on the door was invited in until the inevitable explosion resulting from critical human mass. And that seemingly bottomless pot of stew was quite tasty. Thank you, Lela. The day before he passed away, Rudy sent out e—mails to many of his fellow artists and friends. In his usual understated, gently ironic and subtly h[...], Rudy said: I send my love and have decided not to do any more workshops! I feel grateful for all you good friends that have been around me for so many years.Thanks for the good company. Prosper in your work. Keep your ideas going. Love, Rudy. Rudy remained encouraging and altruistic to the very end, and his kind words will forever resonate in my mind and in my heart. It will be said, a great many times, that Rudy was a man of gentle spirit, always kind and gracious, that he[...]is mostly true, but if you have ever delved into the realm of contemporary politics, particularly regarding the course of our nation’s current government, Rudy would bec[...]te outspoken, and rightfully so. Rudy was not one to shy away from expressing his concerns for our country and our planet, either in private discussion or in the public forum of letters to the editor. Over the years, he and I have exchanged many e—mails sharing our social and political views, and his references to our current leaders have been less than kindflgain, rightfully so. At the core of all of Rudy’s remarks was a deep compassion for people, for peace, for the creative spirit, but he also believed in being aware, and being active. In a recent e—mail, he referred to the necessity for “anger with courage where it is needed.” In a culture which seems inexplicably loathe to discuss politics and our current predicaments, ho[...]d committed views on peace and justice.I was glad to have shared these discussions with Rudy. I know[...]ting what many others have and will observe about the life of Rudy Autio. |
 | [...]Rudy will always be an inspiration and a presence in the lives of all whom he touched, through his art, his teachin[...]nd poetically expressed—his genuine compassionfor people, our nation and planet, and his deep unconditional love for family and friends. I offer my condolences and love to the many members of Rudy’s wonderful family, whose kind and gentle spirits reflect that of this remarkable man. We will all miss Rudy greatly, but we also rejoice that he was in our lives, that his incredible spirit has touched our lives deeply, in significant and lasting ways. This is a g[...] |
 | DRUMLUMMON VIEWS—FALL 2008 366 In Memoriam Anne Elisabeth Jane “Liz” Claiborne[...]d on June 26, 2007, and it is not an exaggeration to say that the news was felt around the globe. In a world riven by war and despair, people paid tribute to an extraordinary woman—brilliant, kind, generous, and beautiful. The basic outline of what Liz Claiborne accomplished as a fashion designer is well—known. In 1976, she and her husband, Art Ortenberg, invested all they had in a new business that would design clothes for woman like Liz—hard—working women with limited funds, women challenging the glass ceiling of male hierarchy. Liz Claiborne, Inc. was a phenomenal business success, but it was also more: The New York Timex obituary had it exactly right when[...]mmercial label truly inspirational? But it was— to millions of women. Liz Claiborne became an inspiration and celebrity not because of glitz, but because of substance. The substance of her designs and the substance of her character. She traveled widely to meet her customer, to listen to her. Once, a flight was delayed and she arrived several hours late for a dinner show. She went anyway, assuming the event would be over, only to discover that everyone had waited for her. When she entered the room the applause was deafening. She later said that she realized for the first time what it was like to be a star. “It was a great feeling, but it was a feeling also of responsibility, when you have women reacting that way and depending on you.” That sense of responsibility, and its intrinsic |
 | [...]L 2008 367 humility, were essential qualities of Liz Claiborne. Liz and Art retired in 1989, devoting themselves fully to the work of the Liz Claiborne Art Ortenberg Foundation. Like their business, the Foundation was a pioneer, ignoring philanthropic[...], Liz and Art concluded that lasting conservation of the natural world depended on support from local people. People and nature, together. The Foundation has pursued that vision world—wide, with the same vision, discipline, and modesty with which Liz Claiborne had worked in the fashion world. Their work has spanned the globe, from elephants in Kenya and tigers in Russia’s Amur region, to Brazilian rain forests and Montana ranchlands, preserving the natural world, and improving peoples’ lives. They founded the Bolle Center for People and Forests at The University of Montana; they sponsored the Red Lodge Workshop in 2001, bringing together people from all over the West to discuss ways to make collaboration work on the ground. Out of it grew the Red Lodge Clearinghouse, a web—based support site for collaborative groups committed to resolving natural resource use conflicts in the interior West. Liz and Art adopted Montana. They bought a place in the Swan Valley, and one near Helena. They gave quietly, to many causes: Condon’s Qlick Response Unit, a local fire house, fire engines in Canyon Creek, land conservation, public librarie[...]sued a Billings—based knitting company over use of the word “Montana,” Liz and Art anonymously hired a lawyer to defend the small firm, and won. Their Montana Heritage Project in public schools was unique, bridging generations, and changing children’s understanding of their place in the world. Unlike many from other places, they were accepted fully as members of the Montana community. There were perhaps fifty people at Liz Claiborne’s 75‘h birthday party. And one[...]te, boss, conservation partner. And they all said the same thing: She was truly extraordinary. As a woman, and as a human being. They spoke of their deep admiration and respect, and yes, their love. They spoke of the joy of knowing her. They spoke of her calm courage, her unflagging personal dignity, her personal beauty and beauty of spirit, her clear—eyed judgment, impeccable sense of taste, her rich, beautiful voice, her intuitive sense of fairness, her terrific smile! With these things she did much. It is fully true to say that she changed the world—made it a better world—first for women, then for wild creatures, and over time, for all, together. It is fully true to say that because of these things, and because of who she was, she was beloved. |
 | DRUMLUMMON VIEWS—FALL 2008 368 In Memoriam Senator Ann Kennedy “Pat” Regan (192[...]appreciate discovering that someone was out ahead of me to break the cross—country ski trail. It makes my trek so much easier and more enjoyable. When I entered the Montana Senate in 1990, my path of service was made much easier because Pat Regan had blazed the trail and cut through the obstacles before I arrived. I have heard many stories of the discrimination and roadblocks that Pat had to endure.I am not sure I would have had the courage to face down the detractors like Pat did. But then, Pat was never known as someone who would shy away from a fight, if the cause warranted it. Although I never served with Pat, she and Dorothy Eck were very instrumental in my deciding to run for the Montana Senate in 1990. Pat and her family and friends had always told the story of how she was talked into running for the legislature by friends as they encouraged her with a pitcher of martinis, if I recall the story correctly. So I should have been suspicious as she and Tom had Ron and me over to Joe and Margaret Gans’ house “to visit.” It was there over a glass of wine that I first remember the subject of my running for the legislature was broached. That evening was followed by many calls of encouragement from Dorothy Eck and others, an eff[...]y much advice and support from Pat, she continued to be there to advise and support me. She encouraged me to apply to serve on the Finance and Claims Committee because she believed we needed more women where the action was. Also, because of my work in Human Services, she encouraged me to apply my expertise in that area. Thus began a twelve—year period of advocacy for those who could not advocate for themselves. Again, this was a role that Pat had filled for years and I was honored to continue her work. Later, when Pat Williams retired from the United States House of Representatives, Pat was one of the first people to encourage me to run for his seat. She felt a woman should seek that seat,[...]rful experience that was made even richer because of the opportunity to share the Regans’ hospitality at the Pat and Tom Bed and Breakfast. The chance to laugh and share their insights was a highlight of that campaign. I don’t remember Pat ever dressing me down for doing something she didn’t approve of, and I |
 | [...]d remember such an event! However, I do remember the calls and notes of support and encouragement as I struggled with tough budget cuts and policy initiatives. The path that Pat blazed for the women of Montana left very deep tracks that have and will continue to make the election and service of women in the Montana Legislature much easier. It was an honor to know her. 2. Teresa Cohea Fearless is the word that I associate with Pat Regan. —She wasn’t afraid to raise her voice for important causes. —She wasn’t afraid to rufHe feathers and challenge authority. —She wasn’t afraid to take bold—and sometimes unorthodox—action. And best of all she was a fearless leader. For a whole generation of women in Helena and throughout the state, Pat showed us the power of speaking out: —Of using our authentic voices to work for causes, to seek better jobs, to break the glass ceiling. —Of challenging conventional wisdom to find the real truth, the real answer. Pat made a profound impact on us. The stories of Pat’s fearlessness are legendary. But let me tell you—being the objett of her fearlessness wasn’t always comfortable.Twenty—five years ago when I had a young child, I was the legislative staffer for a committee Pat was chairing. It was a contentious hearing, the room was packed, and the meeting went on and on. Suddenly, in ringing tones Pat announced a recess in the meeting because “Mrs. Cohea needs to go nurse her baby.” It was a toss—up who was more embarrassed—me or the older male legislators in the room! If it was sometimes uncomfortable to be the object of her fearlessness, it was always fun to be in the audience. It was instructive to watch Pat the legislator become the Pat the teacher and reduce an obstreperous legislative opponent to an abject eighth—grader hanging his head and sa[...]ut Pat never used her quick wit and outspokenness to belittle other people. She had the wonderful gift of caring passionately about ideas and causes but not forgetting that it is individual people that are at the root of any cause. She was unstintingly generous in helping anyone she felt had been wronged. I’ll always remember the appreciation a long—time Montana Power lobbyist expressed for Pat. As you can imagine, Pat and the lobbyist were polar opposites on almost every issue but as chair of the Business and Industry Committee Pat felt that the Public Service Commission was not listening to a valid issue Montana |
 | [...]Power Company was raising. Through sheer force of personality, she held Commission members and Montana Power representatives in a meeting room until agreement was reached. For me the ultimate example of Pat’s fearlessness was shown last Friday night. I was lucky enough to spend a wonderful, magical evening with her, husb[...]ut one more time Pat was fearless—she was ready for the next chapter in her remarkable life. As we talked legislative sto[...]ent politics, Pat would pause and say with a look of great peace, “All is well.” One more time, Pat taught me an important lesson—death is not to be feared. One more time, Pat was right—because of Pat, because ofwhat she did for women and for all the people of Montana, All that Pat touched is Well. Thank you, Pat, for everything. |
 | [...]oula, Montana, has been a commercial photographer for fifteen years. He has also produced and directed[...]and Potterx oanxaea, as well as 777e Oalymey, on the Archie Bray Foundation for the Ceramic Arts, and Snake River Syxtem, on an insta[...]Patrick Zentz.Robert Baker, associate professor of English at The University ofMontana, is the author of 777e Extravagant: Croningx ofMoalern Poetry anal Moalern Pbiloxopby (University of Notre Dame Press, 2005). Richard Buswell’s photographs are held in the permanent collections of many museums, including the Smithsonian American Art Museum, the Corcoran Gallery ofArt, the National Galleries of Scotland, Bibliotheque nationale de France, Seattle Art Museum, Rhode Island School of Design, the Berkeley Art Museum, the Montana Museum of Art and Culture, and the Northwest Museum of Arts and Culture. He has published two previous b[...]tion. John Clayton (www.johnclaytonbooks.com) is the author of 777e Cowboy Girl: 777e Life of Caroline Loekbart (University of Nebraska Press, 2007), a finalist for the High Plains Book Award. An independent journalist and essayist, he lives in Red Lodge, Montana. Phil Cohea worked under Richard Hugo at The University ofMontana in 1972—74.. He moved to Helena, Montana, in 1975 where he co—founded with Rick Newby and Lo[...]e called Seratebgravel Hillx, which ran from 1978 to 80 and produced three annual issues. After publishing a handful of poems, Phil entered into a hiatus of twenty years during which he raised two sons and produced an album of songs, Lone I/Vextern Stranger. In 1996 he returned to writing poetry at the age of forty—eight and is assembling his first book of poems, Laxt Drink wit/.77 Sir Walter Raleigl7. Ph[...]en and is working on a young adult novel, Company of Demonx. Teresa Cohea is a vice—president ofD. A. Davidson & Co. Terry spent eighteen years in state government, where she served as the legislative fiscal analyst and a bureau chief in the Department of Revenue. She was Montana’s first female chief of staff to a governor, working for Gov. Ted Schwinden. She serves on |
 | DRUMLUMMON VIEWS—FALL 2008 373 the Prickly Pear Land Trust Board, the state Board ofInvestments, and as co—president of the board of directors of the Holter Museum. Cohea has bachelor’s and master’s degrees in history from The University ofMontana. She was the state’s first recipient of the Marshall Scholar Award. Michele Corrie] is a poet and freelance writer living and working in the Gallatin Valley. Her work is as varied as the life she’s led, from the rock/art venues ofNew York City to the rural backroads of Montana. Published regionally and nationally, Michele has received a number of awards for her nonfiction as well as her poetry. Julian Cox was appointed as the new Curator of Photography at the High Museum of Art, Atlanta, Georgia, in April 2005. Cox came to the High from the J. Paul Getty Museum in Los Angeles where he served as associate curator in the department ofphotographs. He is a co—author of the critically acclaimed publication, Julia Margaret Cameron: 777e Complete Pbotograpbr (2003), the first catalogue raisonné of her work. He has also worked at the National Museum of Photography, Film &Television in Bradford, England, and the National Library ofWales, Aberystwyth. He received a Master of Philosophy degree in the history of photography from the University College ofWales, Aberystwyth, in 1990, and a Bachelor of Arts degree in art history from the University of Manchester, England, in 1987. Ken Egan, J12, recently accepted the position as new executive director of Humanities Montana. For many years a professor of English at Rocky Mountain College, Billings, Montana, Egan is the author of Hope andDread in Montana Literature (University of Nevada Press, 2003). Karen Fisher has lived in the West as a teacher, wrangler, farmer, and carpente[...]with her husband and three children on an island in Puget Sound. She is the author of the acclaimed historical novel,A Sudden Country (Random House, 2006). A longtime resident of Missoula, Montana, Patricia Forsberg studied at the Corcoran School of Art in Washington, DC, and received her MFA in Painting at The University of Montana in 1981. She has received a Montana Arts Council Individual Artist Fellowship, and over the past two decades, her work has been exhibited at Phillips Gallery, Salt Lake City; Botanica Fine A[...]Missoula; and various other galleries throughout the West. Patricia has spent considerable time in Italy studying Italian language and art hi[...] |
 | [...]L 2008 374 recently, she has immersed herself in Japanese language, literature, and art at The University of Montana, followed by a teaching residence in Japan. Patricia is a serious student of the violin and plays in the Missoula Symphony Orchestra. Jennifer A. Gately, who recently resigned as the first Harold and Arlene Schnitzer Curator of Northwest Art at the Portland (OR) Art Museum, previously served as visual arts director at Idaho’s Sun Valley Center for the Arts. Stephen Glueckert read “Rudy’s Hands” at the Rudy Autio memorial at Montana Theatre at The University ofMontana on Saturday, July 21, 2007, in Missoula. Glueckert is the curator of the Missoula Art Museum and one of the many friends of Rudy and Lela Autio Scott Hibbard, a native of Helena, is a ranch manager, ranch management cons[...]ive writing under Richard Hugo and Bill Kittredge at The University of Montana. A fourth—generation Montanan, Hilary Hoffman was born and raised in Helena. Her great—grandparents founded Bowman’s Corners. She lived in Washington state for many years, obtaining a bachelor’s degree in English literature from Whitworth College in Spokane and an M.F.A. in creative writing, poetry emphasis, from the University of Washington in Seattle. For the past seven years, she has worked for environmental and engineering consulting companie[...]cal editor and marketing assistant. She serves on the steering committee for the Helena Festival of the Book. Her poems have appeared in 777e Oregonian and 777e Seattle Review. Brian Kahn is host of the interview program, Home Ground, on Yellowstone Pu[...]k as collegiate boxing coach, attorney, President of the California Fish and Game Commission, Director of the Montana Nature Conservancy, author, journalist, and documentary filmmaker. Home Ground was named by the Montana Broadcasters Association as the state’s Outstanding Non—Commercial Radio Program. Brian’s most recent book, co—written with his Labrador retriever, Tess of Helena, is Training People: How to Bring Out tbe Bert in Your Human (Chronicle Books, 2007). Greg Keeler has published six collections of poetry and his latest, Almort Happy, was released by Limberlost Press in ’08. Three of his poems have been read by Garrison Keillor on three segments of Writerr’ Almanae; his song, “WD—40 P[...] |
 | [...]BS, ESPN and BBC4 Radio; he has been a cartoonist for Canada’s national magazine, fie erur; and he has written and co—written six musicals for the Vigilante Players, the latest of which is Neon Dream, which he co—wrote with Gre[...]ain: Remembering Riel7ard Brautigan was published in ’04. by Limberlost Press. His next memoir, Trai[...]is forthcoming from Counterpoint Press this fall. In ’01, he received the Montana Governor’s Award in the Humanities for hissatire and social commentary. Beth L0 is professor of art at The University of Montana, having taken over the position held by Rudy Autio upon Rudy’s retirement. She is the two—time recipient of the UM School of Fine Arts Distinguished Faculty Award. Beth’s work has been exhibited widely and has been featured in Ameriean Craft, Artl/Veek, Ceramier Montbly, and the New York Timer. Born in 1960 in Tucson, Arizona, Wes Mills spent his childhood in Kimberly, Oregon, before his family relocated to Great Falls, Montana, when he was fifteen. He studied art at Murray State University in Kentucky and in 1981 moved to New York City, where he abandoned art making entirely, only to return to it ten years later while living in Taos, New Mexico. Since then, his work has been seen in numerous galleries and museums throughout the United States and Germany. He currently lives wit[...]ana. Rick Newby is co—editor, with Lee Rostad, of Food of Godr C97 Starvelingr: fie Seleeted Poemr ofGraee Stone Coater (2007) and, with Alexandra Swaney, of Noter for a Novel: fie Seleeted Poemr of Frieda Fligelman (2008), both from Drumlummon Institute. His latest collection of poems is Sketeber Begun in My Studio on a Sunday Afternoon and Completed tl7[...]exhibition catalog essays include “Wrested from the Earth: The Recombinant Poetics of Stephen De Staebler,” (Zolla/ Lieberman Gallery, 2008); “Beckoned into Landscape: The Paintings of Dale Livezey” (Stremmel Gallery, 2007); and “How Many Worlds? The Ceramic Art of Stephen Braun” (John Natsoulas Press, 2007). Chris Nicholson grew up in Billings and Helena, Montana. He currently lives in Paris, working for the International Herald Trilrune. His work has been published in parir/atlantie, fie Guardian Unlimited (online e[...]in’s teapots and other sculptures can be found in the collections ofthe Metropolitan Museum |
 | [...]76 ofArt, New York; Los Angeles County Museum of Art; Kunstindustrimuseet, Oslo; Shigaraki Ceramic[...]large— scale tile mural, 777e Gift,is owned by the Portland (Oregon) Art Museum, and the Crocker Art Museum, Sacramento, has acquired his[...]ofFoolirbnem. Richard and his work were featured in PBS’s 2007 series, Cruft in Amerieu, and he was recently honored with the Archie Bray Foundation’s Meloy Stevenson Award of Distinction. Richard lives in Helena with his wife, the painter Phoebe Toland. Paul S. Piper was born in Chicago, lived for extensive periods in Montana and Hawaii, and is currently a librarian at Western Washington University in Bellingham. He spends more time than he should wr[...]his lead from Luis Borges. His work has appeared in various literary journals including 777e Belling/[...]Sulfur, and CutBunk. He has published four books of poetry, the most recent being WinterAppler by Bird Dog Press. His work has been included in the books The New Montunu Story, Tribute to Orpbeur, and Amerieu Zen. Paul also co—edited the books Futber Nature and XrStorier: 777e Permnul Side ofFrugile XSyndrome. Visit his blog at: pipergates.blogspot.com Keith Raether works as a writer in administration at Whitman College, Walla Walla, Washington. Keith studied English literature at Boston University and the University of California at Riverside, where he earned a bachelor’s degree. He worked at newspapers in Albuquerque, Denver, Seattle, and Oslo, Norway, and has written about jazz since the late 19705. Keith recently received an M.F.A. in writing from Bennington College. He and his wife,[...]Tamura (who until recently taught photojournalism at The University of Montana), are currently collaborating on a book, Made in Minidoku, about the internment in Idaho ofJapanese and Japanese—Americans during World War 11. Russell Rowland was born and raised in Montana and now lives in Billings. His first novel, In Open Spueer, made the Sun Fruneireo Cbroniele’r bestseller list and was named among the Best of the West by the Suit Luke City Tribune. Russ has a Master ofArts in Creative Writing from Boston University and earned a MacDowell Fellowship in 2005. He teaches writing workshops online; for more information, visit www. russellrowland.com Michael Schechtman is Executive Director of Big Sky Institute for the Advancement of Nonprofits (www.bigskyinstitute. org/) . |
 | [...]LL 2008 377 Jodi Schmitz is a recent graduate of Carroll College who grew up in Helena, Montana. She studied English writing and plans a career in publishing. In spring 2008 she participated in a publishing internship for Drumlummon Institute, hoping to learn all the things they don’t teach you in school. In addition to reading and writing fiction and poetry, Jodi enjoys anything that gives her an excuse to be outdoors, including fishing and hiking. Chris Staley is Professor of the Ceramic Arts at Penn State University. He received his MFA from Alfred University and was a special student at the Kansas City Art Institute. He has traveled extensively as a visiting artist, from Bezalel Academy in Israel to Haystack Mountain School of Crafts in Maine. He has received two National Endowment of the Arts grants and two Pennsylvania Council of the Arts grants. His work is in many collections, including the Smithsonian Institution’s Renwick Gallery of the National Museum of Art and the Victoria and Albert Museum in London as well as friends’ cupboards . For nine years he served on the board of directors at the Archie Bray Foundation in Helena, Montana, and he is currently serving on the board of directors at The Haystack Mountain School of Crafts. In 2004.,just a few months after she gave birth to her first child, Rebecca Stanfel was diagnosed[...]log, Cbronie Town (www.rs.4.030.com), as a way “to catalogue what life is like at the intersection ofsickness and motherhood.” Gille[...]writer, and essayist who divides his time between the family ranch at Grass Range, Montana, and Africa, where he works[...]nomist. Melanie Rae Thon’s most recent book is the novel Sweet Heartr. She is also the author ofMeteorr in Augmt and Iona Moon, and the story collections Firrt, Body and Girlx in tbe Gram. Her work has been included in BertAmeriean Sbort Storier (I995, 1996), three Pu[...]nry Prize Storier (2006). She is also a recipient of a Whiting Writer’s Award, two fellowships from the National Endowment for the Arts, and a Writer’s Residency from the Lannan Foundation. Her new fiction appears in Five Pointr; Purbeart Prize XXXH; 777e Bert Stor[...]and Image. Originally from Montana, she now lives in migration between the Pacific Northwest and Salt Lake City, where she teaches at the University ofUtah. |
 | [...]08 378 Stephenie Ambrose Tubbs is co—author of 777e Lewix and Clark Companion: An Eneyelopedie Guide to [be Voyage ofDixeovery. She lectures nationally about her experiences and observations on the Lewis and Clark Trail, which she first followed in 1976 with her father, bestselling author Stephen Ambrose. She works with conservation and citizens groups to preserve and protect the trail and adjoining wilderness areas. Stephenie holds two degrees in history from The University of Montana and currently writes local history and serves on the boards of the Lewis and Clark Interpretive Center Foundation, the Lewis and Clark Trail Heritage Foundation, Friends of Montana PBS, and the American Prairie Foundation. Her book ofe55ay5 on Lewis and Clark has been published by the University of Nebraska Press in the fall of 2008. Stephenie and her husband John live in Lewis and Clark County, Helena, Montana, with the[...]n has been working as a cultural specialist since the 19705. He was the first State Folklorist of North Dakota, the Dakota Field Representative for ArtsMidwest (a regional consortium of state arts agencies), second State Folklorist for Montana, Nevada State Folklorist for Indian Traditional Arts, Program Director of Educational Talent Search in Indian Country for the Montana Office of the Commissioner of Higher Education, visiting professor of Native American Studies at The University of Montana, and proprietor of Northern Plains Folklife Resources. Vrooman created the Indian Traditional Arts Residency and Master/Apprenticeship Programs for the North Dakota Council on the Arts and the Montana Arts Council. Through the 19805 and 19905, he was intimately involved in the development of the Northern Plains Indian Art Market. Nicholas served as consultant to the Smithsonian National Museum of the American Indian, the Festival of American Folklife on the Mall, the Métis National Council of Canada, and the National Folk Festival. He’s worked with tribal peoples throughout the American and Canadian West to produce sound recordings, documentary films, per[...]ulture. Currently he serves as Executive Director of the Helena Indian Alliance, a nonprofit comprehensiv[...]n center, continuing his involvement with issues of American Indian cultural resiliency. Mignon Waterman served in the Montana Senate from 1991 until 2002 and has been the Democratic candidate for Montana’s sole seat in the U.S. House of Representatives. |
 | of English at The University of Montana Western. He is currently working on an article on forgotten Montana novelist, Thomas Savage, for Montana 777e Magazine ofI/Vertern Hixtory and is seeking to re—publish some of Savage’s titles, the first ofwhich, 777e Pam, will be reissued in early 2009 by Drumlummon Institute in collaboration with Riverbend Publishing. Alan’s newest books include a memoir, A Fatber[...]n, which will be published by Lewis—Clark Press in 2008; and 777e Norman Maelean Reader (editor), which the University ofChicago Press will publish in November 2008. Alanstill likes to climb mountains in and out of Montana. |
 | [...]INSTITUTE RELIES ON YOUR GENEROUS SUPPORT! To make a donation in support of DRUMLUMMON INSTITUTE A Montana Nonprofit Corpora[...]al 50I (C) (3) Tax Status 8c Drumlummon Viewr, The Online Journal of Montana Arts & Culture Please Make Your Check Payable to DRUMLUMMON INSTITUTE 8c mail to DRUMLUMMON INSTITUTE 4.02 Dearborn Avenue #3 Helena, Mt 5960I LEVELS OF GIVING Drumlummon Heroes $5,000 and Above Drumlummon Champions 551,000—554,999 Drumlummon Stout-Of-Heart $250—$999 Drumlummon Stalme $525—$249 Thank You for Your Support |
TXT |
 | The online journal of Montana arts & culture Helena, Montana[...] |
 | [...]ational and literary Copyright for contributions published in Drumlummon organization that seeks to foster a deeper understanding Views is retained by the authors/artists, with one-time publication of the rich culture(s) of Montana and the broader rights granted to DV. Content is free to users. Any reproduction of American West. Drumlummon Institute is a 501 (c)[...]ization. from the authors/artists and b) acknowledge Drumlummon Views as The editors welcome the submission of proposals the site of original publication. for essays and reviews on cultural productions— inc[...]Cover Image: Patricia Forsberg, Heart Twisting in the arts, scientific inquiry, food, architecture and[...]e, ink and collage on paper, 4.375 x 5.75 created in Montana and the broader American West. inches. © 2006[...]is Autio. Please send all queries and submissions to info@drumlummon.org.[...]nue #3 poetry, creative nonfiction, or portfolios of visual art. Hele[...] |
 | The online journal of Montana arts & culture Editor-in-Chief: Rick Newby Art Director: Geoffrey Wyatt Ed[...]ing Editors Adventure: Randall Green Architecture & Design/Material Culture: Patty Dean Environment & Science: Florence Williams Folklife: Nicholas Vrooman Food & Agriculture: Max Milton Media Arts: Gita Saedi Nature & Culture: Roger Dunsmore New Music: Bill Bo[...] |
 | Drumlummon Views Vol. 2, No. 1, Fall 2008From the Editor 6[...]Drawings, by Wes Mills (plus an interview with the Acknowledgments 8[...]ginal Work 9 From the Archives 139 Fiction 10[...]Third installment: “Cabin O’Wildwinds: The Story Excerpt from In the Scatter of the Moonlight, a novel by of An Adventure in ‘Homesteading,’” by Ada Scott Hibbard[...]Melville Shaw; originally published in The “Tu B’Shvat: for the Drowned and the Saved,” a story Farmer’s Wife, 1931 140 by Melanie Rae Thon 27 “In the Grips,” a story by Chris Nicholson 51 Essays 151 Excerpt from The Watershed Years, a novel by Russell Educati[...]75 “‘The People’ of Montana: In Exegesis of Indian “Another Quentin Houlihan,” a story by Matt Education forin the Fiction of the American Five poems by Paul S. Piper 104[...]“When Cowboys Became Capitalists and the West[...] |
 | [...]2008 5 “‘I learn by going where I have to go’: Initiatory Reviews 339 Turnings in Poetry, Philosophy, and Religion,” by Gallat[...]The Taos Truth Game, by Earl Ganz, reviewed by Rural[...]Rebecca Stanfel 342 “‘Stuck Situations’ in the Philanthropic Divide: The The Watershed Years, by Russell Rowland, reviewed by Need for Nonprofit Capacity,” by Michael[...]Montana Women Writers: A Geography of the Heart,[...]by Caroline Patterson, reviewed by Hilary Science & Health 223 Hoffman 348 “Probing the Unknown,” an excerpt from the Poems Across the Big Sky: An Anthology of Montana Poets, biographical essay, “Norma[...]Dancing to theThe Hegemonic Eye: Can the Hand Survive?” by Chris Staley 258 In Memoriam 359 “Rudy Autio: Coming Home to the Figure,” by Rick Rudy Autio, by Richard Notkin, Stephen Glueckert, & Newby 270[...]ox 287 Waterman 368 Travels & Translations 308 About Our Contributors 371 “Dancing at Olympia’s,” an East African memoir by Gi[...]Support Drumlummon 380 “Long Lines of Dancing Letters: The Japanese Drawings of Patricia Forsberg,” by Rick Newby 314 |
 | [...]Drumlummon Views—Fall 2008 6 From the Editor Welcome to the fourth issue of Drumlummon The Writings of Hans Peter Koch, Montana Territory, Views, the online journal of Montana arts and culture. 1869–1874, edited by historian Kim Allen Scott. A first For those of you who have followed DV from our publication of Grace Stone Coates’ second novel, Clear beginnings in 2006, you will have noticed that our Tit[...]en slow but steady. We had originally also in the works. envisioned publishing three issues of DV per year, but Finally, we have begun a series of offprints from it’s become clear that one and p[...]Drumlummon Views, featuring essays and portfolios year is more nearly realistic, given the limits on our of particular interest. The first is Patty Dean’s superbly time and energy. We take some solace in the fact that researched and illustrated essay on architect Cass each issue of DV is truly substantial, essentially the Gilbert and his designs for the Montana Club. The equivalent of a large book. And we are grateful for the second is a portfolio of Patricia Forsberg’s marvelous patience and kindness of our supporters, readers, and Japanese drawi[...]re into color books by Drumlummon Speaking of books, Drumlummon Institute has can be ordered at http://www.blurb.com/bookstore/ launched its book publishing program with two titles, detail/313138. To order any of Drumlummon’s books and Food of Gods and Starvelings: The Selected Poems of Grace offprints, go to http://www.drumlummon.org/html/ Stone Coates (2007) and Notes for a Novel: The Selected Books-Offprints.html. Poems of Frieda Fligelman (2008). These two books, in turn, launch our Drumlummon Montana Literary[...]*** Masters Series. A reissue of Thomas Savage’s first novel, The Pass, with an introduction by O. Alan Like its predecessors, this issue of Drumlummon Weltzien and published in collaboration with Riverbend Views ranges over a multiplicity of terrains. We Publishing, will join the series in Winter 2009. have expanded our offerings of original works, with In 2009, Drumlummon is also publishing, in substantial selections of fiction and poetry, together collaboration[...] |
 | [...]editation on Theodore by ceramist Chris Staley on the shrinking role for the Roethke’s poem, “The Waking.” hand—and full range of our senses—in the making of Thank you for your interest in Drumlummon art today and a portfolio of Richard Buswell’s singular Views—the last twelve months have seen downloads photographs, with an essay by Julian Cox, curator of of more than 30,000 files from the Drumlummon site. photography at the High Museum, Atlanta. We also Please continue to let us know how we’re doing. And feature a film and essay celebrating the art and life of watch for our Spring 2009 issue, due out in May, which the late, great Montana sculptor, Rudy Autio (1927– will focus on the built environment and landscapes of 2007). And in our “Travels & Translations” section, Butte and Anaconda, Montana (in conjunction with we feature the abovementioned portfolio of Patricia the June national meeting in Butte of the Vernacular Forsberg’s Japanese drawings, togeth[...]ecture Forum); this issue is a collaboration with in East Africa by Montana agronomist Gilles Stockton. the Montana Preservation Alliance, and its guest editor We continue our coverage of science and health is public historian Pat[...]thy biographical essay If you’d like to join our Drumlummon Alerts on Montana biophysicist Jeff Holter, who developed the email list, send an email to that effect to now-ubiquitous Holter Heart Monitor in his Helena info@drumlummon.org laboratory. Nicholas Vrooman acknowledges the importance of the Indian Education for All initiative, Rick Newby and we continue our serialization of Ada Melville Editor-in-chief, Drumlummon Views Shaw’s homesteading mem[...]drumlummon.org Our Literature section ranges from the creation of post-revisionist western fiction (like Karen Fisher’s This issue of Drumlummon Views is dedicated to the A Sudden Country) to the development of western memory of Margaret Regan Gans (1922-2008), whose literature by such figures as playwright Bert Hansen support of Drumlummon Institute was unstinting. and n[...] |
 | [...]Views—Fall 2008 8 Acknowledgments Here at Drumlummon Views, we remain grateful to journal’s lifeblood; you will find their names in this three groups of generous folks, those who support our issue’s Table of Contents and their biographies in our efforts financially, those who volunteer thei[...]es, poems, Our gratitude, too, goes to the following in- essays, reviews, images, and ideas to enrich each issue. dividuals and institutions who have helped in myriad Without them Drumlummon Views and Drumlumm[...]ould not, exist. Preservation Alliance; the entire staff of the Montana To see a complete listing of our financial sup- Historical Society Research Center; Liz Gans and porters, visit the Drumlummon Institute home page Marcia Eidel, Holter Museum of Art; Barbara Koostra (www.drumlummon.org) and cli[...]and Manuela Well-Off-Man, Montana Museum of Funders. Our volunteer supporters are too legion to Art and Culture; Debbie Miller, Minnesota[...]gratitude: cal Society; Julian Cox, High Museum of Art; Jennifer first, our hardworking Board of Directors, Jeff Wil- A. Gately, Portland A[...]is Autio; G. B. Carson; Patricia Forsberg second, the knowledgeable members of our Board of and Stephen Speckart; and the many others who have Advisors (on the DI home page, click on Drumlum- offered us story ideas, moral support, and good cheer. mon Board of Advisors); and third, Drumlummon We are especially grateful to Jodi Schmitz, the editorial Views’ contributing editors, who come up with many of intern from Carroll College who contributed[...]ideas and indeed contribute their own work to moving this issue—and all our projects—forward. to DV (see the journal’s masthead). The writers, think- Finally, our thanks go to Geoff Wyatt of Wyatt ers, and artists—from many different disc[...]t Director, who has share their marvelous efforts in DV’s pages provide the once again designed DV so beautifully. |
 | [...]Drumlummon Views—Fall 2008 11 from In the Scatter of the Moonlight, a novel lay on top of the glistening meat. in progress “Do you see that soldier there, packing the Scott G. Hibbard[...]Carl Heinrich walked by the dragoons where Army of Utah, Camp Scott, Utah Territory, they settled in at Camp Scott, on the timbered river November 27, 1857[...]not a post so much as a windbreak, tents set in the I have one hundred and forty-four cottonwoods at river’s edge. Carl Heinrich had been hors[...]st one hundred and thirty- detailed as one of the hunters charged with providing four. Most of the loss has occurred much this fresh meat to lessen the number of oxen the army side of South Pass, in comparatively moderate would butcher. weather. It has been of starvation. The earth “Hey, soldier!” Moses Col[...]grassless side. Dragoons milled through the campsite to gather desert; it contains scarcely a wolf to glut itself branches for firewood. Their trails traced through the on the hundreds of dead and frozen animals snow to scatter in the cottonwoods, as if defining a which for thirty miles nearly block the road migration of mice. “You can stop right here, footman![...]Put your feet up while we cook that deer for you!” mark, perhaps beyond example in history, the Carl Heinrich smiled and walked on. steps of an advancing army with the horrors “Won’t cost ya but a hindquarter!” of a disastrous retreat.[...]“We’ll spare you the embarrassment of makin’ the —Philip St. George Cooke, Lieutenant-Colo[...]Carl Heinrich walked toward Fort Bridger with the November 21, 1857[...]a word I said. Just another Carl Heinrich carried the carcass over his shoulders. Dutchman who fell off the boat.” He had dressed and skinned the deer, and had removed “That Dutchman was a sergeant over there in its head and forelegs to lessen its weight. His musket Dutchland. He won the Iron Cross, for God’s sake.” |
 | [...]Drumlummon Views—Fall 2008 12 “The Iron Cross. I saw one of those once’t. Made them legs.” out ’a[...]s.” The horses and mules grazed guarded by “The highest decoration they give in Prussia. dragoons herding in half-day shifts. In the wane of Some general with gold-laced epaulets pinned one on day herders hazed the animals back to the cottonwood him for bravery in action.” bottom to shelter for the night. The riding stock that “What’d he do, send you a newspaper?” remained in camp waited its turn for duty tied to high- “When the lieutenant sent me to Fort Bridger lines strung in the cottonwood trees. yesterday I talked toto wrap “I’ll bet he can’t talk America[...]said. “I’ll bet he do.” Moses watched the tethered horses nod, sleeping talks in one ’a them foreign-made accents you can’t te[...]Nathan Slater Nathan said. said. “Not one of these cobbled together outfits that[...]Ought ’a crate ’em can’t keep its crackers in the same box.” up and send ’e[...]ross and all. We don’t need Nathan broke the smaller branches with a foot them foreigners tellin’ us how the world works.” Moses brought down sharply. They waited their turn for a propped a larger branch on a rock and jumped on it. It saw to cut the larger ones and to buck-up tree trunks wouldn’t break. “What good’s an Iron Cross anyway? that rotted in the quack grass. “He was in a mounted Can’t eat one.” Moses retrieved an axe and broke the regiment, where they’re schooled by Prussian dr[...]them Prissians,” He threw both pieces on the branch stack and grabbed Moses said. Moses sorted the firewood pile, twigs another to cut. from kindling from branches to saw. “Why’d they put “Looks to me,” Nathan said, “he can shoot better him ’a horseback? He’ll gather-in half an acre to the than you can.” pace.” Moses wiped his[...]’ much,” Moses said. Heinrich stride off with the meat and the musket “If he’s schooled in thethe glorified plowreiners |
 | [...]them words off the hymnal page. Should ’a wore ’em “I d[...]adin’ she that man there would wear a horse out at a walk from done.” Moses stared at the woodpile. His voice stepped here to the Lieutenant’s tent. Look at the size of him. away, dampened as if deadened in a tent. “Till there That’s why he’s packin’ meat like a mule, instead of a weren’t nothin’ left, on them pages.” He looked at mule packin’ him.” tethered horses, fingered the leather patch sewn with “He was assigned to the artillery,” Nathan said. sinew on the cracked axe handle. “Every mornin’, every “Probably because he was the only one smart enough to evenin’ she’d read them words. Couldn’t get enough of understand ballistics and windage.”[...]shoot it. What’s so hard Moses looked at Nathan. His voice came back about that?”[...]Nathan’s mouth hung open. taught you to read.” “Married right up to the day she run-off with a Moses split a branch and the pieces cartwheeled. Mormon.” “She didn’t know how to read,” he said. “She’d always Nathan looked as if the panhandle heated in his wanted to read, so I learned enough to teach her.” hand. Moses lowered his voice. He rested the axe. “As luck “Got out of the army after chasin’ Apaches. Had a would have it[...]Worked my daddy’s farm. Taught her to read and she “Damn sure did. Chasin’ chickens off the river read that Mormon book. Then she took up with the ice.” Moses looked at the woodpile as though he did Mormons.” not see it. “After I learned enough to teach her, I quit Horses whinnied in the cottonwoods. that punishment. Except for when I taught my wife to “Took to one of the elders. Thought him the Lord read.”[...]witched as if he’d picked up a frying pan off to paradise in their land of Des-er-ret.” by its heated handle.[...] |
 | [...]Drumlummon Views—Fall 2008 14 Had to been that elder. Snuck it to her.” Moses raised and fashion a new patch, for to occupy my mind.” the axe and split the chopping block. The axe hinged at “For to fix our axe handle,” Nathan said. He the patch that splinted the fractured handle. He looked smiled. “Why patch-up the old when you can start at Nathan. “Then I reenlisted, for to hook up with the new?” he said. His smile faded. “Start over, Moses.” Army of Utah, and here I am.” Moses looked at him, then carried his saddle to Troopers walked paths through camp with the high-lined horses. armloads of twigs and sticks and branches tofor you,” he Them that sin rebuke before all, that others said. “You don’t look like the marryin’ type.” also may fear. “I expect I’ll find her in Salt Lake City.” Moses wiped his moustache. “I can’t wait to shoot a Mormon. —1 Timothy 5:20 For what they done, and for what they’re doin’.” Moses looked Nathan in the eye. “I might shoot two of ‘em.” Isabella held the scissors, using the point to sever threads “You didn’t tell me any of this.” at a corner of the appliquéd apple tree and beehive “I told you now, and you don’t need to make it and intricate signature spelling Sophronia Fox, gaining nobody’s business.” Moses stuck the axe in the standing purchase for the blades to snip the patch from the quilt. half of the chopping block and the handle hinged again. She snipped, then passed the scissors to let another snip, Moses studied the bending axe. “Carve a new handle an[...]h member present had done her part while you’re at it,” Nathan said. with scissor blades severing the stitched-in edges. Isabella “Leather,” Moses said. “Should ’a made it handed the excised patch to Thankful Everett, President rawhide.” He pulled his moustache. “Fetch the deer of the Seventeenth Ward Female Relief Society. hide off[...]I’ll do. He’ll have it “Let the declaration now be made,” President skinned-off and fleshed-out by the time my stove-up Everett said. “In accordance with the bylaws of the horse gets me there.” Moses retrieved his saddl[...]vote Sister Sophronia Fox is hereby expelled from the |
 | [...]Drumlummon Views—Fall 2008 15 Society for unchristian-like conduct.” With the scissors Everett surveyed the faces of the Society’s members. she reduced the patch to pieces, strode from the sewing They looked as if they’d received word that a church circle and put the pieces in the stove, lifting the lid to had burned. “The Lord’s will be done,” Thankful said. the firebox with a horseshoe bent for the purpose and She handed the canvas to Isabella and took her fitted with a wooden haft secured with wound wire, the seat in the circle. Isabella snipped it to fit the hole original lid-handle lost when the wagon flipped from where Sophronia’s w[...]rie lightning. and took the first few stitches. Each member stitched Thankful Everett held a piece of weatherworn in turn until the canvas was patched-in. When finished, canvas cut from a wagon cover. “We will now stitch the quilt looked like a smile short an incisor. this plain white cloth into the quilt, serving to remind Isabella said, “I mean no disrespect, but we’re us all of the blemish of unchristian behavior. I ask us trying to raise money, so I don’t know why we’re all to pray that Sister Sophronia regain her good sense disfiguring this quilt. It will only make it sell for less. I and her love of the Lord, and be forgiven by Him who mean, what is our purpose here—to chastise Sophronia, judges all.” or to feed and clothe the brethren in the passes?” Thankful Everett lifted the piece of canvas “It’s both. And it’s more.” overhead for all to see, as a priest blessing a communion[...]thing, we’ve “May we all remember that the careful work one learned that whatever we do must be done as the work may do may be undone, or should I say, that remarkable of the Lord or it is done in vain.” achievements can be obscured by poor jud[...]“Amen,” Emma Taylor said. disrespect for the commandments.” Thankful shook her “We patch this quilt. We raise money in doing so head. “Sister Sophronia’s sewing . . .,” her voice trailed for the good of our militia, whose purpose is to protect off. She looked at the canvas patch she held, then rested the Lord’s new Zion so His work may be done. We her hands in her lap and looked off. “Such exquisite[...]help, give Sophronia a lesson she needs attention to detail. Such a lovely signature sewn in so she may grow in spirit. And we also create a visible those bold letters. And now, in this quilt it is forgotten, symbol, if you will[...]d as if she turned her we learn from this, and be the better for it.” Thankful words in her mind, not looking at the circle so much |
 | [...]everyone does, but I do. As long as we do the Lord’s blackboard. She continued. work, the Lord will provide.” “This quilt is for all to see, including people who “I must admi[...]speech maker. Where did you learn that?” the message is there if they care to discern it. This is “Why, from Mr. Everett, of course. Our husband, how we do the Lord’s work while tending to our daily the Bishop.” chores.” In the style of the Baltimore Album, the quilt Emma Taylor, Secretary of the Seventeenth was a patchwork of floral patterns and fruit, birds and Ward Female[...]honeybees, signatures and mottos and chuckled. “The Mormon version of the scarlet letter.” symmetrical designs. The idea had been to create a quilt “Something like that,” Thankful said. “Even if to sell at auction to raise money to split evenly between forgiven, and the spirit evolves through penance, the recent emigrants destitute of food and clothing, and deed remains. We learn and[...]me say, less imperfect as Christians. We to the encroaching Mormons, and the Perpetual heal, yet the scar stays. This reminds us of that.” Emigrating Fund to bring Later-day Saints from Isabella said, “I still say this quilt would raise around the globe to the new Zion. With the advance of more money if we had left Sophronia’s patch in. She the United States army, however, the purpose shifted to does such beautiful work.” raising funds to buy supplies for the Legion wintering “Isabella, the Lord will put it in some man’s in Echo Canyon guarding against the onslaught of the heart,” Thankful paused. “Actually, he needs to put it in army. The Seventeenth Ward Female Relief Society the hearts of two men,” she smiled, “to bid on the quilt would sponsor an auction and a dance, with food and because of its reminder of human weakness, and the enough homebrew to make the men bid when the endless vigilance required to improve as a Latter-day auctioneer shouted. Saint. And, of course, to clothe our troops who guard us “Sister Sophronia,” Isabella shook her head. against the invaders.” Thankful Everett smiled. “Does anyone know where she is?” “The army of the Pharaoh,” Emma Taylor said. Emma Taylor said, “Her husband away on a “May the winter swallow them like the Red Sea.” mission sent by P[...] |
 | [...]Drumlummon Views—Fall 2008 17 were there for her children.” Thankful returned to her sewing. “We came here to Isabella pursed her lips. She studied her stitching. have a hand in correcting that.” “To leave a good man like Truman Fox who is[...]aylor said, “Thankful is right, Isabella. doing the work of the Lord.” Emma Taylor shook her You did what you had to do. But Sophronia, and may head. “The Lord has His work cut out for him this time. the Good Lord forgive me, has the faith of a snake. To Sophronia will take a good deal of effort.” think of it, at her age.” Emma made a tsking sound with “I’m sure the Lord is up to the task,” Thankful tongue to teeth. “Forgive me, Thankful, but she was an Everett said. She rested her hands in her lap, holding embarrassment to the Church and a disgrace to our needle and thread and a section of quilt, and looked Female Relief Society, and I’m glad she left. May the at the women seated in the sewing circle. “Now ladies. Lord give her what she deserves.” We must be careful not to judge. We have acted in “Emma, you surprise me.” Thankful looked at accordance with our bylaws, not to condemn Sophronia her. Emma stitched, her attention directed to her work. the person, but her action that is not in accordance with Thankful’s hands were still. ”You must let go of your Christian principles. I ask all of you to pray for our spite.” Emma reddened. “Truman Fox[...]“Thankful, I appreciate your leadership as the “Pray for me as well, sisters,” Isabella said. She Presidentess of this Society, but I hear the word of looked as if she’d been caught stealing. “I too left a the Lord as well as you, and I don’t need you to tell husband.”[...]w that,” Thankful said. “You showing the skill of a practiced seamstress. left to follow the command of the Lord, and you left “Oh dear me,[...]id. “Let us pray.” She a husband who was deaf to his call.” Thankful smiled. bowed her head and folded her hands, not waiting for a “Dear sister. You really had no choice.” response. The sewing circle did likewise. “Lord, please be[...]oice trailed away. with us as we do Thine work in Thy new land. Guide us, “He was a good man.”[...]strengthen us, help us discern the paths Thou hast for us. “Of course he was a good man. He married you,[...]tt patted her sister-wife’s help us all to grow in Thy love and understanding. Help hand. “But he was not doing the work of the Lord. The us to be the people Thou want us to be. Help us to grow world is full of good people who misspend their lives.” in forgiveness, and to do the work Thou want us to do. In |
 | [...]day they gathered the animals by the coulee where The women echoed Amen and resumed quilting. the Regiment encamped under canvas. They herded at Isabella started to hum, then softly sang a hymn and the night, growing colder, guarding against Mormons and sewing circle joined and the song swelled in the circle. their raiding ways. Inside tents troope[...]k near Fort coffee. Their tents were the circular Sibleys, walls steep Supply, Utah[...]The crowded tents kept the noise and stench of . . . the teamsters while drunk would knock men: snoring and flatulence, the rank unbathed bodies, the heads in the [liquor] barrels with an axe, turning sleeping uneasily, hot and cold, choking on and, because the mules refused to drink it, wood smoke, men going out, men coming in. Moses flog them for their foolishness. Cole stepped from the tent to breathe. He coughed. He looked at stars solid in their endless heaven and he —William Drow[...]watched one and then another one fall. He thought of a Territory, February 25, 1858 brace of wagons fired by Mormons pulled by panicked[...]f a cliff. He wondered what he would South toward the mountains, on the benches where do when he found Isabella[...]ass had its four months now, long enough for her to become a back bent, bared and beaten by an ill-te[...]is child when she left, dragoons herded horses so the horses could feed. On who would grow up calling a Mormon, “Daddy.” Or the benches where the wind bit, where it picked up the Mormon elder could have made her a mother. Or it snow as a thing of play and left it for coulees to keep, could be both. Did she live in the city at the Great Salt dragoons herded mules and the mules turned always Lake, did she live on a farm? Did she live in a house or leeward. Where snow calloused over the[...]Did she wear bonnets and walk on oxen, clustered to break snow crust, and the oxen fed a tree-lined street? Did she plow with a yoke of oxen in the broken snow. With teams too weak for draught carving a field a furrow at a time? work, dragoons drew wood wagons by hand to haul Moses walked through camp passing the staggered in cordwood that grew further away. At the end of tents. Twenty or more tents stretched through the coulee
|
 | [...]nterns with their coned glow, dimming as full of promise, wife now to a life of waiting, wife to a night lengthened, flaring when restless sleepers fed the husband’s love of honor. fires. When he reached the end of it Moses turned to Beauty, Cooke thought. “For God’s sake,” he said. return to his tent and the smoke that layered there. His son-in-law had carried the name, “Beauty.” At least he had the honor to drop it, growing the * * * * * * * beard, using his initials for a nickname sparing Flora, daughter of a Lieutenant Colonel, the embarrassment Lieutenant Colonel Philip St. George Cooke tossed of a husband called “Beauty.” in his bedroll. He wondered where they would graze in “What gentleman would call himself ‘JEB?’” he the morrow, where they’d find feed for the oxen, mules, said. and horses, these mouths of thousands they herded for Cooke chuckled at the choice his daughter made. the Army of Utah. He wondered at the endless winter, Say what he may, he thought, the young man Stuart the relentless windchill the thief of heat, and the snow, advanced faster than he had. always the snow, as though the beast of winter were He thought of Rachael’s radiance that day, so the General Commanding. He thought of Napoleon in proud of her daughter following her footsteps and the Russia and the frozen soldiers. validation it gave. The scars marred each cheek, constant “Push it away,” he said. reminder for all to see. Cook winced at the memory. He thought of his daughter, Flora, married “God damn me,” he said. to James Stuart, a lieutenant in the First Cavalry in He placed blame on the relapse of malaria and its Kansas. Like himself, Lieutenant Stuart was an officer feverish thinking, the demented disease that picked up of horse, a gentleman of Virginia, a graduate of West the pistol. Weak with fever the mechanism slipped and Point. Cooke chuckled thinking of the change the the ball knocked out half her teeth in the parlor. young man made after meeting his daughter—the “Shot my wife in the face,” he said, shaking his beard the Lieutenant grew to hide a slung-under chin head. “I deserve to be here.” and to shed “Beauty,” the moniker it prompted. At Rachel looked more astonished than hurt at first, least when he grew a beard he grew a good one, he’d and then the pain came. The dental surgeon had done allow that. He thought of the wedding at Fort Riley, its what could be done. Tha[...] |
 | [...]“What an idiot,” he said out loud alone in his the Jicarilla Apaches. The Sioux at Blue Water Creek, tent. the scalps of white women. It’s been a tiring and trying He remembered Black Hawk’s war, the dentist ride, he thought, from which I’[...], with a practice back east collecting teeth from the experience, and hope like the Bible likes. Not much of a Indian dead before rigor mortis set in. For all he knew, life, he thought, if hope is the highest promotion. Rachael carried teeth from a Sac brave scavenged at the Bad Axe River. He would never tell her what he ha[...]* * * * seen there. Too much time to think out here, he thought. Nathan Slater pulled the buffalo robe up and over his Too much time with too little to do but persevere. He shoulders and closed it with an overlap under his chin, thought of the passage from Romans that Rachael the buckskin underside over his coat, hair-side to the recited ever since the pistol incident: “We glory in outside. It was pliable, brain-tanned India[...]wing that tribulation worketh it was warm, the heavy hair of the buffalo’s shoulders patience; and patience, exp[...]d experience, over his shoulders moving as the wind blew as though hope; and hope maketh not ashamed.” living still, as though in kinship with the gathered “Who the hell thought of that?” he said, and animals guarded on a[...]arm, he turned under his buffalo robe. If hope is the best the hair of the buffalo robe waving in the starlight. you can do, why bother? His life had been a trail of Nathan did not know which was noisier—a tent full of tribulation, he thought. The waterless marches of the men, or bedded oxen. Among this many animals there Southwest desert and the oxen with bleeding feet. The was always movement. An ox would stand to defecate Snively affair and those damned Texians.[...]ft, extend a front leg and his pompous posturing, the humiliating court-martial lay his chin on it. Another would roll to his side while questioning. Those rumors of squaw killer. Cholera, another reversed that movement, righting from a side- dysentery, the impairment of malaria. Sick and dying lie pulling legs underbelly. Oxen chewed cuds as if in dragoons and always horses breaking down. The slow dreams of green fields. Others groaned and twitched promotions, detailed to desolate places while a war was as if they spoke from dreams like the men in tents did, won in Mexico. The prairie campaign’s perseverance and haunted by what had passed and what was to come. boredom. The deep snow and precipice edges pursuing The horses were more composed. Some lay down and
|
 | [...]head hung sleeping. promised adventure, the horses and the riding of them. Nathan paced the perimeter watching other herders The hardship marching surprised him. He’d ride the edges of the bedded herds. He’d ride his stretch marched for weeks at a time, often riding far enough to and ride back again, walking on occasion to warm his cross a Pennsylvania township five times to a day. He’d feet leading his saddle mule. The guards placed their seen country he’d seen in dreams and the more he saw fires marking the ends of the collected herds as points the more he missed wooded farmland. Distance didn’t of reckoning for the nightriders. Thethe no yearning for the sea and yet he seemed like a prairie Mormons don’t steal your wood. Don’t worry about the seaman. At least they had this relief, camped near the herd. They won’t bother them.”[...]ountains as though finally finding harbor. The herders would stop to warm up at the fires Funny, he thought, he had joined the army but and they took turns tending them. Then they’d walk didn’t expect death. Horses by the hundreds, mules that and ride coaxing their shift to pass. fell in singles and teams, farriers pulling their shoes to Alone under starlight, a March night cold as use again. Rations adequate to fend off starving but Christmas, Nathan remembered he’d left the life of a nothing they wanted to eat. Fingers and toes black farmer. Young and restless and captured by the romantic from frostbite, the wind steady as time. He had it notion of the mounted soldier and the name itself, better in Pennsylvania, the comfort of the forest and dragoon, as though there were something princely the close hills, the fieldwork and the meals, the warm about it. The knee-high boots and black tack, sash and bed of a farmstead. The grit required to survive here had sabre, the grace of the gentleman the recruiter posed. astonished him. There had to be something at the end There was the freedom from the farm and its drudgery of this that would make the journey worth it. and the chance to ride rather than drive horses. He This too was new, this herding of animals remained a farmer at heart, as earthy and intricate as like the drovers in Kansas did. At home they had a the soil that grew him yet restless for something better handful of cows and plow oxen, but nothing like this that bo[...]did houses suggested. Something expanse of animals. It would take an hour to ride pulled him, an inquisitive itch that farming couldn’t around this herd on a horse at a walk, and then the fix. The dragoons he could do, their payroll pay and Mormons might get him. He’d yet to see one herding
|
 | [...]hey were there, patient as Indians, A city of wickiups stood at the foot of the mountainsides ready to kill guards and stampede the transport that defined Echo Canyon. Many were built in the power of the Army of Utah. Through a mitten he mountain faces as though huddled there. A construction felt the muzzleloader move with the mule’s gait and of huts crafted with poles and woven willow gave the wondered what good one shot would do other than to look of poverty and pride, a village replete with thatched mark the time of his passing. roofs sealed with matted grass and a mud mix of clay and He’d see the Great Salt Lake at any rate, which coarser soils placed to slow snow and its dripping through the freighters had said was as big and devoid of life as ceilings heated from the fires inside. Firewood piles stood the desert it lived in. He’d see the city the saints had by some of the huts to feed fireplaces cut in the banks built, and he’d watch over Moses to keep him from of the canyon side. The comfort of the makeshift village doing something foolish. surpassed that of the army’s camp under canvas. Some of the huts had Dutch ovens cut in the clay bank next to the Echo Canyon, Second Dragoons, Utah fireplace to bake bread oven fresh as if home had never[...]left these defenders. Strung for more than a mile through Echo Canyon the thin village was freshly neglected, Everyth[...]abandoned as though decimated by disease and left for drawing horses and ponies from Captain the elements to dismantle. Marcy’s herd, getting them shod, ready Scouts had seen the canyon when the Nauvoo for the march tomorrow. He did not bring Legion was posted there and reported the certain enough to fill up the regiment and the light annihilation of the Army of Utah if it attempted to bull battery, and we were forced to draw sixty its way through. mules in order to mount all our men. I “I do[...]e, white as milk, into this gauntlet before the dragoons do.” He looked and I think he is a good one. at the slopes and the rock walls of rifle pits spotting the[...]cond Dragoons, Utah “Aye, to walk in their dust and the messes their Territory, June 12, 1858[...]want the road first, me boy.”
|
 | [...]y have their mounted militia, me boy. We motioned to the rifle pits and the perched boulders. have dragoons who will breathe the fire of hell itself.” “We’re easy pickins for a Mormon with a rifle or a “The dragoons have done nothing but eat rock.”[...]our rations, and now they ride in the back when the “Oh, me laddy me boy,” Sergeant McMur[...]rrison Lloyd said. said. “Tis us who will shoot the Mormons. They have “For the love of Saint Patrick, laddy. If the their rocks and we have our cannons, you see.” Sergeant dragoons had ’a been with us instead of sent away by McMurray looked at the deserted works. “Don’t you some general the Mormons would ’a got nothin’ from know they’ve fled for the valley below now. Run to the us. Tis the dragoons we needed.” women, they have. When it comes to killin’ a Mormon’s “Well, those lily-livered horsemen haven’t shown got no stomach for a soldier’s work.” me much.” The canyon amplified the sound of the marching “Aye laddy. But they are mad. A dragoon don’t column till the soldiers sounded twice their size. like[...]don’t like bein’ “Tis an easy thing to burn wagons and steal cattle afoot and left to do a man’s work. Oh, they’ll make the that aren’t guarded. Tis another to face an army of Mormons pay they will.” Sergeant McMur[...]’ll widened when he smiled. “Tis a thing of beauty truly, to have to hunt to find a Mormon to shoot.” see the horsemen charge.” Like the country they’d covered since Fort Laramie, that masquerade of a grassland into pass through traveling to somewhere less The four hundred horsemen of the Second Dragoons inhospitable. The huts were the exception, an attempt halted at the mouth of Echo Canyon. All were mounted to tame an untrainable beast, as though weather coul[...]om Captain Marcy’s be gentled with a perception of order. This was tough expedition to New Mexico. At the mouth of the country with its rock-sided mountains that seemed[...]yon Colonel Cooke ordered a regimental drill with to fall through the canyon floor, hillsides suitable for maneuvers by platoon. Silver eagles glinted on Cooke’s seasonal goats, the ground that showed the work of epaulets when his horse turned, showing[...]would be a country where snow was born. to full colonel not yet one week old. Like the ring to a
|
 | [...]Drumlummon Views—Fall 2008 24 bishop the insignia signaled an aura of authority, its hint perfect squares, every street as straight as an of intimidation. arrow, and fifty yards wide. The houses are Officers shouted sounding like an army volleyed built of stone and sun-dried brick, and, as voices and the rocks volleyed back as though venting a[...]ed by each house having about four acres of land a drunken bandmaster and it was a wonder, Moses Cole in the enclosure, which is loaded with grain, said, that theof every street runs a small their own business and here we come, stirrin’ everything stream of clear water. . . . Along all these little up. If[...]streams, or irrigating ditches, are rows of Somehow an order was sorted and the Regiment beautiful shade-trees; every dwelling nearly drew sabre and the canyon sounded as if it split. At the has a nice paling fence in front, and many of command to return sabre it sounded like train rail fell them apple and peach orchards in rear. on train rail for the full defile of the canyon and then, for a moment, the canyon stood still. Then orders were —William Drown, Chief Bugler, Second shouted and the canyon shouted back and bugles blew Dra[...]58 moving four hundred horses and it sounded like the mountains switched sides. Colonel Cooke smiled and The streets [in Provo] are very wide, regularly he turned his horse and the insignia glinted as though laid out, and run at exact right angles to each wishing to soar on the pinned wings and Colonel other. Along the sides of some of them run Cooke led the Second Regiment, United States small, rapid streams, in which great mountain Dragoons, toward Salt Lake C[...]frequently be seen coursing along. The Salt Lake City, June 26, 1858 children have fine sport throwing stones at these beautiful fish, and trying to kill them. On entering the city, we could see at a glance that everything was laid out in the most —Jesse A. Gove, Captain, Tenth Infantry, June accurate manner, the city being laid off in 28, 1858 |
 | [...]an army they made.” his heart as if holding the Mormons of the Mormon “Beg your pardon, Colonel?” The voice came from Battalion there. This cavalry is[...]“Nothing, Lieutenant. Just looking for soldiers church and their faith or pushed by their fear of him I knew.” The Lieutenant looked as if he tried to or fear of bones desecrated in the desert didn’t matter. comprehend a mathematic[...]they had marched on San education. “The Mormon Battalion, Lieutenant. Diego as an army to[...]Extraordinary soldiers.” Colonel Cooke rode at Colonel Cooke nodded at figures in the windows of the head of the dragoons and watched with head homes and on porch[...]acked uncovered. wood with unlit torches, the simple weapons of a self- Moses Cole watched also. Nathan Slater rode at reliant people poised to ignite their homes in final his side in their column of horsemen four abreast. defiance of authority marched from the United States. “Look at the old fool,” Moses said. Like the other Colonel Cooke thought of Lafayette Frost, troops Nathan looked at the houses with their yards Corporal of Mormons. He saw a shadow move. If he an[...], he thought, he would be with their Legion the best he’d seen in Pennsylvania. standing at a home as if standing to horse, holding a “These people tried to starve us, and he takes his torch as a sword of the Lord ready to immolate their hat off,” Moses said, as t[...]ing who heard. city. Colonel Cooke shook his head at the memory of The sound of horse hooves filled the boulevard Lafayette Frost steady as steel as the bull closed with then quit at the intervals that split the army by the momentum of a locomotive. Lafayette Frost had companies marching in parade formation. In these still reenlisted, enticed by the new uniform and the addition intervals the creeks gurgled as though promenading of eighteen cents a day to occupy San Diego with the water to trees standing sentinel and to the gardens and Mormon Volunteers and died there, disease taking the orchards of the citied homesteads. body the desert couldn’t weaken. “If it was up to me we’d camp right here. Move Colonel Cooke muttered, “God bless these right in them houses. Eat off them fruit trees and[...] |
 | [...]08 26 Louis, and these people did not have the material or could not remember this much color, flower gardens tools the craftsmen back east had. brighter than a Pennsylvania forest full of fall splendor. “Them people owe us that[...]. “Not once,” Moses said. The yard fences and the shade trees and the Nathan thought of framed paintings in a open streets they marched on and crossed over b[...]elphia museum. “Appreciate what we see here,” the comfort of New England with a western sense of he said. “Might be a long time before we see this again.” space. Looking east over the tops of the trees and the Moses looked at the back of the dragoon riding houses the mountains rose higher than Nathan thought in front of him. “I don’t care about the pretty,” he said. possible.[...]se side is he on, anyway?” Moses said. “He for.” Moses bobbed in the saddle in cadence with his never give us a tip of the brim.” horse’s gait. “Just come to do a job, is all.” “Hold it dow[...] |
 | [...]mlummon Views—Fall 2008 27 Tu B’Shvat: for the Drowned and the Saved us said: Love is stronge[...]strong, yes, five months dead and still walking. The girl was radiant. I saw her in the shower naked. She squeezed a plum. These[...]have pomegranates? woman illuminated. I tried not to stare, then simply She wanted car[...]chestnuts, cherries, pears, almonds—all the fruits of Alone, I tried not to look in the mirror, tried Tu B’Shvat, the new year of the trees, God’s Rosh not to hear my mother: The old are more naked than Hashanah. My father said, God seeks us, this day above all the young. Before the camp, she had never seen an old others. wo[...]In Israel, cold winter rains turned to drizzle; sap One day last week the slender girl flickered flowed through myrtle and cedar. Here in Salt Lake beneath me. Three lengths she swam, seventy-five yards City, I woke to see new snow on white aspen, the whole underwater. She had strength and desire, the discipline world in pink morning light fractured. I envied my to stay down even if her lungs were bursting. mother, the ease with which she moved, free of her There are others like me at the pool, not that body. She waited for me. She said, This is something. old, but already too fat or too thin, trying to stay fit, By noon, sun shattered off snow, the day suddenly but already withered. There are others with scars: the fierce, the blue sky unbearable. Mother opened her eyes woman with one breast, the man who leaves his left leg, wide, loving the light, able at last to take everything his prosthesis, at the edge of the water. inside her. Only thirty-five degrees, but I was hot in The long, green-eyed girl gave us hope, a vision of my down coat, sweltering. I believed, yes: in this rage of a human being perfected. light, the Tree of Life, all life, might be reawakening. My mother weighed seventy-two pounds the I told myself: Rejoice. last time I dared to weigh her. I fed her puréed peas, I whispered: For your mother’s sake, be thankful. strained carrots, tiny spoonfuls of mashed potatoes. I And so I was—but more grateful to come home was always afraid. I thought her thin bones might snap and close the blinds and close my eyes and let my as I bathed h[...]mother go and lie perfectly still in perfect silence until She no longer spoke out loud, but the voice inside Davia and Seth returned fr[...] |
 | [...]Drumlummon Views—Fall 2008 28 Davia in the living room, lightly playing one phrase at piano because it came first, that night, that morning. a time on piano, then turning to the chair to invent an She loves the zither because even the wind knows how answer with her cello. She plays as she moves, graceful to play it—as if her gift is not her gift, only the breath as water flowing, a girl who sees a mirage of herself passing through her. She lies on her bed in the dark, shimmering across the desert: as soon as she reaches the headphones on, sound searing straight into h[...]s already changing. My Davia she’s safe for all time, sheltered by “The Protecting learned piano sitting on my lap, hands resting on my Veil,” the voice of the Mother of God in a cello, Yo-Yo hands, five years old, her whole body trembling. When Ma playing Tavener. She turns the volume down lower I put her to bed that night, she lay quivering, near tears, and lower, until sound stops, until she becomes its unable to tell me why, unwilling to take comfort. Too lingering vibration. Da[...]nough much, too soon, a mistake, I was sorry. But the next for Juilliard, but she wants to live in the wild, meet the morning, the trill of the piano woke me, Davia running snow leopard face to face, hear its still, small voice high her fingers up the keys—a ripple of light, the body in the Himalayas—she wants to follow caribou across becoming light, blood clear as rain—then down to the mountains and tundra, record the sounds they hear on lowest notes, the mind a waterfall plunging. She had their way to the edge of the world—Davia wants to moved the bench to walk the full range, to touch every sing as elephants sing when they visit the bones of their key, to feel the hammers strike wires inside her—Davia ancestors. finding her first song, Davia in rapture. Seth already[...]Ludwig van Beethoven. shoulders, small for his age, climbing the ropes at Now she serenades a doll; now the snow is dancing. school, proving himself, faster than the other boys and She conjures the carnival of Saint-Saëns: kangaroos able to squeeze his skinny hips through tight spaces, and[...]th long ears—pianists, Seth Betos, unafraid of smoke-filled tunnels—our fossils. She plays the songs Dvořák’s mother taught beautiful savior, bright hazel eyes ablaze with desire, him, the cello strand of “Transfigured Night,” Leonard eleven years old, my boy, singing the Kaddish, walking Cohen’s “Hallelujah.” into the flames, healing the wailing mothers with a She loves the cello because it vibrates through song as he lifts their babies from the embers. her bones, and its voice is almost human. She loves My children! Let the night begin; let your father come |
 | [...]Drumlummon Views—Fall 2008 29 home; let the dead stop speaking. too dull, the clay too resistant—if you stopped, if you[...]staggered, if you reeled, dizzy from hunger, the Kapo too brittle to hold her. Starvation, Doctor Lavater said, beat you with a stick and you found the strength or all those years ago. Isaac Lavater, a[...]soft white hair—my husband’s In the end, my mother’s captors contented friend—he didn’t mean to be cruel. When I bathed my themselves with one simple project: to move the stones, mother, I imagined her as she was, Éva Spier, sixteen to even the banks, to make the river straight, to force years old, thirty-one kilos, my mother in another life, the Vistula toin frigid water. Soup a girl, younger than my daught[...]. Thin as He was, God sustained me. My thigh deep in the Vistula River with seventy other mother lived because she was strong for her size and women just like her, to even the banks, January 1945, the not too pretty, because she stood straight, be[...]ster or her father or one cousin lived as The camp sat wedged between the Vistula and she lived, by faith and will, by chance, somewhere. She the Sola, a swamp, a land of floods, soil impervious to lived because life itself was proof of rebellion. One day rain and melting snow, marl two hundred feet thick, she collapsed and lay in the cold unconscious. When crumbling clay, impossible to drain and farm—but the the whistle blew, she did not rise, and two other women Nazis still believed they could make everything in the whose faces she did not recall, whose names she never world useful. Day by day for four years, they sent the knew, who whispered to her in Czechoslovakian or women to the fields—hundreds, thousands—marched Polish, used the last of their strength, their love, to drag them five by five out the gate while the band played the her back to the camp between them. My mother lived rousing March of Triumph from Aida, marched them because the river ran cold, because frostbite, because for hours, for miles, past deserted houses and evacuated fever, because too weak to march as the Russians villages, set them to work uprooting stumps or digging approached, because left to die and instead liberated. ditches, building roads, dredging fish ponds to spread Éva Spier became Éva Lok and bore one the muck with their own muck as fertilizer. If a stone daughter: my mother lived fifty-eight years after the was too heavy to lift, a root too deep to dig, your shovel war, twenty-three witho[...] |
 | [...]ones If Doctor Betos sleeps in peace, he has earned it. carried an irrevocable m[...]en she couldn’t sit; one stroke took her desire to eat; Davia and Liam, and I forgave him, my good husband, another stole her voice in every language. and I was unafraid, calm in the lavender light, no need Night after night, my mother lives and dies. to shield myself against it. I touch her bones. I smell her. I breathe when she I walked to the pool alone, but not lonely. Mother breathes. I co[...]. Am comes when she comes. I cannot choose the day or I awake or dreaming? There are things I know that the hour. Birds flew tree to tree, gathering twigs and my mother did not tell me, words I hear in the voice hair, fur and feathers, hopeful and foolish they were, of her violin, Bach’s “Chaconne” playing on ba[...]wn hunger. hidden sparrows sang, and I felt the sound, all their I praised God for your noise, your flesh, your fat—for fear bodies in my body trembling. I smelled damp earth I could s[...]ht after night, my husband lies beside me to split, green shoots quivering. in this unstable darkness. He sleeps as children sleep, God, here, in all things: the birds, the song, the silence, in complete surrender. He sleeps blessed, because he the seeds—the snow, the coral clouds, the space between— deserves comfort. I wake and wake again, and though I the old terrier tugging at his chain, the hand with which know it is unjust, each time I wa[...]offers Himself as olive, wine, wheat, carob—as the famously patient. Doctor Liam Betos knows how to slip pomegranate we found at last—as sweet pears and nuts titanium ribs into the bodies of children with scoliosis and apples. God who[...]each time so that they can breathe and walk, free of oxygen tanks we eat with holy intention. Tu[...]ht, we and wheelchairs. He is not vain. A man had to build a celebrate this endless wonder. titanium bike before anyone thought to put ribs in a human. I slipped, I almost fell, bedazzled by the thought, Liam’s children teach one another to do somersaults as if hearing God’s Word, the seed in my heart, rupture and cartwheels. They hang by their knees from the for the first time. Mother came, light as light. She monkey bars at school, roll down grassy hills in the caught my arm. She laughed. She said, Forty-four years park, then charge to the top again, laughing. old,[...] |
 | [...]Yes, forty-four and so tired, and too weak to walk long and wavy, pale blond, shot with silver. seven blocks, and fumbling in my body without you. A tall boy with rippled muscles, one who’d shaved I was glad to see the green-eyed girl at the pool. himself on purpose, stroked his smooth h[...]r beauty seemed simple today, ashamed of this indulgence. almost clear, not hers, merely the glass for God’s We were whole, each one of us, and all of us reflection. I knew her name now, Helen Kinderman. together. Sweetly she’d given it to me last week when I asked her. I remembered my father’s blessings: for lightning She spoke softly, strangely shy, like a child; and though and thunder, for the beautiful ones, a narrow road she stood five inch[...]ordic queen, she looked suddenly tulips, for lovely girls and strange-looking creatures: small[...]einu Melech ha’olam mishaneh I loved her for this, the absence of all arrogance. hab’riyot. Blessed are You, Adonai our God, Ruler of the Today, everyone looked perfect. One leg, one Universe, who makes the creatures different. breast—no fat, no hair—w[...]r? Carl Kristina Everly spoke to her deaf twins from Ancelet pulled hard with his left arm to compensate, across the pool, hands leaping in light, voice blessedly and his right leg, his one[...]y leg, kicked up silent. How lucky they were to speak this way! I and down and side to side, as he glided down the pool. watched Ricky and Ryan dive deep to tell secrets A dark-skinned woman swam on her back, pregnant underwater. Idris emerged from the tunnel of the and joyful, frightening lush, buoyantly healthy,[...]g room, white towel wrapped like a skirt clinging to swollen nipples and navel, tight pink cloth[...]and before her second, Idris gave me a tiny cup of Louise Doren appeared with two bald women, espresso at his coffee shop—warm and delicious it ones whose hair had fallen out in the grip of was, bitter and sweet as melted ch[...]ded; he their hope, because she had lost a breast at thirty-three understood; he believed me. But c[...]afraid, because she gave them a vision for you, any time, really. of how they might reclaim their strength in water— I didn’t come. I was afraid of him, his beauty and Louise, still alive at thirty-seven, and now her hair grew his kindness, the way he said my name, Margalit, so
|
 | [...]2008 32 lightly, as if it were not my name at all, but the word not vain, not driven. I loved her blond ponytail, long as for his favorite dance, the Margalit, and as he spoke, a mermaid’s ha[...]whirled with Idris, a sleek lay still on the bottom, I thought: some new challenge, Persian ma[...]derman, elegant some watery meditation, the mind making the body and smooth-skinned, but her complete opposit[...]t made no sense, floating twelve feet under, only at the pool—he seemed to know why—but I was floating on the bottom, but this is what I saw, and in my always glad on days like today when Idris chose the mind how I said it. lane beside me.[...]y irritated. She stayed Two more appeared, the last to join us, Samuel too close to the edge. Despite her depth, she distracted Killian pushing his wife Violette in her wheelchair. I me, and so I blamed her when I missed my flip turn. I loved to see him: stooped old man, thin skin speckled forgot how lucky I was, how privileged to swim with with dark bruises—dear, faithful husb[...]out coconuts and pears and determined, every bone of his sternum visible. Fragile olives, all the fruit at home, waiting to be cracked and as he might seem, Samuel had the will to wheel his tiny, sliced, the endless gifts waiting to be opened. I forgot white-haired wife to the edge of the pool, lift her out of about God as wine and swallowed a mouthful of water. the chair, and ease her down to the water. He left me sputtering, s[...], trapped I thought what a blessing it was to swim with in myself, pitifully human. them, what a gift that they would allow it. My awe for the girl grew hard, a pit of shame My father taught me to swim before I learned sharp in my belly. to say no, before I knew fear in any language. He I swam over her three times before I thought to could teach anybody to swim: little girls crippled by go down, before I felt her as I’d felt the birds, before my polio, soldiers with stumps instead of legs, old women mother said, She needs you. terrified of water. My father said: Why be afraid of the A trick, I thought, this voice in water. I did not thing that holds us? My father s[...]ere; I’ll believe. I did not trust her. walk in the water beside you. Dive, she said, and I obeyed, but the breath I took When Helen swam below me today, I found her was quick and shallow. I had to rise again and gasp, and foolish and splendid, extravagant in her strength, but dive again to reach her. I thought I’d find Helen, green |
 | [...]all 2008 33 eyes open, that we would speak in sign, in bliss, that They knelt beside her—the boy, the girl, these there would be no struggle. two, these children. The fierce little gymnast pumped But I touched[...]skin blotched and blue, supple legs Limp, the girl, water-logged, heavy, no breath weirdly bloated. Stop. I wanted someone to stop this. in the lungs and so she floated on the bottom. I took But nothing stopped. In her chest, tiny bones cracked; Helen Kinderman in my arms; I wrapped my arms from her mouth and nose, water spurted. Then the boy around her. I kicked hard, and we rose like this, not had his mouth on Helen’s mouth, and the girl pressed joyfully, together. hard with the heels of her hands, and Helen’s bones Then the others came, so fast, as if they’d felt my br[...]surrendered and there was hope grief move through the water: Idris, the closest one, the lungs might heave, the heart clench, the love of life already on the deck, taking her in his arms, lifting return, the delicate pulse throb in her neck again. Helen away from me; Kristina waving furiously at the Where was the manager? lifeguard, trying to make that flushed boy comprehend Out back, smoking a cigarette? the wild silence of her language; then another guard, On the phone, scolding her befuddled father? a girl with[...]itimate headed girl with powerful thighs like one of those or foolish? She’d left us in the care of two teenagers miniature gymnasts; and Louise Doren touching who had done the drill ninety-nine times but never Helen’s feet, believing the one who’d almost died could resuscitated an actual not-living, not-breathing person. heal the one not living. Too late, my fault, I’m the one, I saw her. Or maybe it was The flustered boy yelled, commanding us to Helen’s fault for swimming underwater so many times, step back, me and Kristina, Louise and Samuel, as for teaching me, Idris, the rippled boy, Samuel Killian, if we had no part in it, no place or purpose here, no the buoyant woman—all of us—how strong she was, desire—running now, the guards, telling Idris to set her how ridiculous we were to worry. I wanted to rage at down, gently, gently; scolding us with their voices, not Helen, God, the manager. Where are you now? What are the words themselves, but the tone, the inflection, the you doing that’s more important? implication we’d done her harm, the insinuation our Two firemen and a[...]. birds in black jackets, fast and graceful, called by God, |
 | [...]2008 34 terribly efficient. Helen belonged to them now. They far beyond, to the trees, to the snow on the mountains had paddles to jolt her heart and a syringe full of behind us. Louise and her two frien[...]Samuel Gone, our beautiful girl, gone all the way over, already or Violette. She touched the place where her left breast on the other shore—I knew it as soon as I touched her. once was to remind me: anyone can drown or save or Now the jittery manager and her quick guards fail. Or you, she said, you might have been the one on the herded us to the locker rooms, told us not to shower. bottom, Idris the one who dove too late, Idris the one who Dress and go home. Pool closed for the day. Come back waited. tomorrow. Tomo[...]and tomorrow. She meant to be kind, but her words pierced me. Violette sat in her chair, cap curled up like a crown, She drove me home. She unlocked my door. The damp red towel like a cape around her. Crippled queen! guards, she said, their job. I wanted to kneel before her. I nodded. But we were there, with Helen, in the We didn’t go home. We clustered outside, though water. I didn’t say it. the day had gone dark, though the wind whipped She wrote her phone number on a little scrap of icy snow into dancing funnels. The pregnant woman paper. Call me if[...]idn’t even I thought God was here, in this room, still alive try to go down. She touched her huge belly. I can’t. I’m but unable to help us, revealing himself to me in Louise too buoyant. Then she laughed, a high yip[...]pomegranates and grapes, three fat pears, a jar of black She wanted to touch me because I’d touched olives, all that fruit, His fruit, in my kitchen. Helen, because she thought I was good[...]ed my door, and I was alone, believed I’d tried to save her. completely, and everything in the house scared me: I let her believe; I let[...]rolled tight, Mother’s white on white scroll, the Tree of Carl looked in my direction, but his focus went Life embroidered in satin stitches, a wedding gift from |
 | [...]ise, because you I smelled Helen Kinderman in me—soot of were foolish—because you didn’t hide in time, because you adrenaline, burn of chlorine—we shared this: one didn[...]e you couldn’t imagine. scorched body. I wanted to wash her away, the smell, How can this be? the memory, the thing that had happened but couldn’t[...]aid, Our neighbors turned us out. be, and I tried to climb the stairs, but I was too weak Our good Christian friends delivered us to the soldiers. The to stand, too light in the head, and I was afraid of the midwife who brought me safe into the world probed me water, my father there, dead of a heart attack at fifty- now, deep inside every opening, searching for stashed gold, seven, Leonard Lok crumpled in the shower, alone, two luminous pearls, glit[...]zabó pierced me. As if I hit his head so hard on the tile. Even now, today, he were nothing to her—goat, dog, Jew, stranger—as if my might live—if only I could climb the stairs, if only I aunt Lilike had not baked the three-tiered wedding cake could reach him. for Katarina’s daughter, as if my mother had not sewn the How can this be?[...]sister Edith died because she was into the bodice. too ripe, too beautiful, because her haze[...]an this be? almost gold, because she scared them. The doctors The family jewels were inside, it’s true, but not in my thought if they could sterilize a girl like th[...]between us, four thin rings hidden deep in the belly of the acid, she died barren, bearing only their secrets[...]ng-ago from Budapest. Any day you might be the one, or the one Hidden: as if we would return, as if our house would be our of a thousand chosen. Because you resisted, because house, the doll uncrushed, Mother’s china cups unshattered[...]our breath, because you she looked ready to speak, thin pink lips lightly parted, chose to stay under. For two hours the water ran the princess Anastasia sweetly smiling. I stared at her on cold over my father’s cold body. You died because you the shelf, and all the while Katarina probed, red-tongued
|
 | [...]he had golden hair, silky hair, human hair curled in Jozsua, Tzili, Judit. Her cousin Datiel lived because ringlets. I would crush her now myself to stop remembering. the sun struck his face and he looked stronger than h[...]them, almost a soldier. He wheeled carts of the dead Hebrew. Her father lived seven months, longe[...]st, because he was a carver, a craftsman, because for Hashanah it is written, on Yom Kippur it i[...]survived useful. Long ago, he’d carved an altar for a synagogue in the war and hung himself twenty-six years after. Vien[...]vines and flowers, They arrived at night on the train. Work would cradles that never tipped, caskets without nails. In make them free—if they were quick, if the wolf silence, in delight, he carved nutcrackers and puppets. dogs didn’t kill them. Somewhere in the eerie fog, an Bertók Spier carved the delicate legs of chairs and orchestra played Hungarian Rhapsodies to soothe them. tables. In Sárvár on the Rába River, no one asked, no Are[...]this possible? one cared, if these legs belonged to Jews or Gentiles. And then they began to see, yes, a piano and For his son and daughters and nieces and nephews, he a cello, a violin dancing in the air, in the mist, and a carved tiny bats with folded wings, s[...]men, female shapes shifting behind solid filigree of myrtle with a little man inside, a man you[...]falling. Music muted the cries of children, and they Even Bertók the carver couldn’t explain how he’d thought: If the music doesn’t stop, anything—anything at done it. all—is bearable. In the camp, he extracted gold from the mouths My mother’s grandmothers died because they of the dead, found emeralds stashed in the bowel, were old; her grandfather because he hobbled behind sapphires the soul didn’t need, diamonds his neighbors them. Aunt Lilike took the hand of a child, a little boy had swallowed.[...]lost, a waif abandoned. Lilike and the son of a stranger
|
 | [...]hoes almost fit and song between them, as if in a single breath they’d all you found a piece of wire to close them, because you stole a remembered the day, the hour, Shabbat, the holy night, spoon from a dead man, because you tore his shirt to wrap the queen, the bride already here, radiant among them. your feet[...]eze and swell and blister, They had one choice: to live as long as possible, to let and the sores didn’t cripple you; because you pulled the God hold them in the river. Hungarian, Greek, Czech, straw from the dead one’s pants to stuff your own pants, Polish— Lithuanian[...]—suddenly because you weren’t afraid, because the dead were dead we spoke as one; suddenly[...]lyon mi melech You died because you failed to button your tunic to malchei hamlachim Hakadosh Baruch Hu. And the angels the top, because you failed to make your bed flat and tuck came and hovered there, close, though we worked, though the corner, because you failed to stand three hours in the we couldn’t stop working, and God gave us each an extra freezing rain as the guards called your ridiculous numbers, soul, a holy spirit for the Sabbath—He gave us five souls; as their dogs searched for the ones who didn’t answer, the He gave us fifty; He gave us all the dead swirling down this ones who failed to rise, the ones whose hearts and minds river. Did we[...]m. The guards would have killed us if they’d heard, wo[...]into us one by one, left us face down in the water, silent women, the buzzing fence and end it. A song, it was, electricity floating Jews, free at last, saved, delivered, but the wind in in wire, a sweet, high hum, the Mephisto Waltz tenderly the trees and the water over rocks were the prayer and the tempting. She didn’t care about her own life or the fifty song, and the river and the night and the wind saved us. women the guards might shoot in retribution. I dared How can this be? God to accuse me of murder. But she stepped outside the You lived because your bones heard Aida in barracks into the light and the sun on her bare arm your sleep, and the beat of the drums kept your heart felt warm, and the sun on her skin saved her. Another beating. day, later, near the end though she didn’t know it, my My father said, Even Moses didn’t want to die. mother moving rocks in the river thought, So easy to go Old as he was, Moses feared the Angel of Death. When he down, so cold, so sweet to slip under, but twilight came and climbed Mount Nebo at last, Moses asked God to kiss his the sky turned pink and lavender beyond the trees, and mouth and eyelids. a prayer began to pass among the women, a whispered Father, did you wait for God? Did He kiss you as you
|
 | [...] 38 fell? Did you die afraid, or surrender in wonder? Helen, not possible.[...]I confess, I kissed you: as Idris lifted you out of How Helen would suffer when she heard it! my arms, I pressed my lips to your leg—to taste, to know, to She’d hold him, her distraught fa[...]wept in relief and terror, grieving now for another man, I do love you. feeling him, the one he didn’t know, the father of a child Two hours gone since we lost her.[...]cer missing. Oh, Helen! She was always the most sensitive than death? Mother, are you with me? I thought of of his children, the quiet one, Helen who came from Helen’s mother, the words she might hear, her husband the womb with her eyes wide open, just a few minutes the first to know, the one to tell her, the terrible sound old and already watching.[...]s she might make as slowly she understood him. Do the sorrow, the hours of pain when she didn’t come home, dead die when t[...]when we believe it? My when he began to take it in, when he couldn’t breathe, father lay dead nine hours before I knew it, and all that when he had to invent words to tell his wife and time, if I imagined him at all, I imagined him walking somehow find his other children. in the water, in the world, beside me. Peter Kinderman climbed the winding stairs to The police found Helen’s father first, Peter the fourth floor of the library because even the glass Kinderman, a pharmacist downtown, and when he elevator looked too small, the air inside too close, saw them, he was afraid, but not for Helen—he never too much like water—thethe words thought accidental overdose, a mistake in a prescription, of Mahatma Gandhi—where you can visit Saigon, a stranger dead somewhere or in a coma, his fault, Macchu Picchu, Wounded Knee—where you can climb or the fault of one of his technicians. He made the Denali. The copy of John James Audubon’s Birds of stuttering policeman say it three times. Drowned, today, America lies in a glass case, protected. If you took it out, this morning, Helen. He walked from the drug store it would stand three feet high and be too heavy to steal. to the library, thirteen blocks in the cold without hat Sixty pounds! Oh, how Helen loved it. or gloves, and the wind bit and he liked it, the small Clare Kinderman saw her husband and hurt, the swirling snow, the distraction, the drifting in thought, What a lovely surprise, not my birthday, not our and out, the seconds when it was still untrue, a terrible anniversary, and here he is in the middle of the day, Peter mistake, someone else’s drown[...] |
 | [...]2008 39 he’s not sad because he’s come in time for lunch, like the days her school, who believed every child could sing, who when we were first married, before the children, before said every child must[...]on’t have breath; let your body feel it. And so in his spirit, when the day was too long to be apart, when he had to come, in his name, Éva taught a simple song to these children sometimes three times a day, just to look, just to see that I in wheelchairs, the ones without hair, the ones without was still here, still his, still real. fingers, the ones with fluttery hearts and failing kidneys, He took her outside to say it, so she could wail the burned boy with a patchwork face, skin sewn from into the wind, so she wouldn’t have to hold it in her the skin of others. He’d made a collage of himself, a body as he held it, so the cry wouldn’t splinter her ribs picture pasted together: right ear of a pig and tail of a the way his ribs were splintering. peacock, open eyes of an owl, closed mouth of a seal. I was not there; I did not hear the sound my He offered it to my mother when she came, a gift, and mother made when she found my father in the shower, she saw who it was before h[...]him too, her one, her his left ear, the ear that was really his, the soft ear, theto the hospital to play her violin for the children. How can this be? Leonard Lok slipped free of his body fast to follow her, Because the boy’s mother fell asleep, and the boy and to hear her play, to see Éva swaying to the songs inside his sister torched the drapes, because they wanted to see a her—one more time, my love, my darling—before his wall of fire, because the sister furled herself inside, and the spirit dispersed, before his holy sparks scattered. She brother tried to save her. stood with her back to the windows, face in shadow, My father blazed in the window behind Éva. bright glass blazing behind h[...]fell on bare heads and throats; as light, violin for the children, giving them her wild joy, the he warmed naked legs and shoulders; as light, he miracle of survival in these strings, an endless hymn of transfigured all these shattered faces. My mother saw, praise, a vision of their own perfection—Éva playing[...]od, but couldn’t believe it. Kodály’s Dances of Galánta and Marosszék, each one[...]left them. beloved Zoltán, imagining him, the teacher who visited How[...] |
 | [...]8 40 without a witness? How can anyone die in her own bed, or to take these two if they could learn to milk cows and his own shower? How can a twenty-two-year-old girl who pluck chickens, if they weren’t afraid to twist a neck learned to swim before she walked drown in a pool? How and break it, if they promised to love mucking stalls, can you survive the worst and not live forever? shovelin[...]und pumpkins. Helen, I can’t make sense of it. His mother said,[...]after. She meant when they’d saved enough to travel, porch, transfixed by their own reflections. The next enough to bribe, enough to secure visas. She packed day, I saw one struck by[...]feather remembered her, lighter and smaller than the other stitching, her velvet skirt, Leonard’s black wool jacket two, hungry like them because of the snow, desperate, with sapphire silk lining. Worthless, she knew: they and so they’d come down from the hills into the city. weren’t going to wear silk and lace on a farm outside of She leaped away, a miracle, unharmed by the van, alive Buffalo. Buffalo: what did it mean, and where was it? She in the moment. But later, I was sure I felt her in the ironed Leonard’s trousers and handkerchiefs though snow, hidden in the park by the river. I looked for her; Antje begged her to stop, though Antje said: On the I don’t know what I meant to do—lie down with her, boat, everythin[...]e. She darned as I lay with my mother, float away at last, give myself their socks, toes and heels, saving her children’s lives to the water? I was certain she would die that night,[...]d, weak worked, peculiar melodies known only to her, giddy and muscles quivered.[...]other bliss, folding her children’s clothes the piercing joy she’d softly say it.[...]her wrote: There’s been an unexpected delay. me in her thin arms one day and said, I have you and[...]whispered, My good, my darlings. life for this, God has mercy.[...]father and his sister Antje lived because their in one room, in one bed, at the back of the house mother had a cousin of a cousin in America, a man with where the rain came through the roof, and the heat a farm and a wife but no children. Miklós Zedek agreed never reached them. Their father wrote: The American |
 | [...]1 Consulate has not approved our applications to immigrate. translucent yellow. We’ll try again in four months. Keep your faith in us. We’ll Vivid as these pictures were, they were not as be there. His scrawled note at the bottom of the page strong as the visions in his mind, the last days, the last sounded like a whisper, a secret sputtered at the last hours, Mother ironing perfect creases in his trousers, moment before he could scratch it o[...]e’s cape, dancing without music, Better we have to wait. Your mother’s been sick, nothing swirling the long gray cape into a person. My father serious, just some fluid in her lungs—she’ll be well again remembered his father on his knees the day the blond when she sees blue sky and the weather’s warmer. She sends boys of Vienna became Nazi accomplices. They wore her lov[...]flicked their little Their mother died on the train. Their father died dog-whips. They wanted Hevel Lok to scrub the street, in Dachau. to wash away the Austrian cross some rebel nationals Soon,[...]don’t worry. had painted. The doctor had known these three in their You died because you kept your fait[...]God was deaf, you wanted your he leaped from the tree house, listened to Hendrik’s mother to hear you. heart and lungs, laid his naked ear on the little boy’s My father carried three photographs to America: bare chest when he had whooping cough—because the Greta and Hevel Lok six days after they married,[...]tethoscope was too cold, because he didn’t want to hurt clear alpine lake and snow-covered mountains in the him. Dieter, Emil, Hendrik! Hevel Lok wanted to say distance; Hevel as a child in short pants, a boy holding their names, to call them out of themselves, to remind a butterfly on his finger; Greta Erhmann walking them who he was, the one they knew, the man who through a field of poppies, a hopeful girl, conceiving loved them. two children in her mind, dreaming her life to come: I My father’s mother loved her children enough to did; I saw you. Hand-tinted, singular and precious—this let them go, to believe, to trust, to lie: One day soon we photograph held their whole[...], will all be together. before, after. The artist had flushed the girl’s lips and My father the Austrian orphan became an shoulders, had revealed heat rising beneath the skin of American soldier, a liberator of Mauthausen who cheeks and fingers. The poppies glowed, lit from inside, saw the dead—in pits, in the quarry, ones forced to |
 | [...]08 42 leap, ones half-burned, ten thousand in one grave, Because I lied when they ask[...]ed. He saw how hungry they were, because the orchestra needed a cellist; because someone else the dead, limbs bent back, impossible angles, humans had died in the night; because I spoke German; because I so thin[...]cheeks Even now they cried and wasted. So hungry! The dead to look rosy; because I was a chemist; because God filled my wanted my father to feed them. Each one was his own lungs an[...]sed an officer, and mother. His broken father lay in the pit, whispering he chose me to watch over his children, because his wife was the Kaddish ten thousand times, then starting over. too tired after the baby, and I scrubbed their pots, and I Leonard Lok stared across the open grave and saw his scoured their toilets, and they weren’t unkind in their house, unborn child on the other side, his daughter ready to and I couldn’t hate them, and sometimes I stole the baby’s leap, Margalit silently wailing.[...]bottle, sometimes I sucked milk pumped from the breast of He had never loved like this. He thought l[...]and where was it? They told of the ones set free who died anyway, Antje wrote: 121 inches of snow in Buffalo this hundreds a day, thousands in every camp, because the winter and still snowing. He wanted to be there, under soldiers, the good ones, their liberators, gave them meat the snow, with her, with them, to sleep without dreams and chocolate and wine[...]much, too fast, and their bowels twisted, and the food behind to work in displaced-persons camps in Austria, that promised life became the poison that killed them. then Germany. To his sister Antje he wrote: I think I Sometimes he sat with the children while they can be useful. ate, teaching them to take a little at a time, to trust that He meant nothing else makes sen[...]Antje wrote: People go over Niagara Falls in day she was there, Éva Spier, an orphan just like him barrels, to say they did, to prove it’s possible. He hated but not destroyed, Éva, a girl who still loved her life, the these foolish men who risked their lives on purpose. thin thread of it, who weighed thirty-four kilos, nine The ones returned from the dead told him stories. pounds more than the day she was liberated, Éva who They lived by chance, by grace, the sacrifice of another. gave bread to the birds, who said, Enough to scatter on |
 | [...]Drumlummon Views—Fall 2008 43 the ground, enough to share, imagine. The crumbs on the or ninety, you might be a hundred and twenty, old as ground and the birds at this girl’s feet were life, all of Moses, and still be afraid to leave this earth, still cling it, all he needed forever and ever. If she could choose to your precious body. At the top of the mountain, you life, who was he to deny it? When the bread was gone, might insist God kiss your eyelids. You might surrender, the birds pecked her bare feet, and she laughed, and he yes—you might forgive the one who gave you life to laughed with her, these two, these motherless children. lose—but still weep, still wish to touch the body, the Imagine a love like this, here, after, in this place— face, the mouth of every one taken before you. imagine a life where[...]our hours gone, and even I who held Helen To Antje he wrote: I’ll never leave her. Kinderman in my arms can’t believe it. She was radiant.[...]Sunday morning Last week, I saw her in the shower naked. Today, she while Éva played her violin, while light fell on the floated on the bottom. She distracted me. I started my stunned faces of fifteen children, ones outside of time, flip turn too soon, and my feet missed the wall—no ones caught in the rapture. Light was all the weight push, no glide, no rest for the weary—and I saw her they could bear, light the only touch tender enough not again, the second time, just moments after the first, and to hurt them.[...]blamed her. I didn’t love her then, not enough to sense If my father had lived, he might have taught despair or know her sudden weakness in that moment. some of these children to float, to swim, to walk in I swam to the shallow end and back, and I was slow, too water when their legs were too weak to stand, when slow, because I was tired, and I saw her the third time, the frail rigging of their bones wouldn’t hold them. righ[...]er, and I think I was afraid, but I didn’t want to be he needed saving.[...]angry instead and I sputtered, and my How the body loves life! How the body wants to heal! mother said, Dive, and my mother said, She needs you. On the last day of my mother’s life, I saw the And I did dive; I held her in my arms, and I understood sores on her feet closi[...]er died. I don’t deny as God loves—in helpless grief, in terrible pity—and it. I thought now she and I can rest, now we can stop then the others came, so fast: Louise and Violette, the hurting. But it doesn’t stop. You might be ten or sixteen firemen and paramedic, the shaved boy, the swollen |
 | [...]Drumlummon Views—Fall 2008 44 woman, the one-legged man, the unborn child—and I lamb and li[...]loved them too, and I knew that what had happened to fish swimming under roots, one tiny bear growling in Helen had happened to all of us, and forever. the distance—owl and elephant, ram and raven: life[...]e, life abundant. There are a thousand ways to die, any day, any Now, this is the hour. hour—yet one child lives, one little girl[...]I imagined Davia walking from Rowland Hall the wolf cuts herself free of his bowel and walks out to the McGillis School, five steep blocks, to wait for of the woods into the sunlight. One woman in a pit Seth and then walk two mile[...]a bus, but never do. wife pulls her husband from the shower in time, and Time to think, she says, and besides, I miss him. She a doctor makes an incision just big enough to slip his will not say she’s afraid.[...]tor, this human child doesn’t need to hear a story to feel it. The story being, holds the heart of another man in his hand while is there, trembling in the body and the blood, in the he repairs it. wind through the pines, over rocks in the river. The violin lies in its case, but the zither plays itself, and the Arise, my darling, my beautiful one, my daughter. You have song swells unspoken. seen God face to face. Now all suffering is over. Now it is time Let me speak now, my children. Let me tell you. to forgive. Now it is time to surrender. Love is fiercer than I saw[...]seal upon your heart. Trust me. too, on the same bus, but not together, a kind of And so I rose. I did as my mother asked. I did agreement they have, to pretend to be strangers, Juli everything she’d taught me. You lived because a woman a freshman at West High, Karin a senior. They’ll find hungrier than you, one too sick to swallow, gave you her their parents in the living room, and they’ll know their soup and br[...]ar it. All their lives, Helen’s sisters herself to you even as she lay dying. I unrolled the white will wonder why their father let them stay in school tablecloth with its white satin stitches, and my mother today, why he let Juli dress in drag to play Hamlet, why and father appeared, smelling of rosewater and myrtle, he let Karin learn to pose questions in Italian. Are you shimmering behind lush white lea[...]t I could see dove and goat, we go to the opera? They’ll rage. How could their mother |
 | [...]rumlummon Views—Fall 2008 45 allow Karin to eat her lunch in peace while little Juli, his mission in Hermosillo, walks a dusty road at the Prince of Denmark, sneaked outside to lie in the bed edge of the city, hoping to save one soul today, hoping of a truck, to get buzzed on cigarettes and blow smoke to win one convert. He does not know. He cannot into the mouths of her two boyfriends? Forever and a imagi[...]ers. day, Karin and Juli will blame their parents for these He hears Helen’s mocking voice above the others, terrible hours, macaroni and cheese, hot[...]and he laughs at himself, at his white shirt, stained Peter Kinderman h[...]He laughs and called her home from her honeymoon in Hawaii. she’s there, watching,[...]her father’s voice, she thought: He at last, as if she has whispered: It’s okay. Do it. His knows about the black-footed albatross and the black sand companion is sick today—heaving, dehydrated, afraid beaches, the orange amaryllis growing so fast I heard it, to leave his bed, afraid to drink the water. If Jay liked the pink hibiscus. He knows about the first day, a waterfall Elder Mattea better, wou[...]let ’apapane birds blazing through Something to overcome—in time, if possible—part a forest so green it scared me. He knows the sea is bluer of the test, part of the challenge: surrendering to love than the sky, the world upside down, heaven underwater. long[...]l it. My father who loves me too much knows about the tequila He is forbidden to work alone. All day, he and ginger I used to ease the sting of sunburn, the mango has been disobedient. Not one crime, but a crime daiquiris last night, the flaming sambuccas after dinner. committed moment by moment, street to street, hour And perhaps she is right—pe[...]ines by hour. It would have been right to stay with Jared, the tiny red bathing suit she wore, the strapless dress, good to care for him today, to watch over him as he her near nakedness at this moment, but the words he slept, change the sheets a third time, fetch the bedpan speaks are soft, and in the breath before the cry, all or a doctor—it would have been generous and just to transgressions past and still to come are by a sister’s boil water clean[...]it. But there will be other days to |
 | [...]lummon Views—Fall 2008 46 Helen has come to walk this scrap of earth beside him. one converted. He[...]moving toward My children! Let the night begin! May you all him, slowly gathering herself out of the dust until she forgive me! becomes a shape h[...]e counts, he tries Davia opened the door, and here they were, alive, to count, all her skinny dogs, all her skinny-legged both of them, home, my precious ones, to help me slice children, all the mottled chickens that lead this strange pears[...]red not And he thinks, Now, today, this is the hour, and tell them what had happened. I imagined how it would forin has revealed his mistakes to him, the failure of practiced French or memorizing the names of tribes, learning to words, the hopelessness of his precise Spanish. spell, to say, to imagine Hohokam, Tutsi, Zapotek, Yaqui, He[...]sister would do, knows she Eyak, Gwich’in, Kuna, Maasai, Malagasay—if they’d would walk in silence with this woman and her seven been watching a film about birds: snow geese in flight, skinny children and her six scrawny dogs[...]dancing cranes, emperor penguins emerging from the multiplying chickens, knows Helen would walk side[...]ard now, how foolish and blessed it by side along the tracks to the Rio Sonora. His throat would seem, this life, all of it! is too parched to speak of God and salvation. Even Liam returned to us, just in time, just before dusk, the chickens refuse to squawk. It is better to go home in the hour of twilight. We blessed the wine of every with the woman and her children, to offer the rice and season: white, pink, rose, red. We drank it down, the beans and corn he always carries, to drink their water year to come, the year behind us. We blessed each fruit. unafraid, to trust, to keep his faith, to help them cook We ate because God needed us—our human love, our this food over an open pit, to sit, to eat, to share this frail bodies—to restore Him, the Tree of Life, to give meal. God life in the world. Everything I have is yours! How Jay Kinderman knows he will do this—for Helen, slow we are to learn it. We ate pomegranates with shells with He[...]ous earth we need protection; we learn every song the children want to teach him. ate dates, plums, olives—fruit with pits—because fear And he will be the one swayed; he will be the makes a stone, sharp in the belly. We ate figs and grapes |
 | [...]ecause God you emptied yourself into the ocean. Never again, never longs to enter us whole, to become one with us. again I, never wil[...]Davia’s voice, life beyond hope and fear, proof of love, what I am becoming. And the silence between words, our God unfathomable. Seth brought his fingers to the keys breath, was the fruit of God unseen, too sweet to taste, in a jubilation of sound, three times Davia’s speed, but the fruit of life, ethereal. Three deer came to the back with astonishing lightness. porch and stared inside and were not afraid of us. Rain, brilliant rain, water bo[...]en passed some secret sign I looked at my husband’s hands, the hand between them. Davia rose and Seth followed. Our that holds the knife, the hand that slips a rib into a daughter began to play the piano, low and soft, in child. I felt them here, the children whose lives he’d a rhythm impossible to repeat, moonlight through saved—Sophi[...]Daniel, Remy—Nina, Dorothy, fluttering leaves—the wind, and then the water. I was Matthew, Eric—I saw each one of them and all their hearing notes, but Davia was listening to the space children; I saw fathers and mothers spared, sisters and between them, hearing the song inside her song, the brothers not abandoned. first words of unborn children. Davia was waiting for You lived because you chopped fallen trees in a the one word, the note before the note where she might nearby forest. One day you prayed as you walked: Please join them. I was afraid to lose her, but she trembled come, please come. You meant God, death, your mother, with pure joy, the bliss of finally going. And then it your father. But i[...]ree rabbits; instead, white flowers bloomed along the clear and high as one by one the low notes faded. Davia path, white, with scarl[...]ter. kind. Nothing here wanted to kill you. This was how wind Imagine the song you would sing if you loved the through pine answered: If the butterfly survived the night, mud, the weeds, the rocks rippling you. Imagine your why can’t you live one more day, one more hour? If the joy if you reflected stars, then swallowed them. Imagine clouds are part of God and part of you, why can’t they be if you had no choice as creeks entered you, if you good? Why can’t they be sen[...]inderman is roared down a narrow canyon—imagine the wonder of learning Yaqui Deer Songs from the children, songs to it all, how you’d laugh and leap as you ceased to be, as carry them from here to over there, from this world to
|
 | [...]Drumlummon Views—Fall 2008 48 the flower universe. throbbing pulse in my skull and pelvis. The deer looks at a flower. I had to rise, or die there. The bush is sitting under a tree and singing. I came to Seth and Davia in their dark rooms With a cluster of flowers in my antlers I walk. to kiss their mouths and eyelids. They allowed it; they This is the truth you asked for. indulged me, my generous ones, my children who are Dressed in flowers, I am going. not mine, who do not belong to me, these two who Never again I, never will I on this world be walking. belong to God and rain and river, who saved me with Somehow he has to get back to Hermosillo. a song, who found the secret chord, who held me even Surely Elder Mattea has exposed the depth of his now, floating on the surface of their music. betrayal. How will he explain what he saw here in the I kissed them, and I left them;[...]darlings. I have ears to the wilderness, as I am walking. I came to my own room, the room where my Whether I turn to the right or to the left, I hear a husband lay on the bed, not undressed, not sleeping. I voice behind me saying, This is the way, walk in it. opened the window to feel snow fall: everywhere, snow— Is this the truth they’ve asked for? six inches since morning, feathery and light, merciful Here in the wilderness, I am killed and taken. snow, silent snow, snow that would be fast to melt, snow The four boys who have all become little deer that in the dark seemed endless. Liam rose and stood brothers laugh at him, his stiff attempts to dance as behind me, and I leaned back; I let my weight fall against deer dance. There is a song for his failure: You who do him; I let my husband gently rock me. And in the hour not have enchanted legs, what are you looking for? There that came at last, in the new day just beginning, I began is sorrow: The fawn will not make flowers. There is to speak, and he began to hear me. consolation: White butterflies in a row are flying. My mother was alive again today, but dying, and Helen, if the butterflies survived the night, why can’t my father fell as light on the tree where Datiel is hanging. we live one more da[...]and Davia, and I couldn’t climb the stairs to save you in My children climbed the stairs, and their enchanted the shower. Then you all came home with Amiela and Éva, father followed. But the music did not cease. The song and three deer stared inside to bless us. Davia played cello surged through wood and wire, a wild river of blood, the and piano while the wind played violin and zither. Seth |
 | [...]2008 49 sang Hallelujah as he walked into the fire. Children with the angels, and we had survived; we had lived through it, metal ribs climbed trees and leaped to the ground without and the doll named Anastasia split her own skull to spill breaking. Samuel eased Violette into the water, and my her secrets. Our children heard the first word and laughed father walked in the water beside them. God appeared like God[...]God strength, and I took Helen Kinderman in my arms, and I appeared as a starving woman who o[...]he rose, and all her people, all their love bread to my mother. God became wine, and we drank Him.[...]Jay Kinderman begins his long walk made a coffin for himself without wood or grief or nails. back to Hermosillo. With a cluster of flowers in my antlers Lilike saved the son of a stranger, and Juli Kinderman I walk. I hear the wilderness as I am walking. Late, so late. crowned herself Prince of Denmark. Karin answered There will be repercussions and restrictions, the ritual of every question: I’m not afraid; I’m not hungr[...]y favorite saint. My Only Helen. He was called to go, and made to follow, mother played her violin while a burned boy slipped free of and the children taught him a song, and the woman built flayed skin to emerge as owl, and pig, and peacock. Vonda a fire, and the food they shared gave life to God inside Jean lay down naked on a black sand be[...]d with enchanted legs, deer with body melted, and the ’apapane birds sang her name and flowers in their antlers. Helen will understand when he the dark-eyed man ate fire. Peter Kinderman saw Clare says: Nobody wants to die, but sometimes little deer brother as she was[...]before she imagined, and their offers himself to the people. In the wilderness, I am killed and daughter Helen came home with open eyes to comfort them. taken. I am not afraid. I am joyful. The bush under the tree is Hevel Lok pressed his ear to a child’s chest and heard the singing. There is no such thing as “I.” Oh sweet sister! This is boy’s blood roaring. All the hungry birds of Europe landed the truth you asked for. at Éva Spier’s feet, and she fed them, and she la[...]and then he left us. My * Please note: the translations of lines from Yaqui Deer mother’s bones washed away in an icy river, but we were Songs appear in Yaqui Deer Songs, by Larry Evers and not afraid because the twilight came, and the song, and Felipe S. Molina,[...] |
 | [...]Drumlummon Views—Fall 2008 50 The phrases have been rearranged and juxtaposed (and occasionally altered) in Jay Kinderman’s mind to create his own deer song, a prayer of praise and wonder. He hears the words of the prophet Isaiah too, strikingly in tone with the deer songs. |
 | [...]Drumlummon Views—Fall 2008 51 In the Grips It’s not that the boy in the third grade became Chris Nicholson the adolescent in the eleventh became the college[...]et me, but rather that Man is a sign in pursuit of what eludes him. a single, common spirit has possessed each one of —Martin Heidegger us in turn, and moving on has established a certain[...]s Jens through bodies and men and over continents at its height, Miss Jens once asked me when I fell in as she flees before it. love with her exactly. Without even thinking, I told Of that life called my own boyhood, I have her it wa[...]e met last May: but drab, unmoving memories at best. Whole years a bolt of lightning, love at first sight. Strange as it may have been forgotten. Real life is in these lovers I’ve sound, a truer response would[...]my own like snatches of another music played at odd I’ve never confessed this to Miss Jens, or moments through the day. And this love, if you can to anyone else for that matter, but I am all of call it that, is a magnet re-northi[...]thought I might have called my own points to her. her boyfriends—useless suitors begging for a Don’t worry—I’m not going to bore you with a date, strangers calling out of the blue, forgotten complete history of our affair (it would be as tedious acquaintances[...]from as anything else that pretends to be complete), but as I monomaniacal hours—even[...]place tell this story I’d like to relate a few of those old loves inside this skull, these ribs. Each man and boy who so you’ll see the forces in motion. has loved her, simultaneously and in succession from the third grade to this day, constitutes the past and * * * * * * * continuous present of my heart. There’s nothing crazy about it: just a bunch of normal guys in the grips, a The bell rang for recess and a tumble of dry leaves bunch of guys who happen to inhabit me. skittered and hesitated over the asphalt just past If you approach it from the right direction, the the school exits. The crust of grass in the schoolyard metempsychotic mechanism isn’t hard to understand. dipped and bobbed where the lawn had been scraped |
 | [...]Drumlummon Views—Fall 2008 52 away by the tussle of school children, then it opened for the first time. Her family had just moved into the up in a baseball field toward the ditch on the far side mad, high house to the north of town. She was on her of a worn and spacious acre. There, on the other side mother’s elbow in her ratty clothes, the foof of her of the yard, was a chain link fence meant to keep the bangs like a ray of sun—blonder then—her skip-to- kids out of the thick, brown water, but the fence had my-loo legs propelling her in always a new direction. holes in it—and the holes were what saved us. Every Even then her fingers were light. The pencil in her hand other recess, cross-hatched rubber balls of varying just turned and turned. And as for that kid, that kid was size and air pressure but always the exact same red me: the first time I saw her I had a feeling. would soar over the fence into the thick branches Recess followed recess, and it didn’t hurt that she of the willows along the ditch banks. A very hard could run, becau[...]girls required everybody or deliberate kick sent the ball all the way over both to chase everybody else or try to block and if they fences to the golf course that ran along the ditch’s ran you down, they had beaten you,[...]switched sides. Out of everyone, Miss Jens had legs. I On the far side of that fence, old men in saw her go after a kid once with two oth[...]ould grabbed him and they tickled him half to death and he play through among the blue spruce and mountain just laid there gasping on the ground like a wounded ash of the seventh hole. The greens and fairways were animal. Wow, my friend said, she’s fast. well tended without being lush. The golfers gave off From that day on, Miss Jens was my pick for the a reified happiness, an intent and complex sereni[...]st kids didn’t know much about that was foreign to the schoolyard’s barbarian melee. kissing yet a[...]like it. When So foreign, sometimes a loose pack of third graders people kissed in the movies, we all covered each other’s would stand there briefly, fingers curling on the links eyes, and groaned and shouted, Is it over?!, almost of the fence, to watch the old men pass, before the a parody of ourselves. Which is why the Corner— pack took off again, shrilly calling out for adventure, between the drinking fountain and the cupboards reinforcements, or an adversary. where we kept the glue—was really just for pretends, One day, in the middle of the schoolyard’s hue and the boys would hold the girls and the girls would and cry one kid in the third grade stood stock still scream and if kissing was out of the question altogether to watch the young Miss Jens as she came to school they would just hug. To the surprise and horror of the |
 | [...]8 53 entire third grade, I started getting in some smooches. the woods and held in a small, stark room. Still tied up Miss Jens blus[...]and gagged, we couldn’t communicate except by the Now, I had been a bug on and off for several years warmth and movement of our eyes—an ideal situation before I met her. Each recess we would spread our wings for two third graders incapable of small talk. The and soar screeching across the playground, descending as action would be drawn out in negotiations between locusts on some patch of grass, stuffing dirt and weeds the villains and local authorities, and punctuated by in our mouths like starving circus animals that eat still grisly threats to our parents, who, like Miss Jens and knowing they[...]ith gusto, me, naturally grew closer during the abduction, and it was to prove to the girls how glad we were to disgust probably talked a lot more. them. Our[...]Each abduction peaked with a shoot-out, the chinked in our teeth cracks, we would rise with a cry and woods crawling with federal agents on leave from the suddenly—resembling less bugs than wingèd monkeys stack of comic books in my bedroom. In the heat of from Oz—soar off in search of new prey, less crowded battle, during a lapse in our captors’ guard, Miss Jens pastures, giving the impression, at least, that we had would free me, cutting through the cords with a rough- something better to do. edged rock just loose on the floor. All we had to do Once I met Miss Jens, though, I didn’t feel like then was make it out of the house and across the no- eating dirt anymore. Another fantasy took hold. In an man’s land (her speed guaranteed this) before we could avalanche of daydreams, I became something more be held as human shields in the kidnappers’ getaway. human. Each dream began with an abduction: The place While fantasy is all fine and good, dreams run and the hour varied, but usually a band of kidnappers their course. I knew the kidnappers would never come dressed in black jumpers and ski masks would scale and save us, and decided I had to act: In a jeweled box the porch on our house, loom briefly in the bedroom lined with purple velour, my moth[...]window, snatch me from my bed and hustle me back to bracelets, and earrings. Standing in the shadows of her a white van parked up the hill a ways. Sometimes they bedroom while she was still at work, I found a thin gold would hit Miss Jens’s[...]ng with a rock on it, a delicate thing with hooks at the was already gagged and trussed up against a tire[...]t I’d never seen her wear. Like any trespass— the bed of the van when I was tossed in. sneaking into the closet to poke at Christmas presents, From there we were driven to their hide-out in reading your sister’s diary—this[...] |
 | [...]Drumlummon Views—Fall 2008 54 The next day during cleanup, I gave the ring to I coughed, for the next half hour shuffling dumb action Miss Jens’s friend Katie and told Katie to give it to figures around in the dark. Miss Jens, who took it and put in on her middle finger, where it didn’t fit as lo[...]that afternoon, when we were putting on our coats to go, she stepped in front of me, which she never did, and If I had to thank somebody, Victor would be it. Miss said Hey[...]ou. I swung on my backpack. Jens and I met at his birthday party last May. The party The bell rang in the hall. So she said Goodbye! and so was in a smoke-stained bar near the Seine—narrow at did I, to walk home kind of whistling, floating along the front but flaring out in back, full of knotty pine, with that backpack full of books, deaf to the shouts of smudged brass, and dusty bottles lined up on the kids playing dodgeball on the blacktop. moldings—since Vi[...]ther was going crazy his friends too many for that sixth-floor chambre de looking for her ring, her engagement ring, she whispered bonne where he lived near Montparnasse. He was to herself, I didn’t say a word. My little brother[...]urning 30 just a couple months before me and that the TV, and so was I. I knew he thought she was mad at called for a celebration. Miss Jens walked in and sat something he’d done, prolly didn’t even know what, so down on the low stool next to me bright as a marigold, together, we both just p[...]. about it. We both got into our pj’s and ready for bed. “This is Miss Jens,” Victor said, and smiled like Then the Jenses called. he was handing me a prize, between us the sometimes It was about their daughter’s diamond ring—she solidarity of guys. “I don’t think you two have met.” sai[...]God O thank you thank “You’re the scientist, aren’t you?” Miss Jens said. goodness! Mom said, and reached for the car keys. Left “No. Why?” without a word and barely a glance at me. During the “Oh, you look like a scientist, you know: the jaw, long minutes while she was out, I went upstairs to my the brow,” and her fingers made a study in the air to room, slowly, and thought of nothing to do. The dresser, trace the jaw and brow, “Well, what do you do?” the bookshelves, the bedposts smirked under their “[...]hed and reddish, yellowish stains. Dust rose from the carpet and nodded, glancing up. |
 | [...]On that note we stood, turning to other friends “Masseur yourself,” I said. of Victor’s, and with a nonchalance that said I’[...]“I see,” she said, “and do you fly south for the to you soon, we mingled away from one another in the winter?” beery air and steady racket of the party. Didn’t speak “Sometimes. For house calls.” (“And bird calls,” again for the length of the evening. When she got up Victor again.) “How ‘bout you, what do you do?” I to go, though, I followed her out of the humid brawl asked. at the back of the bar into the fresh May air, the cool “Oh, I stay at home,” Miss Jens answered, and attention of night. added gaily, “Don’t do anything at all,” “Do you mind?[...]was pretty So we began walking towards the nearest metro hard.”[...]a few blocks away, soon riffing on the same nonsense She shook her head. “Not more than anything in the same tone, not walking toward each other or else.[...]away, just talking out ahead of ourselves like two people “And what do you do … when you’re not doing riding next to one another in a car, driver and passenger, anything?” I asked[...]our minds and mouths two spinning pairs of tires that “Well, I come to Realizations.” would not touch or cross. The streets were lit a low “Such as?”[...]sodium orange—shadows in the doorways, chic heels “Well the other day I found out what was Wrong clacke[...]stage waiting for its actors while the audience files in “Great!”[...]y fixable.” When the conversation paused, the pauses were “Ah— ”[...]“Well there you go,” Victor said, and took the good. We were close to the metro when Miss Jens stopped. carafe, “Here, have some wine,” and poured us both a She smiled at the breeze blowing off the gardens that glass. bloomed darkly in the shadow of a church downtown, “This is nice,[...] |
 | [...]at?” she asked. enough for the birth of love.” Like toadstools after I stood still then and breathed in—boxwood— rain, like grassfires after a thunderstorm (racing glancing at her. Slender, light-eyed, slightly smiling,[...], charring fields), love is Miss Jens was radiant in the streetlights, and she had one of those natural phenomena whose immediate dyed her[...]nde and overwhelming consequences seem to outweigh highlights. She wore a white shirt of light cotton and the cause. Yet basic science dictates that however bl[...]A living tricolore, latter-day implausible the origins of a feeling may be, our Marianne. For it must be said: Everywhere that Miss judgment of its truth must stand or fall on what is Jens went[...]among lovers, rather than those eternal criteria the room. In the street were certain men—attuned dear to the skeptic or the fool. Well, reader, here is the to a beauty more noble than mundane—who craned toadstool army, here are the barns of ash. their heads as she passed. In bars since (I have seen it), Month in month out all through the summer I strangers and drunks will walk up to her simply to say pursued her, until she finally broke down and agreed thanks for stopping by. Merci, they say, merci. to meet again. I called and called, wrote and wrote That first night I just saw her to the metro. At regularly—careful not to do so more than once a week. the entrance, limned with the fluorescent day that She wasn’t hostile, but for reasons only Miss Jens can burned on underground, we paused. I gave her my know, she kept me at arm’s length. Sometimes I think phone number, and, not to be outdone, Miss Jens gave she even forgot my name. Perhaps, even then, she me hers. In her eyes were drawn the liquid ounces of sensed that something wasn’t right. But the heat of the my loss; pain fiddled and the future danced: It would season waxed, t[...]with fall, and so did be better if you called me in three weeks, she said, I’m busy her distance.[...]oice: I tried with right now. —What can you say to that? It’s better than other women, but it did no good; they meant little to nothing, that’s what. Any port in a storm, any molehill me; one evening with Miss Jens had ruined the rest. By on the Russian plain of days. my calcul[...]two Nevertheless, as I walked back through the months for every one we’ve loved—with such balance orange-lit night to that bar near the Seine, I could feel sheets, how can I come out ahead? How often do these the river water lapping, slow as life, at my sudden heart. obsessions bear fruit? And with what tools, if any, can “Even a hint of hope,” Stendhal wrote, “is we bring them to fruition?
|
 | [...]on dimpled street, on humid drive. more than the promise of loss is essential to that exercise known as the love letter. For the love letter, and i was a silver platter billet doux, that sweet ticket to another’s heart, presumes and she was the claire de lune, at first a distance. Then, at a second stage, with the then i was an ocean liner clumsy trestle of words the letter tries to span that and she was the fey typhoon, distance, peering all the while at the cleft below, which raining herself upon me[...]two wills and their disparate intentions. to a drumbly tumbly tune. Loss, that state from whic[...]above she flees above she flies, reinvention of feeling, is a canyon echoing with the a nightbird with her nightbird eyes; l[...]her wingbeat tells me just to wait Now if this is true for love letters, it is ten times but not too long but not too late. truer for verse, poems intoxicated with late nights dreaming on the rails, crossing countries that pass by for time is a gravelly song in shadow, yearning for this woman whom you know and singing an expectation, to be alone. That was my case. For I was forced to decked out in ballads long travel, and had to court Miss Jens from afar. Work on heavenly gyration had sent me from city to city by train; my thoughts that tell of my claire de lune remained with her.[...]and her distant castigation. After weeks of torment, after dozens of nights running one or two lines over and over through my “not yet!” the words are like a hell! mind until they finally were sound, the poem that had because, asunder, dry’s the well tyrannized me assumed its terminal form: and long’s the road; because, in part,[...]this waiting’s a punishing, dry art. hand in hand on the dimpled street [...] |
 | [...]on Views—Fall 2008 58 from looking for my claire de lune me letters, for ideas grew out of his head, outstralling my dimpled eyes are[...]iteof a baseball cap that read CATERPILLAR. for the moon is a softer sun For example: “Let’s drive the fifteen hours,” he said, “to whose home is fey and far the pied cities that march on amber ocean and we’ll see from the gelid grass and frozen ground what women do there when we whistle.” — “But in the of earth, whose light you are. garage is a whole animal,” I said, “elksteak for months, and why not butcher the poor thing now while it’s still A love letter, a poem: It aches to be written and aches light?” — “You suffer from excessive diction,” he told to be sent, it overflows the brims. And once it has been me, “and you’re chicken.” So we quit the mountains, the sent, the aching becomes one of expectation. With what carcass, my grandpare[...]was too far ahead. Before Aboard the stinkhole Buick, amid his junk and anything else, I had to decide whether to send it. By leavings, mine uncle turns to me and says: “We are then, Miss Jens and I hadn’t even kissed—we hadn’t masters of time, son, not of space.” (Coke cans rolling even seen each other a second time! Nor was it clear, by the pedals, deep and mingled strata of hamburger if we did meet, whether or not that would actually be wrappers and receipts across the backseat, a tennis a “date.” And yet the poem sat there on my desk like a racket, a television, a smell leaking from the trunk.) chunk of my own flesh, loud and red. Whatever existed Fast as a bomb through stillness and the highway flying between us was germinating, and I tried not to kill it underneath I ‘magined to myself that high city ’mongst with an excess of emotion, so those feelings stayed pent the clean clouds in a movable light where mine uncle up inside, flying on their trapezes before an audience of might be king and dignified, time crouched at his feet. one while I planned the next step. And so our fl[...]acres before finally curling down the far gorge so like When mine uncle come with the clinkend money, salvages we could fall on some town or other where the we up and hit the road to beaches so as to swindle his freeway knotted and then hurried on. contrition, flooze a little, and inflate my years. One of Hardly time for truckstops. Beside us birds the the world’s favorite people, mine uncle, he’d weekly sent color of dirt flew like dirt clods through the air above |
 | [...]mmon Views—Fall 2008 59 aspen and stands of pine, sparrows and starlings arching —[...]Everybody’s got a swinging up again, as though the air and road were both mouth! traversed by swells themselves longrolling. Then on that And the car did us the favor of saving the straight fleet cruisesome fleeway high in the afternoon conversation even if we didn’t have something to say a heat dream shimmered forth on the shoulder, tripping every second, and the counties unfurled. up the traffic with her thumb and wearing a man’s shir[...]reon handwriting changes? (Quiet.) Today, for some reason, mine uncle did.[...]mine was round like a girl’s. She ran to catch up with the car, then looked us —Like a girl’s[...]said. butts. In a row. —Hi, the girl. —But you are a girl, I said. —Where to!? mine uncle kind of yelled. —What does that have to do with it? she said, —Seattle. What about you?! and laughed to herself. —We’re going to Humboldt, I said, then Frisco. Day wo[...]e Miss Jens watched —My alma mater—hop in! mine uncle yelled, it pass, her hair covered with highway, eyes full of which she did: climbed into the backseat with her bag illusions, skin shiny[...]leared a spot, wrinkled her nose. Don’t see a to sharpen my mind. The backseat smelled of old lotta you gals on the freeway! he said. oranges and the sun was shining like it might teach —Oh yeah? We just don’t have to wait as long for us how to speak while dusk crept on its belly through rides. the timberlands. A wind so cold it was clean and to —Bet you meet some weirdos! roll down the window was clean and my lungs filled —Hitch-hiking, she said, has restored my faith in up with the whole joyful obligation of air. —How long people. Plus I have a knife.[...]at I mean! mine uncle said. I looked scoured the country for a while? Show me a grief that at him, turned:[...]from? A moon, the mountains, Buick—Miss Jens |
 | [...]2008 60 dozing on and off. Viscous skiffs of snow flashing LIL’s—and with a “Maarrvelus!” from mine uncle the car through a dark city of trees while mine uncle, to careened, its front wheels crunching over the curb of the keep himself awake, fiddled with radio and mutter[...]aked through gravel and dirt up waving his hands, of a trek through Mexico and of the to the bare, used and dimlit porch where a herd of trucks Amazons before the Spanish won, and the volleyball were nosing. Miss Jens jerked awake. —“Keep your head champions of nubile Tehuantepec who reign on even up,” he told us, “and have fun. They’re not going to card now, and how one summer he had lingered where here.” So we unfolded from the car, and as I came round the night was put to rest and the sea slept foglit by the front I thought the wheels looked wackled. the watersides, dreaming he heard heels rapping on Then this bar walked in, beer moldering on its flagstones with an insolence that in the evening boded breath over layers of decayed piss and abused varnish, well. Those swee[...]own his alonehood and go figger it didn’t fight at all. bragging an extinct species of rock and the local boys —“We are not here for the world to sicken us,” mine roud and lowdy. Momentous entry as the bar hugged uncle said, looked at me, and winked. us and we da[...]stage lit with blue and But I was looking at his forearms covered with yellow lights play[...]s notice and jammed there by themselves while the tables whispered he started into his old story ab[...]their appreciation and ridicule or ignored them in the was broke but tatooloving, which used to happen late hinter nooks. Three wanton beers from the bartender, at at night on the weekend, he would stop by a place he which point mine uncle presented himself to a woman knew to see what they could do for a dollar and twenty- named Candy, who was pret[...]h five cents (which went a lot farther then), and in their it seemed. kindness they had drawn him all these little flowers and —Lotta people in here, Miss Jens said. grimacing insignia that billowed up from the knuckles —Too many, I said. like the bored erratic scribbles of a ninth-grade —Middle of nowhere, too. notebook, in which he claimed he could read at least a —Nowhere to go. . . . , I said. She nodded, set her chapter of his life. bag against a barstool. In that moment at a crossroads west of Idaho, A silence brushed us then, wh[...]strangers, you will part. Miss Jens looked over the crowd. |
 | [...]t funny how you die? she said. That’s what the looks. Uncle gathering speed. I’ve been wondering about . . . pondering. She looks at —Know how to fight? me with what seems to be an established expression. —He just wants you to go, not t’fight. —Death is funny, for sure. —Right.[...]So I left because I had to and that’s how I saw — . . . is so fra[...]ter a battered goes, where I flushed my body down the toilet. uncle into that orange-lit p[...]calls, where his hat was on the ground and he was —Like a baby. Only it was me. explaining to the gentlemen that it had been Candy’s —So[...]idea and he hated to dance and anyway it was none of —Well, your body’s a lot smaller when you take it their business what kind of steps he knew. Made sense off. Like clothes. to me, but I didn’t matter; they walked back inside, I looked at her and for a second thought she was but not before one spit. We stood quiet in the dust, a a ghost. Miss Jens wasn’t tethered very tight to this thousand stars staring down like fish eyes in a flood, place. She looked at me again. —How long do you and mine[...]shed face, burned gaze fixed think you’ll be on the road? on the porch still, wanting from the bar what the bar —Kinda depends, I said, a nod toward mine wouldn’t give. I got in the car. uncle in mid-carouse (or was he gesticulating?, or Leaving Lil’s, the unperturbed Buick spat, wrestling standing up?).[...]turned, groaned and gained hopefully in speed until it —Do you think a swing north on the way back? swept humming through mountainous night, its hood —Dunno, I said, becoming afraid for mine uncle, ornament aimed toward rumoring c[...]l slick, but Mine uncle, bruised and alone in the light of the dash, jerkier. had lost his gab. To myself I thought I’d be long time —Wel[...]uncle yelled alone, and curled up by the window to mull. Dreams Christ! Hey now! as he was being grappled toward the rose all around and I walked down their hollow road, door by two thick men, a couple friends of Candy’s by that one song singing t[...] |
 | the oj, an avocado, salt. “don’t think it’s you[...]that’s happened to me before.” Despite setbacks, Miss Jens and I started talking on the phone more and more. Once I had returned a pale-faced hour goes by. she wants to go home to Paris, we began to go out. We met for coffee, but can’t walk straight. “nothing has to happen,” i then for wine; we went to a play, then a movie; one say, “leave whenever you want.” imperceptible thing led to another. The real turning point, if there was one, came about[...]we don’t sleep. barely even touch. a long time According to my journal entry from October 27th, this is[...]the clock batteries, go back to bed. j was leaving, and already in the lobby, when I at five, insomnia. my one pillow given to j. she pulled myself together and told her i wanted to shared it at the end. that’s when i told her i had a kiss her. “i want to kiss you,” i said. discussion poem.[...]“sort of rhyming couplets,” i said. kiss begins. time dilates. kiss ends. “i want to hear it,” she says. i recite it to her.[...]“that’s good,” she says, “i’m kind of shocked.” says she’s light-headed and leans against the wall. “i meant to send it weeks ago.” says she might need a glass of water. between the “i’m glad you didn’t.” first[...]wax, we eat some breakfast and she’s about to go. says her head lolling against me.[...]she doesn’t know how she feels. leaving today for[...]and i’m shouting her name. finally we get the elevator open and on stop. i pull j to so, with a deeper knowledge of one another, a her feet and she’s coming back to lucid. in the apt deeper uncertainty. she sits down heavy on the couch. i get the water, |
 | [...]Views—Fall 2008 63 Shortly after the fainting episode, a period of whose every line, balcony, roof was dutiful and right. long talking began. It was a new species of intimacy: Life, so long derailed, had rec[...]sleep, I didn’t rest, Miss Jens At a no-name concert early in the winter, leaning would colonize my mind.[...]ide some pub near Pigalle, I watched Often in the act of love as Miss Jens rose above sparse couples stumble and entwine on the dark floor, me, sculpted as an antique Venus and her hair in almost despite the band that strummed and hollered disarray, I perceived that we were of one flesh. And we loud and lost through Jim[...]vers. While Miss attained a mystic union parallel to the carnal. United, I Jens went searching for a bathroom, my ears wandered knew her and she knew me in some essential way, and and I forgot the music, looked around. An old guy up we knew something beyond either one of us by virtue of front with gleaming pate had two women dancing: one that union. The whole issue of mind control or osmosis after another, he would lift an arm and one sweetheart aside, I felt we were in synch. Even now, now that we’re would cross under, laughing; they had lost the beat but “taking a break,” I will be thinking of her at the same didn’t care. He wore his paunch so n[...]hough imagine him without. Miss Jens is of two minds about me, we remain one.[...]slipped up and her last fall? I look back and see the precious hours as hugged me from behind, fol[...]high on my back. Cheek on that we are not limited to the quotidian, that a sister shoulder blade, ha[...]pe. Her warmth. Froze life and sister soul await. The air thickens, nights, heady me. I looked for the old man, but couldn’t see him. The with low laughter and the scent of limbs. It was that music, galumphing and awry, confused with the blood second of all our double lives, the one that sidles up to in my ears. Because for years you wait for that touch, wink at the workaday, that gave me meaning during the you wait so long your body forgets what it means, and months I was with Miss Jens. As I rode the metro to then with a girl one night you come home. Like a river her apartment, I told myself, I am on the way to my love’s. in you starts rushing deep and fast back to the place it As it would emerge from underground, the aerial line, I used to know. So I turned to Miss Jens, took her hands, saw the leaves fan quick and shimmering, the buildings and we joined the other couples on the floor. |
 | [...]Drumlummon Views—Fall 2008 64 The next day Victor called. I’d dropped out ever[...]glance from co-worker. “So what’s thethe wedding soon.”[...]Still, I’d prefer to be fired for loving well than for “I haven’t told her, but we have a kind of almost any other reason. Sometimes y[...]choices like that; it’s time to go and love will do the “How unspoken is it?”[...]“Pretty unspoken. Don’t mention anything to The situation at the office naturally grew worse: I her,” I said. “But I can tell by the little things, like the was wearing my spare shirt too much, the one that lived way she nuzzles.” in my brief case for days when I came running from “My God! I[...]mes I stank. I knew it beyond all you talk crazy, for one. Everything else goes out the doubt because my boss, my immediate supe[...]I knew she was probably talking I slipped deeper in. All our roller coaster happiness, about me the way she talked about everyone else. Can happiness so sudden and strong it feels like a grief the you smell her? Agh, what perfume is that? she’ll ask way it splatters in the chest, began to rattle the rest of whenever a certain colleague leaves the room. Can you my life. Take the office, for example: a dead-end job, smell him? she’s probably saying even now. But listen to maybe illegal, definitely shady, run by a psychop[...]me and I’ll tell you something: that stink was the smell And there I was, like a congenital idiot, half-smiling of a man in love. at my desk till noon. The happier I felt, the less I could Life barreled along carefree and flushed for most concentrate. In the morning I’d show up unshaved, of November and December—the love, the stink, the unwashed, unfed and out of breath from the mad dash coughing—and then I went home for the holidays. I between her place and work, but someh[...]eyes and lo, vacation came, sent me packing for ten days |
 | [...]on Views—Fall 2008 65 or so, and gave me the space to reflect a little on the hold and freeze her heart before it drifted too far. state of my life. “Well,” she said, “I would like to see you when Now Christmas is a carnival at my parents’ home, you get back . . . perhaps one evening.” a booming Montana reunion which, in its chaos, is The signs, of course, had been everywhere. situated somewhere b[...]iss Jens was concerned, commitment game and a war of the worlds. There is too much food, called for a modal verb, an arm’s-length if and when. too much noise, too little space, and a spirit of rumbling Discussing our couple in the future tense required that inclusion and activity that succeeds for a week at least we shift into the realm of the probable, or improbable, in making all of us—aunts and uncles, brothers and rather. Despite the joy and playfulness, the tenderness sisters, grandmothers and cousins—a[...]past those Nonetheless, I had found a little time for myself and two high-flying months, we ha[...]was thinking about my life with few regrets when the term plans. phone rang. It was Miss Jens, calling me from across Example 1: The Conditional. Once she said the ocean. If we’re still hanging out in a little while, we should go “I’ve been thinking,” Miss Jens said, “I need a to Rome together. Hanging out in a little while—our break. I’d like to take a month off. Maybe we could see coupl[...]n your parents come next each other a little less in January.” spring, if we’re still talking, I’d love to meet them. “What did you have in mind?” I asked. Exampl[...]rything talk,” and she laughed that curt giggle of hers which they implied were out. If we ran into someone on the indicates how much she feels this to be desirable as well street, I simply introduced her as Miss Jens; if pressed, as true. A giggle of embarrassed sincerity, an appeal. later, I might say we were “an item.” Only in my “I’m glad we have a couple more days to discuss thoughts did I call her beloved, talking to her aloud I this,” I said, as it was still the last week of December. In would say my little malady, or my petite diseas[...]oid big decisions I felt it calmed her and gave the necessary space. For long-distance.” her part, Miss Jens referred to me as The Pain, or Such “Why don’t we talk abou[...]t a Distraction, and I knew why: I was at her place six back?” I proposed, hoping to somehow put the idea on nights a week. By invitation. |
 | [...]that, is through. Miss Jens would try to pull herself away. Handing me a cup of coffee in the morning, she might say, Please,[...]’ll never see you again. —What if I came back in a year? —Make it two, and don’t forget your keys. Or Melân cholé, black bile—that humor which, in excess, sometimes late at night if she was tossing in her sleep, renders one pensive and withdrawn. An academic’s I’d crawl over and whisper in her ear, It’s over. We’re disease. Prozac and its derivatives may stalk America through, just to reassure. We said our goodbyes every on[...]no further towards purging morning like they were the last words we’d ever speak. our poison than the theories of Hippocrates. Such Breaking up several times a week was the only way we contemporary ten-den-cies amount to a chemical had to say I love you. reëducation, a contingent, punctual remedy of If I left through irony’s door, I came crawling symptoms while our discontent abides. For cause, as back in through absurdity’s window. Parting is such[...]nce, let’s do it again. And she subject to wider determinations. And to locate the wrote back: If I could just leave you everyday forever and deepest causes of that morass called the mind in the ever, that would be enough. Or imagine we’d made love serotonin reuptake inhibitors of its synapses is too and were just sitting in bed. Like a heroine doomed in mechanical and complacent an enterprise. One says matters of the heart, Miss Jens would toss her hair and neurotransmitters, another says neuroses, I say All of say: I don’t expect you to wait for me. So I said I wouldn’t. History. Put another way: Is melancholy a disorder of Then proposed that we not wait for her together. Her the individual in time or a disorder of the world? And if eyes brightened, and she kissed me. it were the latter, what would they prescribe? Every[...]about my dear Miss Jens? She was fresh off the boat Since I met Miss Jens, I’ve experienced a rebirth of when I saw her high in the amphitheater on the first sorts, reborn down a rabbit hole in a Wonderland all day of 20th-century French literature. She did not figure her own. It seems she doesn’t feel the same, though, on the rolls, so I approached her after class to enquire as so I’m going to ask what exactly I mean to her, and to her presence. She said she would be an aud[...] |
 | [...]Drumlummon Views—Fall 2008 67 was I to refuse? up, dressed in a series of 1950s get-ups. I would see her I had been working on the book for several and sense my professorial persona begin to crumble—a years when I met her: it was to be a treatise on larger economy of feeling opened up. Once she arrived melancholy, a sequel to Burton’s Anatomy examining looking like Marilyn Monroe, in a turquoise skirt the biles that beset our age. The idea came to me as and her hair bobbed just so, bubbly a[...]loring heartache and though she thought to inscribe herself in my own human ordeal amid mail-order brides, cellphones, boyhood. Indeed, for moments, I wanted to dance. spam, the technicization of society, the mechanisms of Epiphenomena of a tease, she stopped reading half way propaganda, violence, guilt and alienation which coöpt through the book, complained of boredom. So what do us at every turn. To abstract me from the sufferings. you think I did? Like most such[...], it remains unfinished, I told her to sit down and get to work. Miss due to both the grandeur of its predecessor and the Jens, lovely creature, was also frivolous and forgetful. quagmire of its subject matter, rendered all the more When she wanted to be. So sunny when she smiles, her acute, I’ll a[...]Swedish honors, standing near Rossellini in the dinner small mouth, long neck—though her nose was more hall at Berns. (NB. Pronounced “Berryman.” Like the aquiline and Roman. If you have ever seen Ingrid in poet. Americans put a “burg” in it in every sense, for we Cukor’s Gaslight, then you have a fair notion of Miss are without culture or the possibility of it.) I sought to Jens, for she is determined and limited by her fear. A correct this happy illiteracy in Miss Jens, at least. And creature given to sudden moods, gazing at you one yet her very sunniness would distract me from the task moment as though you were her salvation, the next like at hand: the thorough restructuring of her intellect. a frightened animal frozen in your sights. Keeping this Acedia, desidia, luxuria—sloth—a deadly sin always in mind, I undertook her education. whose condemnation saw a vogue in the late Middle Miss Jens had a penchant for languages, and with Ages among engravers such a[...]e after class she was soon reading her Bosch. To call it laziness would be to mistake its wider assignments in the original. We read Gary’s Clair de applications, notably in the domain of melancholy and femme aloud, a simple exercise in enunciation. After a its depths. I do not accuse Miss Jens of acedia, no, but month of those sessions, she started coming all dolled rather myself. In regards to my work I was lax, both in |
 | [...]68 Miss Jens’s instruction and my writing. The chapters To begin, I instructed Miss Jens to pronounce of the new Anatomy slumbered in grubby sheaves, words properly, in English as in French. If she had moldered in boxes, overspilled their files until they were trouble with the gender of nouns, it is because she did unapproachable, impossible to think of. Thus it was I not care enough to learn. The world, I said, is a hard who sinned in my way, for I lost control. Miss Jens was place, and it[...]think. I endeavored, at length, to teach her the dry Had she not been so frivolous, so forgetful, we and circular art of thought, knowing that once she might have made mo[...]y apprehend her alterity. I neither more—for how was she to learn? She was not made for understood nor could I articulate it. Nonetheless[...]this world; she does not appreciate it. enrolled in my courses one after another, following Which is why I proposed. We would live in them as assiduously as she could for the next four years. supplementarity, I said, not[...]ve differences, but building a new ethics out of their grasped her, convinced her to devote herself to a life of collision. Her feelings would develop and complexify thought. Instead, I saw her traipsing across the greens with time; there would always be a “between” between after class, admirers in tow, to be regaled with attention us; she would have her freedom. I believe I made that and anecdotes in those horrid cafés near the square. I clear by the end. knew her carefree ways, and felt the twinge of the Pisan So three days after Miss Jens re[...]d seduced. we were engaged to be married, and to her parents’ Miss Jens had need of melancholy. That much delight. “With an endowed chair!” her mother said. In was clear. Contrary to popular chatter, the black bile her father, I sensed the understanding that there was no is not an emotion[...]sease. It is a one who would be more indulgent of her foibles than I. mode of being, a way to go and meet the world, a way Her whole life was ahead of her: Latin, Greek, Europe, to flee it. I would hazard that it is the precondition an assistantship, peer-reviewed journals—in a word, of a philosophic disposition, which is by far the most philosophy. noble, the most correct, the only possible bulwark Yet six mo[...]an beings thrown wedding), she was gone. Of course I know why, and I am into the world. not bitter. We may have a relation of nonrelation now, |
 | [...]2nd and have hardly seen Miss Jens since. We door for counsel as she used to, asking for a translation of met three times (—three!), and I haven’t been able to this or that. She was simply too young, too irresponsible, get a straight answer out of her about why we don’t to spend her whole life with me, she said. She wanted to talk any more. She shudders at the word couple. Still, have “fun,” and I could not dissuade her. she does call once in a while. “How are you?” she’ll ask.[...]* * * not supposed to be talking at all, but even the chatter[...]should And what can I think? In the wake of our last come as no surprise, my obsession. By now you know year’s love is a lone water skier who has lost his life me. You see this imbalance of desire, mine outweighing jacket and his[...]Either floats without sinking. Hangs on for dear life. But the Miss Jens does not know how to love, which I doubt, or strangest thing is, the tow rope isn’t even there to grab she does not care to, which I fear. onto. He’s holding onto nothing and yet he stays there The first three weeks of the new year have been in our wake, close enough to wave to us. This is love a wash. Lethargy . . . I haven’t been able to get out of once love is gone. bed. Day is just a grayer form of night. In love, but lazy, When I first got back, I knew enough to at I am a bear half hibernating in this den of a studio on least check in with Victor. He and I have known the square east side of Paris, where every morning the each other for years. I owed him Miss Jens, among whole room is coated in a gray light that says: Don’t many other things, and I needed to talk. And Victor bother. Don’t get up. Just go back to sleep. Before me a year is, by all indications, a genius. The only thing that of mornings, as inexorable as a bowel movement, wher[...]e is his worry: he worries too I’ll wake up and the first thought will be, I’m going to much, the smallest things perturb him. Even he die one of these days. And the second will be, What’s the knows this, but that knowledge only gives him more meaning of my life? And the third will be, You didn’t used to worry about. Last he told me, he’d decided to cure to think these thoughts.[...]with alcoholism—psychoanalysis, he said, The fact of the matter—but how to separate was too expensive.[...] |
 | [...]As far as I know, Paris has two pool halls in the aquellos ojos que acarician al mirar. whole city, both of them on the Right Bank. One of “No! And sometimes I’ll go[...]it doesn’t really like eating anything at all and then I’ll wake up starving count. That’s where Victor and I were, in the pool hall in the middle of the night! What do you think I should that didn’t count, him with a bottle of psychotherapy do?” in each hand and me with the pool cue, when I told En la co[...]ón him about Miss Jens: that she hadn’t called in days, “I don’t know . . . measure your food out, I guess. that there was no end in sight, that I was despondent. Figure out what you need and measure it. Doesn’t the We stood with our backs to the horseshoe bar, our government have some kind of website?” faces sinister as Christmas, half red from the neon una promesa y un suspirar beer insignia on the walls, half green above the table’s “I don’t know if I’d trust the government to tell brightly lit felt. Carlos Gardel was crooning Mi Buenos me what I should eat.” Aires querido in the background as couples turned,[...]ma de pena aquel cantar. squeezed and faltered on the dance floor to our left. “Really?” Victor stood at the edge of the table and stared. Like a “Do you h[...]h a shot he just can’t sink, he interests in mind?” muttered, “What can I tell you? S’not a good sign.” “As a matter of fact, I—O.K., look, forget it. La ventanita de mis calles de arrabal, the tango ran, How about Weight Watchers? They should be able to “By the way,” Victor says, distracted, “have you[...]e people get where they don’t got all the calories figured out.” know if they’re hungry[...]r guys like me,” he paused (cuando yo te enough to eat. Sometimes I’ll have dinner and I’ll stil[...]t some peanuts. I’m just “You’ve got to be kidding.”[...] |
 | [...]. You get cavities for company and tedium for tea, “Yeah, me neither come to think of it. How bout and doubt has come to dinner bearing glad’s some chocolate?”[...]colate. I was just thinking Lonesome in the evenings, did you ever second that Miss Jens. . .[...]t—I’m gonna go get us some the thoughts that made you think that we should choco[...]responded: bombarded her with letters like I used to, it’s because I’m tired of making a fool of myself. Victor says I Cavities for company—the most delightful should try to see her as much as possible now so as to guests! tire of her more quickly, but I’m not up for it. Lack the I cannot chew or drink hot tea or bite an apple will. Still, I’m beginning to wonder if that wasn’t Miss le[...]last fall, inviting me over six nights a The most delightful pains go shooting round week; I w[...]about my mandible. My grandmother, on the other hand, thinks I Honeypie, I had it coming. Your sweets made me should play hard to get: Women need to conquer, too, she a cannibal! says. Of course everyone gives that advice and no one takes it. Who has the strength? Indeed, Miss Jens is a man-eater, but of theto be on her own again for a while, she makes a visit of cannibalism, of which this chronicle is the proof. to the dentist. Last time her crowns, delicate things Sometimes you eat your love and sometimes your love in the best of times, broke under the stress of the eats you. separation (she clenches her jaw to hold her tongue). If I bring up that snippet of correspondence, This time it was a root canal. So during the very however, it is to drive home another point: Miss Jens maybe month of January, against my better judgment, charms me. She is most comfortable at play and least I sent Miss Jens this note: comfy in couples. In or out of love, however, her aim
|
 | [...]Drumlummon Views—Fall 2008 72 is to please and to please absolutely, which invariably a long shipwreck of inattention, Miss Jens rolled over provokes a disastrous response in the object of her and laid her body next to mine. The dawn had turned attentions: i.e. total infatuation, desire to possess, and a deeper shade of blue as the sun crept round, and the finally rancor. Her crime, if she commits any crime at stripes cut daintily across a drawing on her wall. Miss all, is one of excess. Jen[...]t could it mean?) Pursued by this surfeit of love, Miss Jens moves in a dark hollow of the bed, she on her belly and I from place to place and from boyfriend to boyfriend, on my back, when she turned to me and said, Mother unable to escape herself or her admirers. She’s looking Nature plays tricks. She has a way of tricking you. and looking for respite somewhere. I hope she finds That wasn’t just to break the silence after sex. it—that’s one of the few hopes I still cling to. Miss She meant that she hadn’t intended to see me, but, Jens is at once Io and that angry goddess, chasing[...]he tricks me into drinking herself through Greece to Egypt (the land of exodus lemonade, I say, when I’m hot. But to myself I thought, serving suddenly as a refuge). In her particular case, Miss Jens is using me for my body. To formulate and refuge is perpetual exodus, for she is uncomfortable admit that too often in the days that followed caused with her gods. And yet[...]ke all gods, will not me a sorrow, so I tried to block it out. This inability on release her. Nor[...]oking back, I see how Miss Jens’s part to either completely quit or completely they perfectly matched: mine being gods of loss, hers join me has left me in ruins. What food is to Victor, I gods of departure. am to her: she’s not sure how much of me she wants. The second night I spent with Miss Jens after In the back of my mind, though, where things do work we’d decided not to talk took a turn both painful and out, I say to our phantom children: Your mother was only unfore[...]night disguised as love, whose after me for sex, but I made a decent woman out of her! ulterior was only revealed to me by morning. A sop for loneliness, a body for lust—I’m willing Perched on the second floor, Miss Jens’s bedroom to provide those services as long as there is love, looks over a small street deep on the Left Bank. The for the feeling transforms the act. We cannot hurry bedroom has one window whose shades cut the walls lovemaking, or shrink away from[...]ing some quiet wrong. We cannot gaze with mold on the concrete, drear on the asphalt, the clamor cold eyes on the beloved without him ceasing to be. The and piss of drunks. Inside: a bed. So at the end of night, stone light I see in Miss Jens’ gaze tells me that I am no |
 | [...]Drumlummon Views—Fall 2008 73 longer—in those days during Christmas, she somehow[...]id want sugar, how much routed me from her mind—the defeat, unbeknownst to would you want? me, was total. A desirable outsider, at best. Since I have Miss Jens [laughing]: A little. realized that, of course, we rarely succeed in bed. I am Me: All right, a little. not responsive—for impotence is simply the man’s way Miss Jens: I’m sorry, I haven’t been feeling very of saying, I don’t like this anymore. Sterility does the job, well. My throat’s hoarse. t[...]Me [pouring the coffee]: Oh yeah? What is it do When I mentioned to Victor how Miss Jens was you think? using me for sex, he didn’t believe. Bullshit!! he shouted, Miss Jens: The Vicissitudes. spilling his beer. I said women wer[...]all, Me: Ah! And what do you need for that? and people had needs. So Victor asked, Well[...]ns: . . . More Vicissitudes!? were just using her for love? A good point. I no longer knew whether I ha[...]and pre-Christmas romance seemed unreal. Already the lilting voice, her laughter would[...]time we met ever since Time seemed to unravel then like a thread that I began to love Miss Jens, I thought it would be the last had lost its spool. A doom unending as the Paris winter time we’d see each other. Finally I was right. The last brooded over us in my Spartan room. I didn’t know time was when, after two attempts at sex without love what to do, so I handed her a mug and sat down on the and one without arousal, she came to my apartment to couch. After a silence, she continued: visit for half an hour. With her, a complaint:[...]Miss Jens: The literature of the East has much to Me: Want some coffee?[...]Me: Oh, I think it’s been said, most of it. Me: It’s already made. Miss Jens: I’m talking about the other literatures Miss Jens: Oh, well, in that case— of the East. Me: Sugar?[...]Miss Jens: Yes. I’m thinking in particular of the |
 | [...]2008 74 one that instructs us in the art of letting go, dose of the poison I adored. Her voice still echoed in non-attachment. me sweet as ever, but it was a voice of leaving. Me: Have you been talking to your brother again? If those weeks of deepening solitude have Miss Jens: No, I’[...]this: passion knows no and thinking of you. dénouement—[...]Is this how among clouds. It was the end of the end. Buddhists break up? Our chronicle spent, the will to write exhausted, I Miss Jens: I’m detaching now. I think I’m already have nothing left to give you but two last notes. Again,[...]if you February 12th want to talk. It’s not like I’m walking out in with the odds and ends i sent back to j—a blouse, of your life. But I think I need to leave this some stockings, a hairpin and a deodorant stick—was a couple dream for now. note:[...]It’s not that I’m not thinking of you, but that I don’t In the weeks that followed, little transpired want to be. between us. We were grinding to a halt. By the time February rolled around, Miss Jens had decided to March 3rd prolong our separation indefinitely, though she would nothing reminds me of her like a phone call from occasionally break down and call, perhaps out of guilt, her. she calls and my first feelin[...]joy is perhaps from genuine affection. I thought of those calls followed by a hopelessness. i have asked her, politely, as her little gifts, gifts of atonement and farewell, a final to stop. |
 | [...]Drumlummon Views—Fall 2008 75 from The Watershed Years, a novel[...]for work in our parts rarely showed up at 5:00 in the Exactly one week after my wedding, I waded out morning. And second, if he did show up at 5:00 in the into the early morning dew, shading my eyes from a[...]was a good chance he was either still semicircle of sun. A voice from behind and to my right drunk, or very hung over. And thir[...]had even shaved. He didn’t have a hint of red whisker “Excuse me.” on his chin. I turned to find a man no taller than a pony.[...]“Well, I’ve been working for a man near Belle . . . “How you doin’?[...]r.” He had been twisting a gray felt cowboy hat in “Good . . . good. Name’s MacArthur.”[...]“And?” name, and although we shook for only a second, I “Well, I’ve been working there for several years, could feel his strength all the way up my arm. His body and that situation h[...]ts course, you might say.” looked like a series of fists, muscles bunched and piled My respect for this little man increased tenfold up on top of each other, testing every seam in his sky with this statement. I knew Garland[...]t on his shoulders meetings, and he was one of the more difficult men I’d like the largest, most imposing fist of them all. His hair ever met. was a red stubble, and he peered up at me through the “Walk with me,” I said. “I need to get my milking cloudy lenses of wire-rimmed spectacles that magnified done.[...]“You can’t get your wife to do the milking for “I guess you’re looking forthe murky lenses, that the whites of his married a week ago, and I offered to milk the cow for eyes were clear, like egg shells. He was a bit older than the first month we’re married. A little wedding gift, you most of the men who showed up at our door, though might say.” probably still in his twenties.[...] |
 | [...]—Fall 2008 76 “Every morning at five.” were more comfortable being alone for weeks at a time. “Well, congratulations,” he[...]If a young man was a good, steady worker, the “Thank you. What’s your first name, MacArthur?” ideal position was to hire on as a year-round hand for “Oscar.” one of the bigger ranches. So ever since the war ended, “Really?”[...]young men had been appearing at our door, sporting “Yep. My German mo[...]work clothes. Many of these men were fractured “As tight as[...]e said. somehow, if not by the war, then by a lost love, or the “Well, you’ll fit right in here. I’m Scottish myself,” loss of their own family place. They were generally hard[...]on the outside but tender souls, unable to shake off a “I thought Arbuckle might be one and the same,” harsh word. he said in a perfect Scottish brogue. The pattern was often predictable. After working For the rest of the walk to the barn, and the time like their lives were at stake for the first few weeks, it took to milk the cow, I asked Oscar MacArthur the something would rub them the wrong way, and their standard questions I’d ask[...]e hand. But productivity would drop in small but steady increments. it was a formality,[...]t first handshake They would disappear for three or four days, and come that this man had a job. back with the battle scars of a bender. We always asked Although most of the ranches had become more them to leave after these episodes. There were other efficient since the war, with improved machinery and places that were more forgiving, but we didn’t need to better irrigation, they had also gotten bigger, with so tolerate the unreliable with so many prospects. many people leaving in the thirties. Those of us who And of course, there were also a fair number stayed acquired land in chunks. So there was a lot of of shady characters, who showed up with remarkably work to do. The bigger ranches needed haying crews,[...]aring crews. There were men who away the boys who were obviously just out of jail. But organized these crews, moving from place to place, occasionally, a hand would take a few “gifts” when they earning most of their money during those seasons. disappeared—maybe a rifle, or a saddle. There were also the sheepherders, but this was a solitary We fell victim to thieves only a couple of times, life, more suited for older, often eccentric men, who for one simple but mysterious reason. Despite spending |
 | [...]. But I managed a nod. possessed an amazing knack for spotting a man with “Not that I begrudge her,” Oscar said. “I really “a nose for merchandise.” Countless times, I watched can’t blame her at all. From the time I met Sadie, there my father talk to a man who said all the right things, was something dark and powerful working away at her. bore calluses in all the right places, and had all the right Something a hell of a lot more powerful than her—or gear. Dad would never look a man in the eye when he me. There wasn’t anything anybody could do to make questioned him, but he drew a conclusion, and on those that poor girl see the good in the world.” occasions when he told someone, “Well[...]It is.” Oscar stopped. “It is tragic. Because the I’d learned to keep my mouth shut. Sure enough, there world is a beautiful damn place.” had been at least five instances where word came back[...]even stole a horse. and couldn’t look at Oscar. I asked Dad about it once. “All you gotta do is “I got a proposition for you,” Oscar said. listen to their voice. If they got something to hide, they “Let’s hear it.” sound like they got something to hide.” “How ’bout I milk that cow for you and we won’t I tried to figure out what he meant by this, but tell the missus.” MacArthur jerked a gnarled thumb I cou[...]I apparently didn’t inherit that toward the barn. particular ear. If I hadn’t already been taken in by this man, his method of asking for a job certainly would have “What about you, Oscar? No family?” done the trick. “Well now, Mr. Oscar MacArthur, I just[...]hesitation. “Didn’t might be interested in that proposition, but how much make it through the Depression.” is that little deal gonna cost me?” “Sorry to hear that.”[...]“How about four dollars a day?” confession to someone he barely knew, I thought. I[...]ow about six dollars a day?” didn”t know what to say. I laughed. “What the hell kind of negotiation is “It was a horrible thing to do,” he continued. that?” “Tore up everyone who ever loved the poor girl.” “Oh,[...] |
 | [...], do I have a horse . . .” Oscar pointed toward the house, but the horse wasn’t in view. “Patsy is more than just a horse. She’s[...]is.” We shook, and I swear, my hand hurt for the next four hours. Oscar went off to take Patsy to the barn and get her fed and watered. When I came back to the house and sat down at the table, Rita took one look at me and asked, “What are you smiling about?” “Was I smiling?” She set a plate of eggs, bacon and fried potatoes in front of me. “Like a circus clown.” “I think I just hired the best hand in the county.”
|
 | [...]t You get a million guys come home like that, all at carburetor—man, how I loved that part[...]and whattaya think a mill—and you watch the needle swing right up to one will happen? It’s hot times in the maternity wards, thirty-five, watch it hang there. You got the top down. I and up go your suburbs, and up go you[...]knew a few girls, too, and almost every one of ’em liked whoopdeedoo. There for the first ten, twelve years after to cruise. That Philco was the best radio ever made, the war, about all I ever did was swing a twenty-eigh[...]sitting right ounce framing hammer. This was out in Bremerton, next to you, maybe a few bugs in her teeth. You get the Longview, out on the coast where I happened to be picture. I had forearms on me like Popeye, had a little for no better reason than that’s where I’d mustered bit of a savings account and a brain no bigger than a out of the Navy. Your postwar economy was an awful walnut, and, all in all, I was doing okay. sweet deal for a man who’d managed to avoid that Then one day Mrs.[...]and I was driving a two-tone T-Bird, coming in from the green grocer’s or whatever, and the Town and Country model. Built my own hi-fi out she directs my attention to that oak stand she had out of parts I got through a mail order catalog. in the hall where she’d leave the mail for her upstairs We’d throw up one of those GI-financed tenants—she knows I never get anything from the post crackerboxes, frame it at least, about every two or three office, not even bills, so she knows I’m not likely to look weeks, and I was known as a guy who could sink a for it, and so she shows me something’s come from s[...]it or whathaveyou, finish Miss Moira Houlihan in Elisis, Montana. It’s addressed cement if it came to that, and so on it goes, and I’m in pencil, in letters so tiny they look like hieroglyphics; building. Only time in my life I ever made more money must’ve taken Moira about an hour to do this, and the than I could spend. Course, I had my diversions, too, end result is that you’ve got to squint real hard just to couple of bad habits. Drank quite a bit, like everyone[...]her signature, really, some strange shit did back in those days. Tried golf for a while, if you can like that. She knew where to get me cause I used to believe that. Like Ike. Mostly, though, it was wo[...]every Christmas and a note every time every once in a while I’d get a wild hair and run my I moved, but it’d been at least a couple years since she’d
|
 | [...]Drumlummon Views—Fall 2008 80 bothered to write back. I didn’t mind. I rarely called her[...]ple times anymore—you’d call her and be tired for a week after. a year. They live in a town of five hundred people, and See, my sister was demen[...]ociable sort, too, so I’m it, but she was goofy in ways that had started to kind of wondering. I’m wondering, among other thi[...]help it, and she can’t help it, and she is the deal with this baby?’ Pretty soon, her phone’[...]rth—what good is that? ringing at all. So, with Mrs. Schaeffer standing right there— I let that eat at me, and it’s hard to even believe she’d be long gone by now—I open this deal. And it’s it now, for a good solid year before I finally decided to not a letter Moira’s sent, in fact I don’t get so much as a take a drive. note to explain it; no, what I’ve got is a birth certificate, Back when we were growing up, back when the an original birth certificate, stamped and sealed[...]were four saloons doing what does it certify but the birth of another Quentin good business here in town. We had Doty’s Grocery Houlihan on the seventeenth day of April, nineteen and Feed, and those four saloons, and the auto parts fifty-five? Mother: Moira Houlihan. Father: Unknown. store. My folks owned the Aces. Somewhere along the They stamp the baby’s foot print on those things. That’s line they’d got to be their own best customers, and a what got me first. That little footprint. Looked like a sea lot of times they’d sleep down at the bar. They’d come shell to me, the way it was turned in on itself, the way it home to shower, Mom to pick up that week’s issue was, you know, perfect. of Look. As far as anybody raising Moira, I suppose So I went down to the pay phone on the corner that was me. Afraid I did a poor job of it, too, the and tried to call Moira and congratulate her. Maybe[...]t. We had a pretty good time, congratulations are in order, maybe not, but I better call. though—I think—when it was just the two of us in So I call over and over for about a week and never do the house. We’d get ourselves up and off to school, fix get an answer, so then I think to call Potter Blixt, who our own breakfast, fix our own supper. I’d even read to I haven’t seen or heard from since the day in forty-two her sometimes when she was still tiny. We didn’t mind when we shipped out in different directions, and I ask being so[...]with my sister. He tells was Suzy Sunshine in those days. Really. Sweetest me he thinks Moira’s still in the old place, but he hasn’t person I ever knew. I think it was right around the time heard anything about a baby. So maybe[...] |
 | [...]ringy—her whole problem might’ve been one of those and I remember rolling back into[...]hat eyes on it since Ensign Taylor took me to Butte for my I’m off in the service, and then I’m deployed out on the physical—and you’re away from Elisis any amount of South China Sea when I get the news that Mom and time, just any amount of time at all, and all you’ll see Dad have passed, one right after the other, like they by way of change is what’s collapsed or caved-in since loved each other. you left. Oh, I guess they’d built the new grade school I think Moira must’ve been awful lonesome for by the time I came back, but that thing was ugly to an awful long time. And I don’t think she was m[...]h. There’s no improving Elisis, that’s what I for it—course, who is? She was too screwed up to get thought—you might fix up cities that’ve been bombed out of town or to find somebody to treat her good, and to brick and ash overseas, but there is no fixing what so there she was, waitressing at the Stop N’ Eat for weather and neglect do to this town; and we sure never years. Worked there, I guess, until they finally closed got the relief they sent to Germany and Japan. You the doors, and that place was a greasy spoon at best. know, we’ve got forest for hundreds of miles on all Back when I first started calling her, I’d ask about sides of us here, but right here, right here in this valley boyfriends; she still had her wits ab[...]’s just high desert. Sage brush and cheat grass in clay. then that you could talk to her and even tease her a Lot of nothing, really. Even so, this is country you can little bit, but she never claimed to have any love life, develop a taste for. But not for Elisis. Elisis—god-all- and after a while I quit asking cause I didn’t want to Friday, this town is a firetrap. It’s an eyesore and has embarrass her. Later I get the lowdown and find out been forever. she’d had all kinds of boyfriends. About half the males So, in spite of my better judgment, I came back. in Elisis have been her boyfriend for twenty minutes Certainly hadn’t come to stay. And I drove up Aeneas or so. She should’ve at least charged for it, but I guess Street to the Houlihan household, scene of my odd all she wanted was the attention. By the time I got little youth, and I saw it was still wearing the same coat home she’d even run through that phase, and she was of paint Dad stole from the WPA, which I remember as too used up to be a fallen woman anymore, or a harlot, gray, and the siding’s twisting, and cupping, and pulling or[...]. away from the wall, and on the porch I find a box trap Home. That’s me[...]e’ now. Jesus H. with a cat and a porcupine in it. They’re dead. They’re Christ. This is the last place I ever thought to be found, reeking. Immediately overhead of you, just under the
|
 | [...]Drumlummon Views—Fall 2008 82 eave at the gable end, you got a wasp nest as big as a to get her started, and then she’s off on the subject of basketball. And it’s busy, and I am ready to turn tail and poison. There’s poison in every innocent thing: potatoes, run and not look back. But I don’t. I knock at the door, and rhubarb, and fish, and anything, critter, fruit, or I call in. I crack it open and call in again. Nothing. grain, that was harvested after noon. She tells me there’s Then the wasps drove me inside. poison in the municipal water supply. Few minutes of So I’m in. I step through the mud room and on this and my brain is Jello, and we never did get around into the house, and there’s Moira, she’s been sitting to ‘hi-how-are-you-how’ve you been?—how’s old so- there in her recliner all along. I get around in front of and-so?’ Just Moira and her theories on bad air. Wonder her, and she’s awake, seems happy enough to see me, anybody’s survived at all as far as she’s concerned, and and I wonder[...]she goes on about it seems like forever, and the whole wouldn’t answer the door or the phone, why she let it time I’m getting[...]ds, though, and I can kid; I didn’t think at that time it could be healthy for see she understands me. She just doesn’t feel like saying a child to be sleeping so much during the day. I didn’t anything yet. But she did want to hug me. She got up know about naps. Didn’t know about children generally. out of that chair, and when she did I saw where she’d Knew they were loud and I liked to avoid ’em. But I can left a little trench in the Naugahyde, it’s an impression also see my sister is way around the bend, and I can see of her spine. Moira was bony, skin around her eyes that she must make for a very uphill mother. looked like bad fruit. She[...]and So it’s a relief, a big relief to me, when the little already every tooth in her head’s been pulled, which I bugger finally swaggers out of the bedroom. All two happen to notice cause she can’t for the life of her keep feet of him. He falls down every other step—just, plop, the plates stuck to her gums even just to breathe quiet on his butt—and it hardly even slows him up, and I or try a smile. She does want to hug me, though. Wants didn’t know that he’d be able to walk, or what he’d be to kiss me on my cheek. She always was sentimental. able to do at that age, and I certainly didn’t think he But I was there to see about the kid, and he was could be much of a person yet, but he makes straight nowhere in sight, and what I had seen so far was not for me—kid’s already learned to mostly ignore his real promising; so we don’t g[...]ging done mother—and, he makes straight for me and he puts before I ask her about her boy. Is[...]He’s got fists like dough. And he says. It’s the first word out of her mouth, but it’s enough looks me up and down as much as to say, ‘Who the hell |
 | [...]oilers ride low in the water when they’re heavy. What a This was[...]So I’m firing, and my first burst takes one of ’em out, but the other one is all over thefor the last cruise and a half is a messman down in the scullery, a greasemonkey I was once a hero, don’t you know? Oh, yeah, they gave in the hold, and this is my first firefight—I remember me the Bronze Star. For valor, no less—I’m twenty my old training a little, remember I’m to stay off the years old, about as useful as a blister, and I happened to trigger til he’s in my sights, I’m supposed to fire and wander on deck one morning to throw some garbage let up, fire and let up, keep the barrels cool, keep the overboard, see we weren’t stowing garbage at that time mechanism from jamming, but I can no more stay off because the enemy already knew where we were, they[...]than . . . and I’m firing; and he’s all over the knew exactly where we were and they didn’t like[...]cause they don’t give ’em any flight training to speak along comes a flight of Jap fighters and strafes Manley of, don’t even teach those boys how to land, and I’m off the aft twenty millimeter guns; they smeared the firing, and his propellor has that same oily shine to it poor guy against a bulkhead, and since we’re in convoy as a dragonfly’s wing, and the kid’s got no ammunition, we’ve got air suppor[...]rs and run ’em off, but they’re no sooner out of the fuel in it, but he’s coming, and I’m firing, and he’s sight than we’ve got a pair of kamikaze coming at us coming, and then he’s spinning ass-over-teakettle across from out of the sun. So there I am on Manley’s gun, the ocean, and he sinks just short of us. and I’m firing. They come at you from behind, you’re So the next day I’m at sick bay with what I think sitting on a hundred and forty thousand barrels of is the worst case of strep throat I’ve ever had, but the aircraft fuel, you’re north of Okinawa, steaming for the corpsman happens to know I’ve been in combat, and Imperial Palace as far as they know,[...]e so he tells me my throat’s just raw from the screaming to get even close to the Guadalupe before they blow up, and the smoke. Screaming? I wasn’t screaming. Sure, then up she goes, too, and it won’t be down with the he tells me, everybody does it. Corpsman asked me if ship, it’ll be up with the ship, and not a glob of grease I’d shit myself. Well, I did not shit myself. I did what I left of her, or you, just flame and black smoke. Those had to do when I had to do it, and I got promoted back
|
 | [...]Drumlummon Views—Fall 2008 84 up to petty officer again, and I got that medal, which[...]winter and still have somewhere, I think, and all of it together was whathaveyou—Jesus wept—even I could see where he’d pitiful little to show for being twenty-three months need some bet[...]than that. No kid should seasick. I was not much of a sailor, and I’m still not be so unlucky, I knew that much. much of a patriot. But, there you have it. You do what I went back to Washington where I could get a you do. I got to Elisis, and Moira really gave me no decent price for my car, and I sold it. Sold my truck, too, choice in the matter. That boy left me no choice at all. and bought a better one, a panel truck[...]I Nowadays, I imagine, there’d be a pill for what rounded up all my tools and headed back. I had the idea was ailing Moira, but in the fifties you really didn’t I’d get things sorted out. The first thing I did, my first want to make a big thing of it if you thought somebody and worst mistake, was to buy that Zenith television, was a little off, cause they were taking out pieces of big old console model; we got the one channel off some peoples’ brains back then.[...]’d run up crummy airwave, picture and the sound were both like through your nose, and—sni[...]nd that That, and they were shocking em damn near to death. thing was on from the farm report in the morning til You had some hard, mean psychiatrists around in those they played the national anthem at night. Then she’d days. And I’d have to say, can’t help but freely admit be staring at that test-pattern Indian. So you’d switch it—Moira was of no earthly use to anybody, but she it off, empty her tr[...]also harmless, so I couldn’t see her as a ward of a blanket over her. She didn’t ask for much; you could the state. You hear how Warm Springs is really pretty never call her demanding, but you damn near had to nice. A nice setting for it. Bullshit. There’s wire over the dust her. After that teevee came in, Moira was there windows, and I don’t care how pretty the mountains are. and breathing, and that was[...]was get us a paper route; that was weren’t used to her. Spooky, and that’s putting it mildly,[...]panel and I just knew if she was left on her own for very truck and the contract for delivering Missoulians from much longer then she’d fairly likely end up in the booby Dog Lake to Hog Heaven, rural delivery, and there hatch. Or somewhere. And in the meantime she’d be wasn’t much money in it, but it wasn’t much work, that baby’s whol[...]what I couldn’t hack— either, except in bad weather, and we generally made the thought of my sister talking to that boy all the time our little bit every day of the year, that’s how many |
 | [...]Views—Fall 2008 85 issues they printed. In those days people relied pretty Wasn’t to[...]e diapers were long gone, vacations, no vacations at all, but I never figured I course Quent wasn’t sucking coffee from that thermos needed any—the job had one big advantage—I could[...]rode right around a half million piss up to twenty times a day. But the point is, I liked it. miles together in that panel truck, quite a bit of that at We got used to each other, and when you get to where thirty miles an hour, and, but for the money, it was the you’re easy in somebody else’s company, always easy, best job I ever had. You’re up in the timber, you’re out that is a rare thing, and there you are, you’re living the in open country, you’re all over the place every day, and best couple years of your life, and you don’t even know in winter you got your tire chains going ching-ching[...]do know you’re having a pretty good ching, and in summer you throw open the windows and time. I remember him poking newspapers into those smell the rain in the sagebrush. About as much as I ever yellow Mi[...]ll so little his wanted, and I believe Quent kind of thrived on it, too. whole arm’d completely disappear up in there. We had the radio, of course, and he taught himself to Then, before you know it, it’s kindergarten, for sing, and sometimes he sounded like what I called[...]id could sing like a Man, how I hated the day I had to turn him over couple English choir boys, he could make the sound of to Mrs. Whatshername. What was her name? Anyway, a French horn. That’s the kind of traveling companion the old girl led him away very gentle, she must’ve done he made. Taught himself to yodel, too, which, if that’d that for the little ones many hundred times, and there’s been anybody else in there, that would’ve drove me all the other children, lot of ’em scamps, running around crazy. in their socks, and Quent’s looking back at me, and Thing I liked about him, one of the things, was he’s fine—I’m not, though, I am not at all fine; I know that Quent was a real quick study. When we first he’ll show ’em what-for, I know he’ll shine, but up to started the route he was still in diapers, and so we had now he’s been shining just for me, and I am every bit that godawful diaper bucke[...]us as a mother might be, and I’ve got no desire the end of the day when the diaper bucket’s half full at all to share him. None. I like it best when he’s mine- and the heater’s going full blast and the windows are all-mine, and even though I know it’s kind of ugly of up, that’d get a little ripe in there, give you a headache. me, I can’[...] |
 | [...]all up. Kid could get this much, after he started in school and got among himself around six of my big caramel rolls all at once, other people, Quent never sang another note[...]much use for toys, never had many friends, not when he So then it was the Christmas pageants and the was a little guy. I bought him a bike, but he liked better plays and the concerts and the May Days and the two to run, and he’d be up Skunk or I’d hear he’d been seen hundred other deals they liked to put on every year, way-the-hell-and-gone up in Mill Pocket. That Quent. keep everybody busy and distracted, and I’d talk to Had a range on him like an elk or some[...]and I’d bake cookies and About the time he hit the third or fourth grade make fudge, and of course this routine really put the he started to look like what he’d be as a man, and kibosh on[...]so I dropped that and put that’s when the daddy mystery got cleared up: he is together the cabinet shop. I did cabinets and upholstery. the spitting image of Delbert Oslavsky, got exactly Built the shop just behind the house, that way I could that same Quarter[...]ame face, same be covering a couch and have bread in the oven, too. hair—from the physical side, anyway, he’s picked Betty Crocker had nothing on me in those days. Also, himself a good sire. I’m sure I wasn’t the only one to I wanted to be handy when Quent came home from see it, but no one ever said a word, at least not to me. school. The business really took off then, maybe even Not to Quent, as far as I know. And I wonder if it was m[...]t kept us afloat, and then I too obvious to need saying or if. . . . I just know that I did good enough that I could knock down the folks’ myself never said a word. ho[...]at shit six inches You’d pass the guy in the street, run into him at deep in the attic—and then I built us a new windbreak a game or a rodeo or parade or somewhere, run into on the old foundation. At least I put ’em in a decent him all the time, and you’re with his son, and the man house. Anyway, with Quent in school, I just went back doesn’t even have the good grace to be embarrassed, to work. It’s what I do. It’s what I am, and som[...]away. Nope, Delbert knows he’s got a are proud to be this way. But I. . . you’re kidding yourself catch colt, and he doesn’t care one way or the other. if you think you’re ever getting anything done. I might’ve been afraid of him. Maybe I was afraid Quent had quite the little motor in him, too. of getting carried away and getting my ass kicked. He’d be at one thing or another pretty hard all day. He Oslavski wasn’t much of a man until he was in a fight.
|
 | [...]Drumlummon Views—Fall 2008 87 The thing to do was shoot him, really, but that would’ve There was nothing to forgive, so where does that leave been beside the point. you? Most of the time I think I must’ve treated her But, anyway, Quent was a restless boy. At times it like a piece of expensive furniture, cause, you know, I sort of hurt to see it. He wasn’t like one of these mutts just couldn’t muster any more feeling for her than that, who can’t concentrate; you could slow him up with and I didn’t want to give her an opening to get off onto food, and now and then he’d stop to read, and once he fluoride or one of her other topics. She hated anything got fascinat[...]he considered chemical. But Quent’s growing up; to look at one, he probably knew the name of every Quent’s off running or at school or in his room, and rock in the ground. But when you think of him, the way pretty soon I’m Moira’s company most of the time, and he was as a boy, or always, I guess, in your mind’s eye she’s mine—I gotta say, there were some long, long he’s on the move. S[...]something, but why? After a while, wave him over to her chair. She’d glom onto him, grab what’s the point? She was just as happy to be ignored, his hand and hold it, and then he’d stand there beside and she took very little interest in me, I can tell you. her, kinda have to lean in sideways the way she’d get So I had my stack of National Geographics, and I him, and she’s hanging off him, and she’s got her mouth read every page of those many times. Guys with hoops half open and she’s glued to Green Acres or some happy in their noses, you know, fishing with blowguns—I horseshit. Quent’d stand there for as long as she wanted had that. Had my magazines, my soldering gun, that him to, never complained or even fidgeted. He’d just stereo I built and built on and never did get it to play stand there, and, man, that broke my heart e[...]built himself a trestle bridge out of popsicle sticks, that She had the prettiest, healthiest head of hair. thing eventually took up two whole walls of his room. Moira did at least keep herself clean, and for that I was One Christmas I found a locomotive, took me some very grateful. Imagine if I’d signed on for that chore, finding, too, it was a very narro[...]ut she kept herself clean, and even up on top of the structure, damn near to the ceiling. He kept herself kind of nice for as much as she’d wasted had his chin-up bar and his dumb bells in there. You’d away, and I have to give her high marks for grooming, I look in on him, and there he is reading that War and suppose. I always wanted to forgive her, but I couldn’t. Peace; h[...] |
 | [...]lummon Views—Fall 2008 88 and was snowed in thirty pages, completely flummoxed shy as[...]by those people’s names. Names and titles, not for me. to him. If it isn’t a girl on the phone it’s a recruiter, and Anyway, unless you liked your television, and you liked Quent’ll be nice to em, he’s pleasant enough, but he’s it going full blast the way Moira did, you kinda kept to never on for too long. What’d I call him, elusive? He your r[...]never especially intended it when I built less of him all the time, and here it is getting closer to ’em, but somehow I’d done a good job of soundproofing graduation, and I’ve started to wonder, way too late in the walls in that house. the game, I’m wondering a little bit, ‘What have[...]myself into?’ I am not looking forward to the me and * * * * * * * Moira show. I’m getting the preview—in many ways[...]Quent was gone before he ever left. I could go the track meets, and I could go basketball, You know, we stood two years there of visits from but after a while I couldn’t stand to watch him play assistant coaches, and head[...]see Quent rock up onto his a whole herd of people who probably never before or toes, and you know he’s about to fly. Out on that field since set foot in a class C town. That was hell for all of he’d make those other boys look tired, make ’em look us. There you’d be, trying to be polite with some poor like they came to watch. He was so much faster, and guy at the kitchen table who’s been sent to get himself shifty. You just knew those little sonsabitches probably an athlete, and the guy’s eyes keep flipping over to that wanted to hurt him. The ball is in his hands every play, specimen in the living room, and some of ’em even try and I’d want to go down to the sideline and yell at his and sweet talk her. That must’ve been r[...]uld you? Don’t you know plenty lined up to do it, though. So it was a little odd, he’s jus[...]after all that, that Quent gets a scholarship atfor a score wear him out, but they never did, and I’m told I missed he got on some test. For years they’ve been telling me at some real exhibitions; they tell me he never did[...]solid lick. I was all right with reading about it in the they say, if he ever breaks out of his shell. So he tells me newspaper the next day. he’s decided to go down there and study Anthropology, So n[...]since he’s every bit as which I ’ve heard of in my Geographics, but I’m not real |
 | [...]ters, when you watch ’em from up close, you see to me. They study human beings? The nature of human how their faces quake every time they hit the ground, beings? Can that be right? Anyway, anthropologist was they hit so hard, and most of ’em look quite grim, like not everybody’s idea of local-boy-makes-good. They all it really costs ’em something to go so fast. But Quent wanted to see him play ball somewhere. People around would smile. Might be a little harder to spot it when here were a little ticked off at him because of that—like he was really hauling, but he always smiled when he it was any of their business what he did or didn’t do. ran. Smile and pull away, and it was the greatest thing I Then, and I don’t thin[...]en two weeks ever saw. Course I also had the walking pneumonia that after we got news of that scholarship, Moira died. Just spring, and those track meets did not do good things died for no particular reason. I came out one morning for it. I was sick that spring, sick all that summer while and there she was cold in her recliner, and she must’ve Quent was off fighting fire, sick when he went down had about the gentlest death there ever was, but she was to school. I stayed sick for about a year there, miserable still dead. We took her out to Lonepine and planted and puny, and just barely able to work. Geeze, I felt like her next to Mom and Dad; we took the recliner and a plowhorse: the Zenith, which was still going strong after all those And I’d got into some trouble with the IRS. years, we took those out to the dump, and that was that. Many years earlier I’d made a mistake in my Came home to a big hole in the living room. That living book keeping, an[...]’d underpaid room was still Moira’s territory for as long as I lived my taxes, but not by mu[...]n sweet time finding never said, and that’s not the kind of thing you ask it—with penalties and interest, it turned out to be a somebody, but I knew the next time I had to let him go, very substantial sum, and then[...]as running a lawyer, a guy who told me from the start there was track for the pure hell of it, and he was far and away nothing he could do about it, but I made him waste the fastest schoolboy in the state. He was running his time and my money trying, and meanwhile that the hundred yard dash in under ten seconds, seemed interest is compounding, or whatever it does to make like he took about ten yards a stride[...] |
 | [...]s, they agreed goes by. Was I feeling sorry for myself? Yes. But I did to settle for everything I had. I managed to hang onto have the same post office box, and I had phone service the house until that next summer when Quent came with the old phone number, and at least I was where home for a bit. Quent could get in touch if he needed. He looked like a gypsy[...]ighty-eight-oh-one. One Houlihan or another quite the hank of hair, and it’s tied up in a silk rag, has had this same number here ever since the Elisis and he’s relaxed in some new way. I think maybe Telephone[...]here that being smart wasn’t is a lack of imagination. I think that’s what kept me exactly a character flaw—and he’s got some girl with in town, I could never come up with a clear idea of him wouldn’t dream of wearing a bra or, you know, anything bet[...]tle by little I put myself back disappointing him in any way. He tells me that now together. For quite a while there I lived on macaroni he’s go[...]he says. He’s and postcards that took months to get here. He’s in with a traveling collective for independent study and Honduras, he’s in the Yucatan. At first he’d just tell me community development—which is to say a bunch where he was at, and how the food was, and once in a of footloose hippies, and one of ’em hasn’t got his great while I’d g[...]ip anymore. of him. After he’d been down there a while he star[...]yed—they stayed—about a week, and to throw in little bits about imperialism, and this-that- then they went south, and I have to admit I was so or-the-otherism, and I am just praying I don’t catch a embarrassed about losing the house, and about not whiff of Moira in this stuff. Police states, he says. He having any way to help him out down there at school, don’t like ’em. Who does? So why would you go so far it wasn’t all that bad for me when he became a college outta your way to go be in ’em? dropout. That’s when I should’ve got out of Elisis, too, At least I’m getting my postcards. that was probably my best chance, but at the time I He’d call every Christmas, but that was like told myself I didn’t have the oomphta or the cash to shouting at each other from either end ofin my little trailer out by the highway, one of those to tell me. I hoped he was doing nothing. Nothing, I[...]m him, but I never sent him any back, never tried to,
|
 | [...]erstood— later and she’s been drunk the whole time, even if she wherever he was, he would[...]After a hasn’t ate, and she’s been to parties in three states. I while there was no politics in his letters, and he was never got in her way, so she liked me. We were actually back to telling me about the birds and the plantain and a pretty sociable couple, considering I was half of it, the way they made their local dishes, sometimes the and we’d go over to somebody’s house for dinner and fish in the sea, and these are some wonderful letters, but[...]dy, they that too good. Phyllis, I liked. The freight that came didn’t even try to hide it, they’d just rip that envelope with Phyllis, I just couldn’t pay. She was in Elisis open and then, very half-assed, tape it cl[...]getting by down there, and no reason to stay. Eventually she was up in Canada— here I am rooting for him to be as shiftless as possible, she was a Blood[...]e’s a drifter, and maybe that’s all he’s up to, but part of the tribe that was eligible for their health care I don’t think so, cause he’[...]ll I got from her, she said she near saintly side to him, I’ve seen it a few times, and was all worn out inside. She didn’t seem to be too who knows what kind of Latin bullshit could happen shook up about it, though. to him on account of that? I read the news. I know In the meantime, I just went out and busted ass, how the[...]here an old man working like a young one. At some point they can hide their dirty work. So I had my heart in my your back gets to be a whole different deal, and it takes mouth, a little bit, the whole time he was down there. you about a day just to get over a day of doing rough It was around in then that I got myself involved carpentry. But that’s okay. I built the Sherwoods their in a minor shack-up with Phyllis Comes Last. I was[...]barn, remodeled a couple places that should’ve in the house on Pine by then, had a place to keep been torched. After Phyllis, I h[...]r. Phyllis was a Blackfeet gal, and she’d drank for back at it, and, as I say, little-by-little I got well. Man, many years on her looks; by the time I got to her she I sure appreciated eating good ag[...]had a talent deal with Garney Fronapel to keep my freezer filled for convincing you not to take things so serious, and with grass-fed steak. Around in then was when I first people liked to be around her. She’d walk out of the started doing my carvings, too, and when they got house with a nickel in her jeans, come back two weeks decent enough that I could stand to look at ’em, I’d go
|
 | [...]Drumlummon Views—Fall 2008 92 to the craft fairs and sell ’em. I was doing a lot of bears’ doesn’t talk about much, really, if it has to do with heads at first, and then I got on to my rowboats with him. I’d slip him a few bucks from time to time, and the miniature oars; those were very popular. Sold tho[...]ack. Said he was probably making first few things for five, ten bucks apiece, and I thought more th[...]n true, but I’d I was making out like a bandit, to get paid anything for been living so close to the bone for so long I had no goofing off, sure, I’ll take that. So, anyway, you’d have a need for any extra. lot of hippies at those events cause they’ve all got the He used to come to see me in Elisis . . . well, I same basic idea as I do, try[...]hing, and every so often I’d catch some of those hippy girls, and the next time he’s got a dog he kid outta the corner of my eye, some kid with a certain picked up on the road. Crippled dog. He came to ask way of walking, kid with a mop like they wore back me how I’m doing, and, to tell you the truth, that gave then, and that’d bring me up short. I don’t know why. I me a little case of the yips. How’m I doing? How am had my eye out for him even when I knew he couldn’t I supposed to know? You want a bear head? You want be there.[...]a little boat, got some toothpick oars in it? Really, I’m just itching to ask him . . . what? I don’t know. He is in * * * * * * [...]some ways his mother’s son, and you get the impression that for all his smarts and his big heart and everything,[...]nd drift away on you some day, and a longshoreman in New Orleans until he turned without ever leaving the room. I guess I wanna ask him, somebody in for cockfighting on the docks; he sawed ‘What’s eating you?’ Strikes me he might be inclined to logs down around Medford, and for a good while check out like Moira did. he worked a fishing boat out of Sitka. And if he still So that’s why I started to think maybe it’s up never stayed put for very long in any one place, at to me, maybe I better do something. I didn’t have the least I usually had a good address for him, usually he’d slightest idea what it[...]threw a even have a phone—and you don’t want to intrude, war bag in the truck and drove out to see him. He was but you write, you call, you kinda wait to hear about in Seattle, or close to it. Had a maintenance job at a what he saw down there in the tropics that makes him hospital.[...] |
 | [...]She’s a doctor’s daughter, and kinda full of herself, you like kind of a step down for him. And then he tells me know the type, and that whole apartment is just filled[...]about this?’, cause she doesn’t seem to me like the kind clown shoes on the end table. Again I say, to each his of girl to settle for any kind of mechanic, much less a own, but there’s limits to that. Harlequins, she called guy fixing cof[...]keeps telling em. Creepy. But she doesn’t seem to be doing Quent me. I’m not too impressed. any harm that I can see, she’s even kind of a hand on But here he is on the phone, and he says they’re the tiller for him. Doesn’t matter if I like her or not.[...]couple times, and she calls us chimes in thefor her hand. Her dad said okay. anything. I’ve stepped in heifer dust about twice in They’re getting married. Well, whattaya do with that my whole life. She wants to know what he was like information? Got in the truck and drove on out to growing up. ‘Busy,’ I tell her. I’m not gonna tell her, Seattle again. Rented a tuxedo, even had to rent the ‘Sweet.’ Who knows how she’d take that? Who knows shoes, which, to my mind, that’s about the same as what she’d make of it? wearin[...]hey are very happy together, that they been in them rented shoes? But I bought some black unders[...]socks, and I went ahead and wore ’em. And at this Well, bully for her. I’m thinking she might better wedding you got the groom’s side of the aisle, which understand how he tends to take off. Quent tells me is me and the crew off a cod boat and some little dark he’s saving money to go study computers, and that’s gal who doesn’t have a word of English, turns out she’s practical, that’s more of a plan than I’ve heard from him a net mender, comes from Portugal—and on the other in quite a spell, and I should be pleased to hear it. He’ll side you got Rebecca’s people. A lot of ’em. These are have all the work he wants, I suppose, and never dirty people what we would’ve called swells in the old days, his hands. But I remember when he mentioned that and the presents they brought . . . it was ridiculous. computer thing I felt like I’d been kicked in the belly, There was a lot of those envelopes tied up in silver and I remember when he said a couple months later he twine, you knew what was in ’em. was off it, I felt good about that, too. B[...]dad, Dr. Merton job fixing coffee machines. What in the hell? Seemed Detwiler, gave ’em a cottage sitting on five acres of
|
 | [...]Views—Fall 2008 94 Vashon Island, piece of ground that looked out over and then w[...]on up somehow and it takes on a life of its own. There’s home. been a surprise in everything I’ve ever carved. So here[...]I’ve sat, whittling, and you look down at your hands, and * * * [...]they’re like your pals, the guys who actually know what[...]’re talking about, and you can get just as lost in that as You get old, and you look back on your life, and you anybody ever got lost in liquor. I’ll take it, though, believe see where there’s big chunks of it you can’t hardly me. I’ll take[...]they weren’t worth remembering. of. Before I know it, my stuff ’s in the shops in Missoula You’re fifty, sixty, seventy, and so on, and you been and Kalispell and Bigfork, I mean the nice shops, and stuffing your face and sleeping. And what else? even in a few little museums, places where they really Meanwhile, you got the rheumatiz, got your arthritis, know how to light it so you look like a genius. And they and[...]tta your nose than give me good money to do this—who would’ve ever grows on top of your head. You get ugly, is what you do. th[...], though, I’ve been an artist, and I’ve got the tax man. I don’t see where I can complain too much. no room to bitch. An artist. Me. Just tickles me pink. I[...]oo, I guess. Better than went ahead and put a lot of windows in my kitchen, tore fine. those appliances out and put ’em in the basement where There was a time there where I just kind of let they belonged, and I sat down and started whittling him alone while he was making a success of himself. pretty serious. Out come snakes and snowflakes. In Took quite a while, I have to say, before I figured time I’m doing hummingbir[...]out that’s what he was doing. I didn’t expect the anything I want. My little discovery, I guess you could thing with Rebecca to work out, and maybe that was call it—there’s this species of spruce up in the Thompson wishful thinking, but you got a fart in a whirlwind River country, and I can buy it a thousand board feet at and a rich girl—who would’ve been optim[...]t as cheap as pine because I buy it raw. If I the chances for that. I was wrong, though. They both cure[...] |
 | [...]thought it could be, and fixing an odd duck to begin with, and I really can’t imagine ’em is[...]t his own company, and anybody should have to put up with me. So he says he’s training other people to fix ’em; then he’s selling ‘come,’ and I say I’ll be out when I’ve got the garden ’em; and then he’s selling the damn things all over the put up, when I’m finished canning, which, to tell you world. He goes to Switzerland all the time. After a the truth, I rarely do that. He says ‘come,’ and I tell him while I’ve got quite the collection of business cards on I’ll come when I’m done[...]’s a lotta phone calls back and forth, but, ran for city council. They’re busy people, so I leave ’em one thing led to another, and I never saw him for nine alone, and he’s always saying to come out and see ’em, to years. Finally he just sent me a plane ticket a[...]But I don’t. to say he was sorry he hadn’t thought of it sooner. That After they had their kids, I started getting a forced my hand, of course, and a good thing, too. I’m a steady stream of pictures, too, which is all right cause little ashamed of the way I get. One way or the other, those kids are gorgeous, and I’d send the little ones it’s always been Quent who grabs me by the scruff of their checks on their birthdays, fifty bucks a whack, the neck and shakes me out of it. So there he was at the which may be kind of a joke to them, or it will be soon, airport, waiting for me, and he’s got a hundred-dollar but I keep track of their birthdays, Christmas and haircut a[...]e same eyes he Easter, and that’s about as much of the year as I pay inherited from poor old Mrs. Oslavski; kind eyes, I’d call any attention to. ‘Come out,’ he says all the time, and em. I won’t even try and say how good it was to see him. I know he’s proud of what he’s got, what he’s done for But then we get to Merton. He’s brought his himself out there—and you can tell he’s real proud of little boy with him, and the kid’s a Hoolihan through those babies—but I s[...]and through, except he’s better looking than the usual everything, and I go everyplace else, drove all the way run of us, and I guess I’m supposed to get that family up the AlCan and back, twice, but for a real long time feeling for him, or something, but I don’t, cause in I never got out to see Quent and company. It was silly, the flesh this kid is very hard to like. He’s an asshole, and I’m not too sure w[...]is Merton, and that’s about all I remember from theat all before you’re weird, and I was kind of seven years old. I don’t remember anything at all like
|
 | [...]96 this from when Quent was seven. So we get in the car ride to Quent’s place without saying much. I make a and I give Merton this chain I’d carved out of a single few brilliant observations—it’s pretty, it’s green, and piece of stock—the thing’s two feet long, twelve links, so fo[...]ere hoping he’s not it’s been a week’s work for me to carve it. That chain mad at me cause I can’t stand his kid. hits the floorboard about as quick as Merton can pitch Now, this property of theirs didn’t look a thing it down there, and then the kid’s jazzing his little like I remembered from way-back-when, when the electric pinball machine, some little deal he can hold it doctor bought it for ’em. Quent tells me him and in the palm of his hands, but it’s loud enough you can Rebecca unwind on the weekends by doing their own barely hear yourself think in there. Quent asked him a landscaping, and there’s not an inch of their ground couple times to turn it off or to turn it down, but the that hasn’t been planted and pruned and pr[...]what he’s doing. It’s a little fussy for my taste, and a lot more yard work He’s a night[...]y with than I’d ever do, but you’d have to say it was nice. And it, though, and there I am,[...], trying that house. Somewhere under there was the cottage not tothe ferry out to Vashon, and Merton Must be four or five thousand feet wrapped in cedar wanted to stay in the car. He wants to sit there and board and cedar shakes, and it’s gussied up in some goose his thingus til the batteries wear out, or until I kind of copper trim that was new to me. I’d never seen kill him. Quent, of course, has to sit there with him. anything like it before. Inside, you got your parquet But I didn’t have to, so I got out and went on up to floors and marble countertops and about an acre of the upper deck, as far away from Merton Hoolihan windows looking out over the water. That one wall’s like as I could get on t[...]en, there’s barges and whales and catching rain in my mouth. I can see where if that brat schooners and all kinda traffic in those windows. was mine, I’m not too sure we’[...]splash some night. I hadn’t been on her hip. The females of this family are something missing a goddamn thing on the Merton score. else, I tell you. I[...]er angel, cause it was what So then we get to the ferry landing and the I’d carved for her, and that angel’s head goes straight in kid’s gone to sleep. I count my blessings. We do the |
 | [...]g, that’s where it story building smack in the middle of downtown stays. Drool running down her chin, snot running down Seattle. You got your showroom on the ground floor, her lip, and that little girl was s[...]n. You repair and fabricating over that, and on the top floor couldn’t hardly stand it. When her mo[...]n, there’s offices. We breeze through the whole deal, and she’s off like a shot. Quent’[...]oolihan this, and Mr. Hoolihan that, and might be the apple of my eye. He might be right. everybody’s just delighted to meet me, like I’m just the So then we had a drink, or in my case a couple. most wonderful geezer t[...]t we go Quent solves some little problem for somebody, me so hard, I had to excuse myself before supper was just fixes it on the fly. You can tell he’s been good to ready, and I can see where they were making a production these people. You can also tell he’s in charge, which is out of supper. I smell salmon on a grill somewhere, but[...]tering, I’m not near as hungry When the tour’s finished and all the introductions are as I am tired. So Rebecca shows me to my room, and over, he takes me to his office and makes me the best she’s got a funny little grin, and I’m thinking it’s cause I cup of coffee I ever drank. No, he says, it’s es-presso. can’t hold my liquor and I’m acting like a tourist in their Well, by now I should get this straight, I suppose. All I house, but she lets me in that room, and I get in there know is, I may have to start using that machine he sent and see where it’s been all set up for me. Everything they me. No wonder he can work so damn hard. The stuff ’s think I might like is in there, including a set of very fancy like some kinda tasty rocket fuel. Japanese carving knives, and some pieces of cherry wood Then he settles in to make phone calls all day. and walnut. There’s a[...]m’s mine, she says. It’s here whenever I want to little walk around Seattle. Got in the wrong part of it, use it, for as long as I want to use it. I got a lump in my of course, and some wino mugged me, and he damn throat so big I damn near puked. That was a fine note to near conks me over the head with a pipe before I can pass out on.[...]ext morning I rode into work with Quent, the last guy on earth without a credit card. and he apologizes that we have to take the ferry again. Then it’s back out to the island and another nice Hell, it’s something he has to do every day, why should dinner. I get the impression they do this every night— I mind? His business takes up the best part of a three- you got pasta and a big old salad and a slab of pig in
|
 | [...]s—Fall 2008 98 sweet and sour sauce, and the kids are set up with their of Quent than Quent did. He was always so terrible o[...]There’s a sound system that pipes easy to embarrass, and I remember that was one of the that sticky dead-guy music to every corner of the house, things that made me so awful tender about him. He’s which is not so tough on the ears after you get used to kind of a heartbreak, and neither one of us really knows it. Rebecca opens up a forty-dollar bottle of wine like it why. So I tell him I’m proud of him. Tell him I”ve never was so much Kool-Aid, but I figure I better lay off the been anything but proud. He tells me he wants me to booze. Drunk or sober, I still don’t have a thing to say come and live with ’em. We both know what the answer for myself. They’re trying so hard. I’m just wishing I had to that’ll be, but I am kind of weak in the knees to get one interesting thing to say. Next day I stay home with the offer. Rebecca and the kids, and we’re out in the yard, and I fix After that I started visiting every so often. a gate for her, and then I get to playing hide n’ seek with Watched those kids grow up a little bit at a time, and Merton, and I find out I can stand hi[...]e’s that was good fun. Merton turned out to be a whizbang still a house ape, mind you, but yo[...]e and lacrosse player, and I caught a couple of his games before playing around, and he’s a kid[...]hen he graduated. Daisy just kept living up to her name. that night Quent comes home late and takes us out to a Meanwhile Quent’s getting richer and richer and not a restaurant. They treated me like royalty the whole time year passes when I’m not a little fonder of Rebecca. That I was there. I was wishing I’d done a little something to whole bunch out there, they’re the reason the sun sets in deserve that. the West as far as I’m concerned. That was[...]But also . . . I don’t know. I’m on the phone more off giving the kids their baths, me and Quent step out and more with Quent the older he gets, and more and on the deck. The stars are out, kind of unusual in that more he wants to talk about old times. Then one day he part of the world. So I take the opportunity to tell him calls and asks me to meet him out at the Elisis airport how proud I am of him. It’s hard to explain, but here he cause he needs to get in some twin-engine time. He’s is, he’s made enough money to retire already if he wants been flying a few years now, and he’s just moved up to to, and he’s been all over the world and ate things I’ve this Beechcraft. That’s a damn short runway, I tell him, never even heard of, and he’s almost got his head down and i[...]two, three hours later there he is, coming in over Baldy. from the beginning, nobody ever had a lower opinion He makes his approach and sets ’er down on the apron, |
 | [...]p and smoking, but he finally around here used to be. There’s a lot more cows on this gets stopped with about ten yards to spare before he’s ground, I’ll tell you that. So we swung by the graveyard through the barb wire and out into somebody’s pasture. to visit Moira’s grave, and then I thought I’d head up Quite the little landing. And he gets out, and he comes toward Niarada, cause that’s about the same as it always over to the hangar, and he tells me he’s got a confession was—except Niarada itself is gone. You got the same to make, he really didn’t need the hours that bad. He old gravel, same old sage brush, but no place to even just wanted to see me. What’s wrong? Nothing, he says. st[...]then, I tell him, way, which is why I kind of like it. And we’re riding lunch is on me. But he wants to know if I could do him along, and it’s just us and the coyotes, the way it used a favor. Wants to know if we could go out and drive to be, and I look over, and there’s something about the some of the old paper route. Well, sure. One thing I’ve[...]his shoulders, or something, I don’t got a lot of is time. know. He’s the same. He’s that boy who knew every This[...]nce he tune, and I’ll bet he knows ’em to this day. But he’s also was young in it, or some of it has. Sprinkler systems. the man who don’t sing ’em. They managed to put water on dry ground up at my Yeah, we rode out in the lonesomest country we end of the valley, and there might be fewer people here[...]drove around a while, and then we than there used to be, but those who stayed make a half w[...] |
 | [...]Edward Hopper once said Years of chasing he wanted only to paint sunlight on houses — sunlight on the side of a house. how much better can a life be Was it the dry hot slant spent. that bubbles paint on wood, the hardening rays that meld browned pine needles underfoot — Or the soft creamy morning light welcoming a moment of reflection before coffee and traffic, before the sheets cool off — days’ brave unfolding crinkles. Maybe it’s the last shot dusky, fiery, withering — grasping onto the rim like a serpent to a ship burning final thoughts onto the porch. |
 | [...]Fall 2008 102 Nocturne Phil Cohea The drug that made me sleep this far has faded and it’s two A.M. In a dream of war, fires catching the nearby homes, I wasn’t myself breaking the windows of the dying; my friends for whom I wept I didn’t know. Outside the snow hardens, two days off: Thanksgiving. Har[...]clean. Cold stiff carcasses pass through town in the pickups of happy men. A real war smoulders far away in daylight through a constant haze. There Abrah[...]Here, cold air, clear under stars, reveals the breath of life, how quickly it disappears in a rifle shot or a stranger passing near hunched in a coat without speaking. I hear each car appear, distinct, out of the unknown dark, driver unseen, destination lonely and a place to freeze. |
 | [...]lummon Views—Fall 2008 103 I know no one to call but me at this hour. I know no one in The Middle East. How can a place be a direction? How in the middle? If I look that way across America sleeping, an ocean writhing, the sun on African hills, I see only my neighbor’s[...]r nor do they tick. I feel time now. I’ve grown to bear its effects. And even to play with it at times. I’ve traced it in sandstone made graceful by wind, eons piled, dried and slashed where The Bible counts for nothing, no prophets ever walked or evil gods or[...]hadows do not move indoors where Kocopelli pauses in his dance along my wall to play a run of crazy notes. This is The West, far West. Where does direction start? Somewhere east but short of the war, some place from where wars are directed. Awake, I know the missiles will not come, the kids next door are dreaming in peace, safely north. No cars now for minutes, only me and the refrigerator, breathing easy, the quick movements of my pencil, rest made possible by my warm l[...] |
 | [...]oems Paul S. PiperHer Scarf How thin the needle? How hard the thimble? When they meet does it matter? Betwixt and between the wind tugs her scarf. Blue arcs from her. Y Mas for Jim Harrison There is more beauty in the human sky than these clouds thick with rain can write. There is more love in this bear of a dog slobbering my old man’s face than the waves can fathom as they froth the shore. We all live in our own stupidly blinking |
 | [...]y. Meager we praise luminescence, mourn the fact that the largesse of our passion only increases territory. In the darkness between stars music fills our ears equally to the brim, spills over as the birds of morning drink. Yesterday Morning In this poem is a clock. A simple clock set in a brick tower, black hands drifting over the white surface. We see the clock through the cold white clouds of breath that accompany our words. Sitting on a bench, talking, the moon still gripping the horizon, not wanting to leave. Everything stalls. The grackles seem frozen in air, their calls like beautiful flutes. And then the black hands again |
 | [...]ws—Fall 2008 106 scrape the clock’s surface, and I’m sure I can hear it — the gritty music of time passing. The moon loses her grip and disappears, and I have stopped listening to your words, listening instead to the fragile breath that births them. Sculpture Salmon of copper tube; koi, bright orange against the umber cobble, light dapples the gravel paths and boardwalk, and the musicians: iron, one holds a fat guitar, another a flute, the third an accordion. They each wear elegant hats. In the valley below brakes screel. The valley below is stopping to listen — the music |
 | [...]umlummon Views—Fall 2008 107 invades the air. Again it seems like everything is slipping away. This is the song the musicians play, the song where the valley stops and listens, the song where everything is slipping away. Lament There is nothing sad in this opening only the voices I can’t hear behind the ones I do. A bird falls into the body like a stone that falls through water finding no surface to fracture no surface to rest on. There is a need to rest no wanderer that does not resist the house of bones no bones that do not ache |
 | [...]rumlummon Views—Fall 2008 108 with the insubstantiality of words. This house is for those travelers who migrate both ways and stop in the same place thinking it is the center of their journey. |
 | [...]t Zip-Lock™ I packed carefully, loosening the strings on my guitar as required for high altitudes and placing small amounts of liquids and pastes— deodorant, hair gel, A[...]asal inhalant, sun block, skin lotion, etc., in a Zip-Lock™ bag, which I would place in a pouch of my carry-on suitcase after I had gone through the security check. Before I arrived at the security check, I took off my shoes, belt, glasses, jacket and watch so that I wouldn’t hinder the other passengers, and I carried the Zip-Lock™ bag and my boarding pass in my teeth to facilitate a smooth inspection. As I placed my belt, jacket, watch, shoes, glasses and briefcase in a plastic tray to be x-rayed, a security worker saw the Zip-Lock™ bag in my teeth. “This bag is too large,” he said. “It’s at least one half of a gallon,” he said. “It should be a quart bag,” he said. While I waited for my shoes, belt, watch, jacket, and glasses he stared at my Zip-Lock™ and its contents. |
 | [...]ews—Fall 2008 110 You might be able to purchase a smaller Zip-Lock™ bag at the gift shop, though you would still have to throw away several of your small containers of liquid,” he said. “I probably don’t have time to run through the airport with no shoes and my pants at my knees,” I said. “So why don’t you put my large Zip-Lock™ and its contents in the trash, except perhaps for the Anusol™, which I encourage you to keep for your own purposes,” I said. Intimations of Immortality I went to the poetry workshop because I had received a fly[...]it would cost one hundred and fifty dollars to eat breakfasts, lunches, and dinners for three days and attend lectures by famous poets. After I had driven from Natchitoches, Louisiana to Boulder, Colorado to attend the workshop, a woman with long blond hair who w[...]om India told me that there was a mistake on the flyer and that the price should be one thousand five hundred do[...]ollars. When I told her how far I had driven to enroll in the workshop, she told me to talk to a man in a suit who was standing nearby. The man in the suit worked for the Prudential Insurance Company. The Prudential Insurance Company was financially responsible for the poetry workshop. |
 | [...]Drumlummon Views—Fall 2008 111 The man in the suit told me that the Prudential Insurance Company was very sorry about the error and that they would allow me to attend if I paid them one thousand dollars more. So I paid them one thousand dollars more. At the first lecture that I attended, a famous poet read to a large audience from the sample of my poetry that the flyer had requested. He said that the poetry was written by someone who was trying to have a voice but didn’t. Then he quoted the last lines of William Wordsworth’s “Intimations of Immortality” and said that Alfred Lord Tennyson had written them. Whole Hog So when we stop at the Co-op for a couple of Old Milwaukee tall-boys, the girl says Pabst pints are just a buck, so I[...]and that reminds me we’ve got sixty miles to go, so I say better make it six of ‘em—that’s three apiece, one for every twenty miles. Why don’t we go whole hog and you and me get us a couple of Frito Big Grabs, you say as she sacks up the pints. You’ll get more for less, she says, if you buy a whole bag, and hey, you get two for the price of one. Well, sure you say, you better throw in a couple of those, but no more deals or I might have to propose. |
 | [...]Drumlummon Views—Fall 2008 112 About the Money I’m happy that you enjoyed the song/poem/ books/loan, so I was wondering about, well, the money. I know these things work out in time, you have plenty on your mind, Rome wasn’t built in a day, and you’re probably prone to brief lapses in memory, and I don’t doubt your integrity, but I was wondering, well, about the money. I know where you work and I know where your home is, and this isn’t to threaten or even cajole, but the money, I was thinking, perhaps or maybe. I know you’re a deep, caring sensitive soul; the bath water’s the debt and you are the baby, so I wouldn’t dream of pulling anything funny, but I was wondering, er, uh, about the money. A Loose Interpretation Today stude[...]Zeus fiddled while Athens burned. This was the fated result of Hamlet finding himself mated with his mothe[...]ling his father whose donkey solved riddles in Thebes. In a loose interpretation, he blinds his noble but hated sheep, which he stakes on a hillside in a belated attempt at appeasing Polonius. But, as a ruse, a big swan comes down and ravishes the sheep, |
 | [...]Fall 2008 113 and her offspring go off to found Rome after a pig suckles them and they sleep for a hundred years. When they get home their fat[...]These fish that surround me like icons on the blue battlements, they are a risk I have never been willing to take. Gorgeous feathers all look alike to the Jamaican girl there, carrying a list from her[...]don’t you cry. One orchid one jar of Katydids one broken mirror two lim[...] |
 | [...]Drumlummon Views—Fall 2008 114 Go to sleep you little baby. As a child, I carried fillings of mercury around inside of my head. Mother would call and call, but I could only hear the train in my ears, moving down its tunnel of blood toward the dark heart my father gave me in his pain. When you wake I’ll never get used to my orbital lenses where only the center is clear and everything else falls away. In the dream my girl was eating chocolates— no, she was eating the cooked hearts of chickens one after another. you will see The musak beside this escalator is playing a tune the Irish learned from whales before the great slaughter. Are these your lamps, O poets, fueled by blubber and blood? After the priest had finished with her, she went into the garden behind the rectory and filled her mouth with red clay. All the pretty little ponies. |
 | [...]upporter, she has done all she can. Several times in Island: Reflections on Loss, a memoir recent years Dad remarked to me, “I don’t know what O. Alan Weltzien[...]I’d do if your mother were to die before me.” He always[...]July 1997, promises more blue she’s the only one left from her family, her father and skies and temperatures in the 70s: weather that shows younger brother and sister all dying before old age. off the inland sea playground and lights our Island. We blindly trust the nurses, the morphine easing Weather that redeems the endless rainy season. Half an our pain, too. Our eyes flick between his face and the hour after reaching the hospital, the four of us meet the heart monitor. I hear his laugh, his baritone as he sings pulmonologist. My younger brother, the Naval officer old songs, accompanying himself on guitar or ukulele or whose eyes stay dry, speaks for us: “We’ve discussed this autoharp. I look behind his face at earlier, younger faces, and don’t want a trache[...]nto a mask. His heartrate surges up Please remove the ventilator.” Dad is sedated, dozing. A once then quickly subsides, the line flattening. Without little while later, we’re asked to leave the room briefly. the machine he’s lasted little more than half an hour. A technician disconnects the ventilator and extracts Mom removes the turquoise silver ring he’s worn for a the endotrachial tube—hospital personnel want no on[...]ng. After a few minutes watching. They’ve drawn the curtains when we return, specifying fun[...]—Dad requested no these occasions second nature to them, and for the first funeral—we don sunglasses and file out into a perfect time all week, in the eerie quiet, we’re alone with Dad. sunny day and a new life. With fewer tubes in his arms and his face We harbor no regrets about pulling the tube. unobstructed, he’s become himself again, asleep. We In their yard that afternoon with my younger listen tothe slight arch of his nostrils, his gracefully neighbors and frie[...]ening, proportioned nose, receded hairline, wisps of waving Mom, stoic and practical, wrote obituary notices for silvery hair. Seated on his right Mom holds his hand, two newspapers and a letter for out-of-town friends. In saying goodbye to her husband of fifty-one years, her coming weeks she wo[...]loyalist floral arrangements, donations for ALS research sent
|
 | [...]Drumlummon Views—Fall 2008 117 in his name. Will ALS ever be understood, curable in as much urban anonymity as the Island may see, Alec’s and Joel’s lifetimes? I don’t hold my breath. since most of it, like Clyde Hill next to Bellevue, is I live in and out of those endless days marked by not commercially zoned. But the foreground strip a ventilator’s pulse when the earth careened. Of course threatens the background pastoral of the Danielson my own family’s traffic claims my lov[...]ce, generations old—nostalgic invitation (those the details of Dad’s dying cling to me like an unfolding soothing hay pastures) for the wide majority of us scent. Time doesn’t erode them so I make room for who’ve never worked a farm. Down the hill and past them as I do for my tears. the pioneer church, the driver approaches Camano Almost mystically, as if in response to Dad’s Gateway, whose meanings differ from those of the passing, Camano Island changed. I take its pulse, at the lumber yard. If Cascade Lumber secures your first or dawn of the twenty-first century, sifting the evidence of second home on the Island, the Gateway beautifies your the contemporary scene just as I accustom myself to life decision. It exists to proclaim and complement this without Dad. An older island and father give way to a Island’s landscapes and vistas. A littl[...]t Driving onto Camano Island I glance, as always, at Islanders like its dress clothes, but I see few slowing the barns and fields of the Danielson Farm north of the down or parked at the Gateway. highway, and my eyes trace the white lines of Camano Terry’s Corner used to signal the proverbial fork Lutheran Church. These symbols of Camano past are in the road. The right fork led, after a few miles, to balanced by paired symbols of Camano present and Camano’s oldest s[...]tsalady, but we always future: Cascade Lumber, on the hilltop at the Good turned left, winding south seven miles to the beginning Road intersection, and Camano Gateway further west. of the southern peninsula—the most island part of the The former epitomizes Camano’s building boom, its[...]er, a painted Island milled lumber supplying much of it. A big operation map marked the corner: rural commonplace. Every time through which scads of money pass, it centers a dull, I passed it,[...]hich represents on my heart’s screen. In the late 1990s Terry’s Corner |
 | [...]ck, blusher, eye liner, but neither belonged to Dad’s Island. Had he lived and a perm. Compared to older images, the new look, until the Gateway’s completion, he would have slipped Gat[...]s best Ebenezer Scrooge voice: “Bah, humbug!” the Island. It’s a sell but more than that.[...]ur regard recent arrivals who lack a thick growth of stories boys—rural citizens who didn’t know[...]soil. not scorn the changes, though Gateway Park leaves Anomal[...]ly budged from them indifferent. Living in a gigantic, sparsely settled Clyde Hill or Mountain View Beach. The middle class Montana county, they see the Island’s traffic a minor got priced out of Clyde Hill decades ago. Mom and a extension of Bellevue’s: pieces from the world of burbs handful of others who arrived before incorporation in that lies, mostly, beyond our ken. They don’t mind 1953 play the role of historical curiosities—remnants the thickening or the fancy touches, just as they look from another century. Will that happen all over forward to the occasional novelty of cities. Resident of Camano as well? Our cabin survives as a museum piece. a town of pickups with one or more dogs in back, I jog I scoff at yet envy those recent swells of permanent around part of Camano’s southern peninsula or west residents as I look behind the new look and come to Bellevue, both familiar and alien surveyo[...]me changes from status as “Other” disappears. The short bridge and rural to quasi-urban and wealthy, Dad contemptuously highw[...]separate domain girdled—barely—by salt water. The judged “his” suburb a vapid terrain bereft of genuine contemporary island attaches itself all the more fiercely cultural expression or diversity. That’s an unfair across the Stanwood isthmus, as the daily tide of cars judgment, of course. Bellevue has become a multi- attests. Bea[...]rather than exclusively white resident or visitor of island, but in the new century it enclave—my Bellevue High School graduating class is more than ever an appendage of the Sound’s metro of over 500 lacked virtually any racial minority—b[...]er south. Not so much a place apart, a simpler the standard vehicle is a Lexus. My folks believed, “The alternative laved by marine air.[...] |
 | [...]Drumlummon Views—Fall 2008 119 The Gates place, a favorite celebrity sighting on Lake Like my roots trip to Norway, I’m on my own, Washington boat tours, is barely a mile away. I regularly looking behind the scene at Gateway Park and the jog past its carefully unmarked driveway and gates. Studio Tour, putting my finger on the new island just as Yet Camano Gateway is all about public art I settle into the new me: a father without a father. and Dad loved art, his eclectic tastes ranging from his The first couple of summers I drove past Gateway grandfather’s oil paintings to Japanese and Kwakiutl Park with its faux-rural Visitor Center, I thought it prints to folk art, including the rosemaling he painted. pretentious, as Dad[...]repeatedly and learning stories about the artists who an industrial production originating in the rural mid- donated artwork and dozens of hours of free labor, my century town, but might give Camano’s Studio Tour skepticism modulated to respect. Camano’s inferiority a try, as I have.[...]kept thousands off- when I’m normally teaching in Montana, but one Island, but I-5[...]mass discovery: it was only a matter of time for the We didn’t visit art galleries when I was a kid, Sleeping Beauty to be kissed awake, again and again. but after the ubiquitous college survey course guided Gateway Park and the now annual Mother’s Day by Janson’s History of Art: The Western Tradition and an (weekend) Studio Tour, two of the Island Chamber energetic art historian, I sought out art museums. In of Commerce’s most conspicuous sponsorships, Europ[...]ough several crash confirm and sustain the in-migration. One brand courses in art history. I have wandered through dozens of sophistication has arrived, and I laud the Island’s of sculpture gardens and galleries, private and public, increasingly evident aesthetic sensibility in which artists in Britain, central and eastern Europe, and Australi[...]ed—temporarily—a lead role as planners. crave the peculiar pleasures of paintings and sculpture, Gateway Park fused the vision of a few oddball and find I like art history almost[...]architects who’d infiltrated history. I endorse the value of public art even if I dislike the Chamber, according to a few participants. Before a particular abstract piece. I’ve not dragged our kids to completion some key players had quit and the Chamber galleries except when abroad, naively rat[...]nted with artists whose individual vision instead of sustained early exposure, they will find their and eccentricity strained team spirit. No surprise in own way to art when they’re ready. that climax. For a period Jack Archibald, a stained |
 | [...]glass artist, served as contractor and “keeper of the connect. It’s about where to spend more than where to aesthetics,” in his phrase. During the actual building be, about buying more than being. The “Us” who will phase, he fielded questions and[...]ly. It “Keep It Beautiful” could be the listed businesses—a took time for Islanders to conceive a fork in the road miniature yellow pages. An unexamined nexus between widening into an “art park,” but the Gateway Park “art” and “busine[...]olized by map Dedication ceremony sealed an image of artistic and signboard, exists: is it the business of art or art of Camano. On that occasion speakers described plans for business, or something more? expansion westward to almost five acres. Driving past Since the 1920s and 1930s the Island has the northeast peninsula, motorists judge, for a second marketed itself through pastoral imagery: views and or two, the value of public art in defining an island, an salt water beaches and small pastures, occasional horses attitude that attempts to set it apart. and plenty of cutover Doug firs and Western red cedars. The newer signboard and six-foot cutout map The Chamber’s “Gateway Park Mission Statement” in Gateway Park’s center, painted by Camano artist[...]legacy, accurately Paula Rey, almost pushes into the third dimension describing Camano as[...]and beach names (white). “remote byway of Puget Sound”: “In the quiet erosion It renders Camano’s slender hunch-backed shape, of our old ways can be found the first stirrings of new painted dark green, as beautifully as I’ve ever seen. The beginnings, fresh attitudes and evolving ide[...]umbug!” “Old ways” hovering over “Welcome To”; “Camano Island,” four include stories of old couples on fixed incomes getting letters with scrolls, appears below in larger block letters; taxed off their land. Many resent the infusions of and stylized scrolling waves in profile in the lower newcomers and new money—an old[...]iful!” Framed predetermined roles. The Statement salutes “a highly by wood decking and sculpture garden, the whole visible entryway,” an “aesthetic Gateway” to the Island, sustains Islanders’ privileged view of their place and glosses the Park as “testament to the cooperative themselves. The business directory framing the map, spirit alive and well” on the Island, and puffs Islanders’ however attractive its soft gray panels, ties an aesthetic common “love of beauty, both natural and man-made,” image with commerce as though they symbiotically the self-flattery justifying the Park and preempting
|
 | [...]rly visitors en route from migrations north about the sculpture, or remain indifferent. and south.” The Return is a crowd pleaser, as is Paula But given the inherent value of public art, I like Rey’s Fish Boy (alternat[...]a chubby Baroque putti smiling contentedly, at rest after the Island’s permanent population reached a on a flat piece of granite, hugging a blue fish. Who critical mass and diversity. By 1999, near the end of the could dislike Jack Gunter’s Clam Diggers mural, about decade in which the Island led the region in growth five feet by five feet, mounted next to the Information rate (82 percent), that mass of artists and art lovers and Hut’s door? The depiction of two guys clamming on a idle curious had emerged to found an annual tradition, Camano beach with plastic bucket and shovel, at play a weekend open house tour. Art colony and au[...]ng Puget Sound’s tidebeds, reinforces a cliché of ride the wave in together. Audience both near and regional privilege. I later learn the series has proven far sustains—funds—thethe one symbolized by the juxtaposed lumber yard and good lif[...]rt park. It may not always play out this way, but the At the Park’s north end near the old forty-two- catalyst of sharp population surge sets off a series of foot flagpole stands Karla Matzke’s Portals, its most transformations, not all of them aesthetic or predictable. abstract piece[...]sculpture. When While some won’t bridge the gap between I point it out to Lynn one summer afternoon—we’ve “natural” and this “man-made” “beauty,” the stopped on the way home from Stanwood—she asks, commitment and volunteerism of a vanguard of artists “How are those ‘portals?’[...]Puget Sound islands I quote her the “Information Notebook” which, feature such an “Art and Business Information Center” in stereotypical lingo, glosses it as “a ‘gateway’ to ‘new near their entry point, though it could be a trend. The ideas, new millenia, and new horizons’,[...].’” site solicits praise. A landscaped island of shrubs shows She looks at me impatiently, and I hasten on, off David Martiz’s The Return, four bronzed snow geese, “‘The possibility of stepping back through a threshold, according to the plaque, flying back to the Skagit and the possibility of return and the entrance back to our Stillaguamish River deltas. The “Information Notebook” past and our h[...]way you’re seizes an analogy, defining it as “the island’s relationship stepping?”
|
 | [...]not?” the Center’s burnished brown-red siding reflects nearby “It’s too stark. It doesn’t do anything for me. barns and sheds while its roof evokes both old and new: Besides, what does it have to do with Camano?” it imitates a cutout corner of a familiar barn, smaller “Good question.[...]n life size. A giant hourglass mounted on a piece of or clam diggers.” Its bright sheen suggests a metallic fake barn marks the new century, within which I’ll soon future, not my green past. The “Notebook,” obviously turn old and follow Dad to death. written by artists, calls Portals “the ‘negative space’”— From the parking lot I gaze at Millenial yikes!—of Jack Archibald’s big stained glass mural, Hourglass, which the “Information Notebook” Millenial Hourglass, adorning the Visitor Center on the ponderously describes as “abstract geometri[...]two artworks link together juxtapositions of colors and texture . . . intended to visually and thematically the two sides of the Gateway create a sense of kaleidoscopic movement, fractured Park.” Millen[...]tract clock, prismatics and clashing shapes as the century and the measures the death of a father and a century, and the milleniel [sic] wind to a close.” My lips repeat Dad’s new time that[...]A giant diagonal “X” overlays a simple The tall slender Visitor Center that dominates grid of two evenly spaced vertical lines, and in the Gateway Park has collected mixed reviews from[...]evenly spaced horizontal lines. Shades neighbors. In 2001, however, the local Chamber of brown in the left and right (truncated) thirds offset received, through Designs Northwest, a Citation Award the brighter swirls outlining that hourglass. The Park’s by Northwest Washington AIA (American Institute primary symbol boldly declares Camano’s coming-of- of Architects) in honor of the Center and the vision age and pulls old-timers willy-nilly into the near-future. leading to it. A news story quoted juror comments[...]rd development and saluting it as a “courageous act” and “bold statement” nouveau sophistication, but I squirm under the weight in which the “use of local artists was well-integrated of its clear symbolism, re-figuring my own family’s into a rural vernacular.” Ambitiously conceived “to more tenuous place, as we’ve no choice. look forward as well as backward” in time, the Center Until a few years ago, no one[...]15- x 12-foot mural, Millenial Hourglass, encased in a glass hourglass: time past and time[...] |
 | [...]accelerating. With hourglasses, sand appears to drop decades later the Island drew her back permanently. faster as more of it passes through the narrow aperture. I also visit violin maker E[...]om’s still runs, cabin and studios sit in a sunny sward at the end of but for how much longer? Mine contains more sand[...]’s and Joel’s Schweiger was trained “in the Cremonese methods of hourglasses show far more above than below. Looki[...]ola, and cello construction, restoration, repair, in the Island’s hourglass, sand seems to fall faster instrument and bow identification,” according to his as change accelerates, yet it bears no relation to the pamphlet. After years in theto Camano’s southern sand—like our bluff.[...]might pick up a Schweiger I shift my gaze to other art. The “Camano Island violin for under $10,000, but a cello will set me back at Second Annual Mother’s Day Studio Tour” force[...]least $20,000. Either way I’ll wait seasons for delivery. attention onto the contemporary arts colony. The event Sophisticated cottage industry repla[...]and canvas, a Pacific madrona One of the first artists, Jack Archibald, arrived in tree in the left foreground, salt water behind artist and the late 1970s on a stormy winter day. Tall and slender, tree, and gentle forested hills in the middle distance. with neatly trimmed mustache and beard and wire-rim The leisurely image fuses scenic Camano with artistic[...]kish look, Camano as though art merely replicates the scenic. he was “searching for the end of the road” and, for a Though only a few artists make their living wholly few years at least, thought he’d found it. Many others from their art, the tour includes well over a dozen followe[...]that way. I study examples stops scattered around the Island and Stanwood. Near of his stained glass in “the shack,” the early Depression Mabana I visit the studio-home of Jewish-American log home he and his partner, Karen Prasse, lived in for artists Chaim Bezalel and his wife, Yonnah Bezale[...]lace Levy, whose multi-level home takes advantage of atop a hill on their six acres. I wander in and out of Saratoga Passage views. Paintings and art photos hang other log cabins and admire the rhododendron gardens on every level. Bezalel-Levy stayed at Cama Beach created by Karen, a[...] |
 | [...]ists want a stained-glass front entryway narrates the history of Gateway Park and the Island’s for the post office that blends in with the art park, art colony. He and others remind me that the south but bump against federal rules and regs and generic Island harbors “more eccentrics” and the north, “more architecture. To date I’ve seen no “art center” extension co[...]Archibald takes seriously his mission of public ooze. Jack also describes the southern peninsula’s art for public buildings, which a Stanwood/Camano reputation, in the 1930s and 1940s, as a place to party News profile defines. Turns out he has designed and for burlesque dancers and strippers from Everett. In installed more than three dozen public ar[...]meet “Ruby,” their personal around Washington in the 1990s alone, and recently favorite, in a life-sized photo. six of his installations were selected for inclusion in After their arrival, Archibald reinvented himself, the Washington Arts Commission’s 1 Percent for becoming a stained glass artist with a reputation Art Program collection. The article quotes Archibald for public art who got good quickly. In 2000 he was countering the arguments that the Island’s two new building himself a new studio[...]entary schools are too fancy: “‘This cultural of artists to donate work to Camano’s new Senior enrichment is important . . . [also] for . . . parents and Center, built next to the new Utsalady Elementary the community at large. These are public places, and School. He hopes for some gallery space in the Center they need to reflect our values, our culture, and our and is c[...]ic glass entryway and matching tile mosaic floor. The art? My old junior high school showcases, in a central artists involved in Gateway Park wanted to expand it. sunken garden along its front, a cedar totem pole According to a master plan, the eleven-acre site will carved by Dudley Carter. According to Archibald, the include a pond, the new post office, and a 320-space Island draws artists because “‘in many ways [it is] our Park-and-Ride lot. Three acres closest to the current muse’”: “‘If we can play some small role in adding to Gateway, donated to “Camano Action for Rural [the incredible natural beauty we found here], then we[...]an “art center.” will, gladly.’” The fat striped lot—ugly “negative space”—confirms He speaks for many. A later profile, also in the a commuter island. Post Office personnel want the Stanwood/Camano News, describes the installation
|
 | [...]Drumlummon Views—Fall 2008 125 of Archibald’s “fourth major glass mural” of that year the short distance to Gunter’s “History of the World, and plans for his next three “large glass projects in the Part IV Gallery”—move over, Mel Brooks—housed in area.” In it Archibald elaborates the artist’s lead role in an undistinguished garage by Bartlett’s Tyee Store. A shaping the Island’s new identity: “‘These are exciting crowd strolls through the front entrance and clusters times in our little neck of the woods. . . . we are in a around metal sculptures on the rear lawn. Gunter crucial period where population[...]t or some overwhelm us. What seems most important to me dark, exotic cigarette. After I introduce myself, he stubs is that we seize the opportunity at the outset to give his cigarette in the grass, leads me through the rear this area a cultural identity, to stamp our aesthetics entrance, and narrates our way through the Gallery, on everything from parks to commercial districts.” drawing other visitors in his wake. He can’t help it, nor I laud his idealism but know that public art will not can they. Of average height, bespectacled, and with compensate for the myriad consequences, known and the longish hair of an artist-impresario, Gunter rushes unknown, of growth—that ever thickening clot of cars through a crash course in recent shows and upcoming and ourselves.[...]projects. I struggle to keep up while studying pieces In this island’s story, artists, among its latest from “The History of Camano Island Including the arrivals, give color and shape to what developers have Future” and “‘Honey, I Shrunk the Art,’ the Ninth promoted in their ad copy for most ofthe 1920s, Gunter barely glances at his realistic Clam Diggers series, have felt but not expressed. They sing the Island, their he is so busy explaining Secrets of the Mount Vernon tunes more original and arresting than those hack Culture, later exhibited at Seattle’s Bumbershoot show formulae endlessly t[...](2000). A natural self-promoter with a deep well of Jack Gunter, a “co-conspirator” of Archibald’s, satire, Gunter grandstands irrepressibly, and his banter interprets the artist’s role more idiosyncratically. Kimball[...]nd devotes a few paragraphs and art. to “celebrated Northwest folk artist” Gunter, ci[...]hich he shares with artist his “leading role” in Stanwood’s mid-1990s “‘cultural Karla Matzke, in other seasons. Next time, Gunter renaissance’.” I’d missed the renaissance. From smokes the same brand and pulls me through a detailed Archib[...]on that Studio Tour weekend, I drive tour of Secrets of the Mount Vernon Culture, re-assembled |
 | [...]aborate ago and moved his Gallery out in 1994, promoting spoof of anthropology and 1990s cultural icons—a fake the new “remote” location with lots of interactive Camano Island history reconstructed b[...]tising. Gunter attracts attention through legions of shards—includes pseudo-amphora and outrageous friends and acquaintances, regularly exhibits in Skagit videos. The machines don’t always work but Gunter’s County and Seattle, and sends at least 11,000 invitations satiric ingenuity shines through. He was completing per show. He liked the fact I was interviewing him for Secrets of the Mount Vernon Culture—The Movie, his first this book and offered to design a cover. Long involved full-length pseudo-documentary featuring “News of with the Pilchuck Glass School, he has exhibited their the March” narrative voices. He spliced clips from old work in an annual summer show. In 2001 Lynn and I footage of “primitive peoples,” exotic expeditions, and strolled through the “Eleventh Annual” exhibit, and we archaeologi[...]ene fingered price tags, most pieces selling for well above shows researchers unearthing, with bac[...]ys, $1,000. Even if I could afford a piece of Pilchuck art ropes, and expressions of amazed glee, a big Gunter glass, there is no place for it in our log cabin. I walked pot or bowl from a narrow trench near Stanwood. In around, an alien from an earlier Island. another a band of women, tan and buff and wearing[...]es regional self-esteem, Vernon Culture variation of ice hockey on snow fields sells well. One of his gigantic murals hangs in “the above Darrington. For this sequence he’d hired a Pavilion,” the strip mall off Highway 532 on Stanwood’s helicopter but hadn’t told most of the women about east border. Again, public art begins to individualize it, he gleefully reports: he wanted to keep their play the generic. I doubt Gunter’s more satiric producti[...]viewers scratching their would be hanging in such a venue, though, the appetite heads, uncertain about being put on. His art elbows our for self-criticism being predictably small. ribs but asks us to join in the laughter and re-vision of I own a large postcard-sized copy of his egg history.[...]inches, I notice an E Series Jaguar parked in front, and titled, No one goes hungry—even with the balanced when I admire it, Gunter tells me he worked out a deal budget—at the pristine shores of Camano Island State with a client. He’s good at deals. Like Jack Archibald, Park—’The Park That Shows a Profit” (1995). The Park’s Gunter settled on south Camano a couple of decades generally quiet beach has[...] |
 | [...]2008 127 thick with visitors fore and aft the usual strip eateries, marine view. It implies t[...]ter than “Camano Island State Park Gift Shop” in the center, this, repeating the second Studio Tour’s event poster boats clotting the water, and a giant roller coaster built in which seascape scenery and art production naively out over the water to the right. On the left a white merge. bridge stretches impr[...]After my Studio Tour, a wakeup call from New to Whidbey’s East Point and white Olympics beyond. Camano, I parked near the Pioneer Cemetery and Gunter favors large canvasses and boisterous effect, joined a crowd of well over one hundred at Gateway and this panel—produced midway through the decade Park for its Dedication Ceremony. The Island County of unprecedented growth, the year Dad contracted Commissioner representing Camano cited the ALS—fingers the pulse of that exploding in-migration, thousands of volunteer hours that created the Park. A as though the Island’s demographic notoriety in the State Senator profusely thanked “the visionaries” and 1990s will inevitably extend to this final scene. “It announced the restoration of Park and Ride funding won’t happen here,” local inhabitants chant in kneejerk for the lot in the expanded site. Rows of empty cars, response, and they’re right and wro[...]with nearby sculpture. Commuters whirl past the Tired of new art, after that Studio Tour I retreat Park, hardly glancing at Millenial Hourglass let alone to our cabin and look again inside the childish whimsy pondering its meanings. A State Representative and of great-grandfather Oscar Weltzien’s panels, eye to eye the Commissioner both read from the Chamber of with Gladly, the Cross-Eyed Bear. Bookending Dad’s Com[...]rt which, life, they would not merit a stop along the Tour, though I later learn, Jack Archibald mo[...]iness. I learned from a Camano news story in The Island nouveau. As I drove back to Bellevue, Seattle Times about the sixth annual Studio Tour in I realized that with this ceremony, my I[...]e, passed another threshold. These pieces of public art self-guided tour of 27 working studios and galleries.” indivi[...]l strips, like suburban cul- This baby grows like the population. Of the four color de-sacs, blur together. Millenial Hourglass and Portals photos accompanying the article, the largest shows five announce a visually distinct threshold, strike an attitude seniors happily at work on their watercolors, spangled I applaud. The homes and studios of artists tone up the by sunlight, on a sloping lawn fronting bluff and place. I get in the groove, chuckle about our old cabin. |
 | [...]Drumlummon Views—Fall 2008 128 Back in Montana, I tell Lynn and the boys about the Bellevue or Seattle Art Museums. I don’t remember any ceremony at the Park: sculpture park.” “When we go this August, I want to stop there “You’re right. I feel[...]This little awhile so you guys can look over all the sculptures.” park is a quiet spot. I want you to see what artists have Joel protests, “Why? I don’t want to look at that donated. When I was your age, Grandpa rare[...]. us any art. I want to show you earlier.” So the following “Well, it’s part of the new Camano, and you’d July, we stop and stroll about. And later, Alec joins me better get used to it.” at those art museums. Joel repeats, “Why ca[...]eyes around it. It has joined my private gallery of I address both sons: “I want you to understand Island fixtures. I hope an expanded sculpture garden some of the ways the Island has changed. Just as our will finally happen, just as I look forward to seeing local Beach looks different now. You might like some of it.” art in the new Senior Center. Such art inscribes a love Lynn, remembering her closeup view of Portals, story between particular people and[...]erence our new life within that continuing story. The Alec points out, “Dad, we’ve never gone to the Island I knew as a summer child is gone. |
 | [...]2008 130 Drawings (plus an interview with the artist by Jennifer A. Gately) Wes Mills Note: This interview appeared in the publication accompanying Wes Mills’ 2007 exhibition at the Portland (Oregon) Art Museum. It is reprinted here by permission of Wes Mills, Jennifer A. Gately, and the Portland Art Museum. We are grateful to Wes Mills, Ms. Gately and Ingrid Berger of PAM, and G. B. Carson for their invaluable assistance. Existing in a place between the palpable and the ephemeral, Wes Mills’ deeply personal, abstract graphite and ink drawings emanate an intuitive sense of the universal. His daily drawing practice, like a practice in meditation, is continually inventive and reflects a lifelong quest for authenticity. The following dialogue offers insight into the[...]. artist’s current thoughts and practice and is the result of numerous conversations between the curator and the artist in the months leading up to the exhibition. Wes Mills: Yes, this thought of authenticity is important to me. As I work, I often ask myself: What Jennifer Gately: It is important to recognize that for is a true, authentic thought? Does something become each subtle and idiosyncratic drawing in this small authentic or is it born authentic? I feel this may be the survey there are generally twenty to thirty related common thread that runs thr[...]ings works. Is there anything else we should keep in mind as and me as a person. we discuss[...] |
 | [...]Drumlummon Views—Fall 2008 131 JG: One of the earliest drawings here was created in place in my life where I wouldn’t permit myself to 1995, during a time of transition from work that was get distracted. I began to make drawings using the highly self-referential to work that investigates pure simplest of materials, mainly a graphite pencil and abstracti[...]ite powdered pigment. I felt that if I truly were to get somewhere, to a deeper or more meaningful place, WM: In the early ‘90s my work dealt with stories and[...]about introducing a new material. I feel the same way At that time I liked the idea that a drawing could be about ideas too. A lot of artists come to their work read, literally. Often the text was just the word green, with ideas. For me, it’s the other way around. If one written over and over. This drawing is probably one of thinks about it, the idea itself would be like another the last from that period. The use of text originated material, another distraction. I’m not interested in from my childhood school days. Occasionally I wou[...]g too intentional. However, it’s get into a bit of trouble, so in turn I was made to stay important to me that drawing relates to my everyday indoors during recess periods. The teacher would have life. me rewrite words that I had misspelled over and over on the chalkboard, and there was a certain point when JG: You work these materials heavily into the surface I’d get lost in this sea of words. This repetition, which of a very specific color of paper. I returned to in these early drawings, became a kind of safe haven for me. WM: Many of these drawings have been touched quite a bit in their making, and not just with the tip of JG: At that time, after abandoning art for nearly ten a pencil. I have almost always made drawings on this years, you began to work with great deliberation, and off-white paper, almost a sandalwood color. After years your choice of materials shifted as well. of making drawings on this tone of paper, I discovered[...]that spoke about an ancient WM: There was a point in my life when I felt I needed color system called the Haft Rang system. Briefly, in some sort of grounding or focus. In some ways, my order for the true qualities of black and white to reveal drawing practice might have evolved into this, but themselves, these two colors need to rest on a neutral it was also a deliberate choice[...]e one ground—a sandalwood color similar to my paper. I had |
 | [...]seen this relationship of black and white in connection to a neutral[...]so, in my life, I was drawn to the possibility of being able to better see a thing for what it is if it could[...]I am often taken by the thought of Universal Truths and how they[...]intertwine through everybody. In a lot of ways, they connect us as[...]individuals, and perhaps for me[...]JG: Yet, the ground of the drawing Haft Rang (1997) at first appears to[...]5 x 7 inches. © 1995 Wes Mills. erased through to this neutral ground color. I really Courtesy Port[...]the thought of this neutral ground or this place, and[...]eventually you end up at yourself.
|
 | [...]Views—Fall 2008 134 JG: With this notion of the ground upon which your drawings exist in mind, you created a group of drawings called Five Ingredients of a Cow (1999) that alludes to your interest in Buddhist philosophy. WM: There is a tendency, when you’re continually making work over time, for a preciousness to come into it, which I think affects the ground or the level on which the drawing initially exists. When polishing a stone, there is a certain point at which you no longer see the stone and instead you see your own reflection. I try to be conscious of where this ground exists in my drawing and in my life. I feel the Tibetan culture understands this. They have a practice of desecrating the earth before they create their sand drawings. They literally wash and coat the ground with five ingredients of a cow—the dung, the piss, the snot. . . . When I Wes Mills, Memory Lin[...]paper, 6 x 6 inches. © 1999 Wes Mills. Courtesy of the ground and how one builds or exists on it. Where Portland Art Museum. does the ground exist, and can one actually lower it? JG: There are a few traditional references to spatial WM: Generally, I feel my drawings aren’t directly depth in your work. The Duchamp drawings from related to other artists’ work. However, those drawings that same year have a subtle horizontal line that seems relate to a small Marcel Duchamp etching I own. It’s particularly intentional and helps to orient the drawing. actually a restrike, most like[...] |
 | [...]No Title, from the series Shore Line,[...] |
 | [...]6 passed away. I find that it isn’t so much the original drawing that feels like Duchamp, but the intentional marks that were made to destroy the plate after the initial edition was printed. I made this assemblage of diagonal marks similar to the lines in the etching, as a backdrop. They became interesting in themselves—the way they started playing with each other—but th[...]liked what happened, what it does with my eye and the way I read the drawing and how I enter into it. This Duchamp in particular is a funny drawing. When I was hanging it for a show, I looked at it and to my surprise the horizontal line was missing [laughter]. So I took it out of the frame and used a penny to make the line. All of a sudden the experience of the drawing unfolded into its initial thought.[...]Wes Mills. Courtesy JG: I’m particularly drawn to one type of line that Portland Art Museum. reappears in your work, which seems to be heading |
 | [...]Drumlummon Views—Fall 2008 137 in one direction then suddenly turns in another. You and the linear space it covered. In my mind I could mentioned that this relates to your ideas about memory see the world in this linear way, but at the same time I and the way one travels from one thought to another, could hear the water lapping up against the bank, back from point a to point b. and forth, to and from me. The lapping shoreline was[...]only taking up a foot or so of space, yet I could see the WM: I like how one’s thoughts can change direction. history of this line going up the side of the bank and If I were to see a thought in the form of a line, what valley. The drawings that followed were more about would it look like? I made a group of works titled this type of space and the possibility it encompassed. Memory Line (1999) in which I would draw a form and Around th[...]t that my orientation toward my then redraw it on the same page. What interests me work—the way I looked at drawing and the world— is the mental line that is created in the making of a was changing. I began making drawings that didn’t have drawing. It doesn’t matter what the form is. I like this linear lines but rather little specks that simply follow thought of memory and forgetting . . . to remember the natural progression of my hand. something isn’t always a straight line. In order to Earlier I talked about the ground on which a remind yourself of something, do you ever go back drawing exists. At first, this ground in the Shore Line to the place you were at when you originally had the (2001) drawings felt somewhat transparen[...]difficult to understand where the drawing existed on the page. Many of them have a central, hard-edge vertical JG: All the time [laughter]. . . . line that I initially drew to help give the drawing something to relate to. But I found that this drawn line WM: Memory Line was made with this in mind. lacked some sense of truth. I found that when I cut through the paper surface with a razor blade, all of a JG: Though your work is abstract, it often finds its sudden the drawing existed near this new physical edge. inspiration in nature. I like the fact that this physical edge exists inside the[...]on what is inside WM: One time, I was sitting on the bank of the and what is outside the drawing, almost like bringing Bitterroot River near my home, watching sticks and the edge of the paper inside, the outside in. leaves float by. I was thinking about the flow of the river |
 | [...]ve, even with such limited group that related to the forms; I started to accept the materials. You’ve talked about altering the ground you form and now I really like them. work on, and, in fact, you’ve even gone so far as to alter the shape of the paper using templates you store in JG: Much of the palpable energy in your drawings various boxes, which you take with you when you travel. stems from the space in between—between dark and[...]ent lines, between forms. WM: There is a tendency to take the abstract rectangle for granted in relationship to art and architecture. These WM: I think the space in between things really defines drawings are a response to that. First I was ripping the so much of what a thing is about. The paintings of paper and cutting it into different shapes; it se[...]orgio Morandi are a like it was another dimension in the drawing and it was good example. The spaces between the forms he painted distracting. Then I began to make these more organic really define where they are, what they are. Just as in forms that really brought everything back. I made[...]not said says more Plexiglas templates that I rip the paper around. The first than what is said. few drawings seemed odd, but then I started to make a
|
 | From the Archives
|
 | [...]Views—Fall 2008 140 Cabin O’Wildwinds: The Story of a Montana account of her homestead stay to its readers Ranch in several installments in 1931–1932. We Installment Three reprint here the third installment, published Ada Melville Shaw in the May 1931 issue. Note: While researching far[...]I have read somewhere that Mother Nature—or the designs and interiors in The Farmer’s Wife: Great Mother, as I like best to call her—deals heavily The Magazine for Farm Women, former in “pairs of opposites”—heat and cold, black and white,[...]good and bad, small and large, and so on, and in this Patty Dean came upon a marvelously liter[...]rything I first-person narrative written from the did, or tried to do, had two sharply contrasting sides to perspective of a woman homesteading alone it. Those were pre-Volsteadian days but the words Wet near Billings, Montana. Ada Melville Shaw, and Dry were with me day and night, for I was in semi- writer and editor, suffragist, and author of arid country where every particle of moisture was worth the lyrics to the hymn, “All the Day” (ca. more than its weight in gold, and water for personal 1900; music by James M. Black), had[...]as—so far as I was concerned—literally “out of a homestead claim in Yellowstone County sight.” in late 1915. Shaw would later serve as an My faithful water boy, Hedrick, from a nearby editor at (and frequent contributor to) The homestead, at last had to give up the task of keeping my Farmer’s Wife, a popular magazin[...]barrel filled—they had found something else for him in Dean’s words, to “providing a forum for to do in his spare time at home. I hoped in time to be farm women, actively soliciting their ideas, able to toss the dice of chance for a well but was not yet letters, and experiences, employing a crew of in position to take so great a risk. They had a good well field editors who traveled across the United at Dave Heathlowe’s and I thought that at least one of States, encountering and reporting on the their two younger sons could be spared to haul water farm woman in her many work roles.” With for me once in a week or perhaps two weeks. Mary paid subscriptions numbering more than one Heathlowe had the same idea and before I had said a million, The Farmer’s Wife brought Shaw’s word about the matter suggested it to me—she was |
 | [...]Drumlummon Views—Fall 2008 141 ready to take the whole world under her wing and she aside from the bitter gospel to which its undecorated certainly did want me to make good. “Pa may object,” walls reechoed. The preacher offered to our thirsty she said; “he gets fussy sometimes[...]fix minds something that might well be compared to the it up. The boys like you and—you don’t need to pay a alkali water of the plains and led our feet over spiritual cent. We can afford to do that much for a neighbor!” cactus of the most painful type, but after he had done[...]mething about Dave his worst and the last awful attempt at song was come Heathlowe’s disposition and insisted that I would pay. to an end, the pioneers had a real meeting “around a Six days of the week Dave Heathlowe farmed. throne of grace”—the grace of natural, essential, kindly On the seventh day, he put on a worn black suit, human fellowship. All strangers in a strange land, they well-blacked boots, carried a big Bible under his were glad even for half an hour to exchange friendly arm, rounded up his big family and went to town handshakes, scraps of news, and enjoy together, to preach in one of the two small box-like churches perhaps not a “communion of saints” but a community of Nesterville—neither one of which could in of human feeling and fellowship which they needed any sense support a preacher and neither one of fully as much as the hard ground needed rain from which commanded anyt[...]portionate heaven. membership out of the rapidly incoming army of The Sunday following Mary’s suggestion about homest[...]we was nothing if water, I was able to attend service. It was a hot day and he was not aggressive and he drove souls before him the little wooden box, filled with the odor of bodies as relentlessly as he drove his team over the unpaved more or less unwashed and of breath from lungs more trails, and his family over what he conceived to be the or less unclean, and resounding to the harsh shouts of path of duty. the preacher was not an inviting proposition. But one I had all of my life been a regular churchgoer but learns to bear and bear and “be a villain still!” I fou[...]that I was too far from town After the service, which the preacher always to gather frequently with the faithful under this man’s drew out as lengthily as possible, having borne so far, ministrations. The ugly little meeting house, whose I summoned all the latent grace in me and extended eight glaring windows remained hermetically sealed my hand to Dave Heathlowe to express as best I might the year around and whose one door was the sole some decent appreciation of his strenuous endeavors to source of ventilation, had, however, a reason for being set our feet in the right path. He eyed me coldly from |
 | [...]oudly enough so that He kept some stock on the place and had a good well all in the room could hear.[...]y, one-roomed “I understand you want us to haul water for you. house of unhewn stone, so low and gray that it fairly Well, we can’t do that. My boys’ time belongs to me melted into the general landscape, was only a mile from until they are of age. You’ll have to look out for yourself. my cabin but the way was so rough that, between lame We had to when we came. You should have thought feet and fear of loose cattle, the distance was practically about these things befor[...]prohibitive. A blank wall of his house turned toward I saw gentle Mary stoop down to pick up a book, Cabin O’Wildwinds so that I could not see his semi- turning her face aside to wipe a sudden tear. I saw the occasional lamplight. Only the thin trail of smoke that preacher’s youngest son, Harry, give his father a look semi-occasionally came from the low stovepipe that such as bode no good for the young man’s loyalty to served him instead of a chimney reported his presence. that father in days to come. Quietly I answered the His cattle barn, low-built of logs, lay still farther away man that it was quit[...]be abundantly and he used a gate leading to a road at the farthest cared for without any help from him—and left the point from Wildwinds. Up to this time I never had church. Nor should I ever have entered it again but for seen the man, but someone told me he was a “right the fact that stronger than all other considerations was decent little bachelor.” the fact that the little building, open once a week, did Aside from the imperative water need I was really afford a gathering place for our socially starved selves. curious for another study of character! City life does My next and onl[...]ourse—unless a not give one quite the sharply-defined opportunities second “raven” like unto Hedrick appeared—was a man of getting at the very core of people’s selves as does life whom I shall call A. Q., who owned the homestead under such conditions as I was then experiencing. So, next to mine. Thus far he had been something of a pondering, I set out on foot to see the man A. Q. myth. His quarter section on which he had filed “sight There was no break in the fence between our unseen,” had turned out to be absolutely no good quarter sections. I could not climb nor could I crawl except for rough pasture and not very good for that. He through the wires. Therefore I selected a spot with a earned[...]bread and flapjacks by cutting minimum of cactus and apparently clear of snakes, and hauling logs for the homesteaders from the distant cautiously lay down flat on my back as close to the timber, and spent a minority of his time on his claim. bottom wire[...] |
 | [...]all braid them, wondering I suppose what in time “that agog for the horned brutes that often bunched near there woman” was wanting. I explained. He was slow of the division fence to gaze with greedy eyes at the speech but at last the argument began. unattainable grass on my side. Theof yonder. When I ain’t haulin’ I’m liable to be at the other me. It was indeed well to have the artificiality of too place. Couldn’t Heathlowe’s kids help[...]ere’s conventional life broken up. As I learned to adapt enough of them.” myself to circumstances and laugh at obstructions, I further explained. The little man wagged his inconveniences and deprivations, I was fitting myself to head and smiled. “Often the way with these here too- meet all of life in the future with better spirit. pious people,” he offered. “That there kind of religion I made for the ugly little stone hut, passing as I ain’t no kind a-tall . . . . But couldn’t you make out to did so, at least an eighth of a mile of fence decorated git what water you need at my pump yourself? You’re with the owner’s washing—a clean array of blankets, more’n welcome—ain’t no bottom to the well—only overalls, shirts, socks—all of them showing need for a thing on the place is worth anything. A woman alone woman’s needle but all of them as decent as plenty of like you be can’t use such an all-fired lot of water?” water could make them. I “cried the house” and A. Q. I still further explained certain disabilities in the came out to meet me, flushing scarlet up to the roots of way of unable feet and ankles and the daily need of my his fair hair and with a frank honest gleam in his clear sixteen chickens, but he did not see[...]elor.” I could see plainly that to him I was one of “these The wind is seldom still in that wild country here” city women, a he[...]n words off our lips, making speech use for. However, he was gravely respectful. almost impossible, so my host invited me into his stone “Of course, I could carry a little water at a time hut, gave me his one chair and seating himself on an now and then,” I said, in one final appeal, “but one must upturned pail picked up three straws from the earth have water always. When it rains I[...]ugh which there still protruded knobby the eaves but one doesn’t get much that way.” vestiges of greasewood—and began industriously to “No, this here country doesn’t know how to rain!”
|
 | [...]grimly. to see. Sometimes he happened to be at home and I was getting desperate. If this[...]me— within a few hours his good horses with the stoneboat “Heathlowe intimated that women alone like would be at the door. Sometimes it hung several days. myself had no business on the plains, but I’m here and Once it was out for two whole weeks with consequent here I mean to stick and prove up—I have a RIGHT anxiety and much inconvenience. to. I may need a bit of help but—others may need my A. Q. kept to the letter of the bond but I had no help some time. If they do, I’ll give it if I can—up to reason to think that he ever hastened his return to his the handle. If I had a well and horses and you needed[...]s beat on my account. I also know water . . . and of course I expect to pay anything within that sometimes he could ill spare the time, but he never reason.”[...]his braided During hot months I had to wrestle with straws. I felt encouraged. “Matter of fact when I’m right shrinking staves and loos[...]hat’d pay me. See what I game and full of unexpectedness. One day when I was mean? How would seventy-five cents a barrel be? Time away from the house, a wild gust of wind tore the back is all the money I’ve got. I can’t promise to be regular door screen loose, an investigating rooster got in and nor often, but I’ll do the best I can once I start in— when I reached home I found him in the barrel, very that’s my way. You hang a rag of some kind over your much alive but very de[...]itching post when you need me and when I’m home to for a long trip to the timber. At best I could carry less see it I’ll come over with a barrel full.” than half a pailful at a time from his well and to make I walked back to Cabin O’Wildwinds almost on the trip twice in one day was more than my strength air—the wind blew so fiercely. The water problem taken could meet. And when the horned brutes lay between care of was one long step toward success. I even forgot me and the well nothing could have driven me on that to watch for horned brutes. At once on reaching the side of the fence. house I got from my trunk a length of turkey red cotton But the Lord does take care of children and fools, which I happened to have and with a building slat, they say. During that particular period of enforced rigged up a signal flag and when the water in the barrel drouth, no less than three different neighbors came to was more than two-thirds gone, tied it to the hitching see me, none of them knowing my stress, but each of post so that it hung high and flapped for my neighbor them bringing with them cans of water freshly drawn—
|
 | [...]they “kind o’ thought” I’d like a drink of water less then up a board to conduct the stream from the pump away two hours old. from the cattle trough to my tub. And I washed and I On another occasion Lassie, in an excess of laved and I splashed as I had not washed and laved and spirits, managed to upset the stand supporting a pail splashed since l[...]o which I had just strained through several folds of Are you who read growing a bit impatient of clean cloth the last of the stale barrel water. A. Q. was these homely details regarding the watery phase of away. There was nothing to drink but tomato juice and my homesteadi[...]k! But that night a quick shower came of us take the common blessings of life too much up and by dint of putting a row of receptacles across the for granted? In these my ripe years I am come to the entire width of the house, ranging in size from washtub belief that only those ever feel rich—that is to say, to a tin cup, and emptying one into another as fast as appreciate fullness—who at some time have known they filled, I caught enough to last several days. It tasted genuine poverty—emptiness. I once saw a bored rich roofy for I dared not let enough of it to run off to wash woman tear to pieces petal by petal one of a dozen the shingles but even at that it was better than stale costly, mag[...]clustered in a vase by her side. Better to have had but One lovely day when A. Q.’s cattle were grazing one perfect rose in a lifetime and to have loved it and at the far side of the land, I had an inspiration. I nailed revered its beauty. Better to have thirsted for cool, a stout rope to a grocery box, packed upon it my tug, clear water than to think of it so commonly as not washboard, soap and soiled clothes, and with much toil to know what a gift it is and not to feel the thrill of dragged the load to the pump—a hard job for there appreciation in the soul. was not beaten trail and the sod was rough with cattle I had filed on my quarter section under the holes and gnarly, thorny clumps of greasewood and description of hay-claim and could have satisfied the cactus. But, breathless, I arrived. There was no hurry. I Government without further attempt at cultivation washed and washed and washed. Then I had another by proof that I had cropped the hay. But my ambition daring idea. How about a bat[...]ran tall. I was filled and thrilled with the thought of good field glasses with me and with them could scan soil redemption—the taming of the wilderness so that the entire plains for miles—no one could steal upon me. it should produce grain and support human life. So I filled the tub with that clean cool water, even rigging I meant, in addition to cropping the blue stem that
|
 | [...]iews—Fall 2008 146 covered my flat land, to see what could be done to he was a pessimist. I knew a little something about cultivate the rough greasewood-and-cactus-covered gardening and I meant to know more. rises, on one of which little Cabin O’Wildwinds was[...]the breaking up and cultivation of new ground and While these first months of being fitted into had my campaign all mapped out! Oats, that first year, the new life were moving by, my grass was growing ten acres of them; then winter wheat on that ten acres splendidly for there had been an unusual snowfall and and an additional ten in oats; then alfalfa to follow the some good early rains. A civil engineer who had been wheat, wheat to follow the oats, and ten more acres on the plains for many years and understood soils and for oats—wheat—alfalfa. So before my homesteading their cultivation down to the last syllable, told me— term—which was f[...]men so often give information changed to three later on—was over, I would have a to mere women—that my greasewood “rises” were “a permanent stand of thirty acres of alfalfa and if I had proposition” agriculturally considered. two crops a year, that would be a big help. The father “Of course,” he drawled, “cultivation can do of a distant neighbor was an alfalfa enthusiast and something for this gumbo but it will take time. If you I had learned even to make alfalfa tea—a brew that have money to spare to hire labor it will not do any was supposed to be full of nourishment and vitality- harm to experiment.” essence; the word vitamin was not on the map then. Experiment! I meant to have a vegetable garden, Very big I fe[...]d wisdom. flowers, and, as a beginning, ten acres of oats. That But I had reckoned without experience and was settled. I had bought seeds in the very earliest day the first snag I struck was A. Q.’s mortal slowness in of spring—I laugh now as I think of that ambitious, getting around to break the ten acres—one week he careful list which I mailed with a hard-to-spare check was too busy, another week the ground was too wet, to a good florist in the state. And before the frost was another week he simply was not to be found, and at out of the ground I had prevailed on A. Q., the only last it was admittedly too late to do anything that available man with horses and machinery, to promise year. But he did get the one acre for garden broken to break an acre of ground for my garden near the up and perhaps I shall not be too greatly laughed at if house and ten acres for the oats. He shook his blond I narrate that when he was all ready to turn the first head and smiled. “Well, it’s your funeral!” I thought furrow, I begged to have my hands on one of the plow |
 | [...]mon Views—Fall 2008 147 handles and help the shining share cut the first sod on string for the new stakes, I set out to have a garden and my own land. I can still see A. Q.’s superior, tolerant grow food for the coming winter. The Great Mother smile. Oh, but I was proud! All the latent love in me of seemed to smile on me: The Rocky Mountains loomed Nature, of soil, of growing things, surged to the surface. above the horizon in marvelous peaks and shoulders And I was a true patriot and pioneer—helping to of shining, snow-crowned beauty; the birds—meadow develop the beloved country of my adoption. larks, curlews, tin[...]rnment bulletins about know—filled the air with joy; the tonic air was as wine; plowing. Ever since I can remember, the sight of a the enterprise on which I had embarked was thrilling— smoothly plowed field ready for the living seed has sacred even . . . inspired a wonderful, almost a holy joy in me. So I I struck my shining hoe into the soil. I forbear waited eagerly to see my acre plowed. Ah me! I suppose to write the complete story of my defeat. Enough to A. Q. did his best but the rows of overturned sod say that after three days of futile struggle I staked out a that should have been even, level, the responsive soil, scrap of ground about the size of a kitchen table and by rippling along like waves, were anything but! Every dint of sweat of brow and ache of back, thrashed it into few feet, the plowshare, guided by A. Q.’s inadequate an appearance of smoothness and planted a few hardy strength would leap clear of the ground refusing to do seeds—lettuce, radishes, onions. Beside my little porch I battle with the tough sod and snags of greasewood. buried hopefully some morning-glory and scarlet bean Then again the bright steel would bite deeply and seeds in memory of a vine-covered summerhouse that cast up a mound out of all proportion to the rest of had been the joy of my early childhood. the furrows. ’Twas a rough job. And although he had Somewhere in my reading a word had caught promised and I was willing and ready to pay, my little my imagination and I now com[...]thought he would just fallow, I understood, the fingers of the light and the let me find it all out for myself. rain did a work all their own upon stubborn soil until I was slow to convince. I did not propose to it was rendered friable—willing to support green life. be beaten. I had bought a complete outfit of good Perhaps it was just as well that[...]s, so with new spade, new hoe, new rake, to harrow the acre—it should just lie fallowing for a new spud, new trowel, new stakes for string and new twelvemonth. Lie fallowing. The words tasted good |
 | [...]Drumlummon Views—Fall 2008 148 in my mouth and consoled me as I made out a list of a good customer, exacted cash and turned it over on the canned stuff to take the place of the lovely things I had hour—honest as he was hard. meant to garner from the land that autumn for the With the hay money safely banked I decided to coming winter. take a flyer in water. A. Q. had two brothers who were Da[...]hed my well drillers. I sent word to them to come and talk well. kitchen-table plot. Not a thi[...]were entirely frank: hiring a well drilled was “the almost no rain. The sun was scorching hot. The gumbo gamblingest kind of a gamble” they said. They “hated was unkind. One morning-glory seed sent up a pale leaf to see a widder woman lose out.” But then I might[...]owed and then smiled, surveying my One of the brothers had drilled thirteen times on his grass land. No failure there! Further to sustain myself, I claim and not even moistened his drill. If water came it wrote some lines in swinging meter, beginning: might be bad. The land lay flowing beneath, the watching sky . . . . “Well,” I said, boldly, “nothing venture, nothing I even tried the musical phrase on A. Q. “Better have! If I am to stay on this place and turn it into let ‘er lay!” he responded prosaically with a wise wag of anything like a farm I’ve got to have plenty of water. his head.[...]When can you start drilling?” Then the hay was ripe. The skies had been kind. For three days at so much cash per foot the drill The grass was tall and thick. And who should apply[...]ored—I turned its rhythmical clash into a song: for permission to cut and stack it on shares but Dave[...]ther man Water—water in the ground— I could hire or bribe, the job went to him. I rather Won’t you have a drink? hated—sentimentally—to see those lovely acres of On the afternoon of the third day a shout: rippling life laid low but cash is cash and another spring Water! The men sampled muddy mouthfuls and spat would re-dress the field. Heathlowe did not deserve the discriminatingly. “Seems all right,”[...]must drew a bucketful and set it inside the cabin to settle record his faithfulness—he turned out to be prompt, till morning when they would return. If after tasting honest, thorough-going in every detail of the work, it thoroughly I decided it was[...]re, found me drill a few feet farther to make it a real well, then |
 | [...]ron casing, set up a pump and would help to locate others. The drillers came—heard— congratulate me. swore. I begged them to go right on swearing. They I awoke at dawn, tasted gingerly, sipped, drank even blamed themselves a little for they thought that a little, drank more, lifted my heart up to heaven in drilling the few extra feet to make it “a real well”: as in thankfulness. It surely was perfectly sweet water[...]d a lower, freer stream “Struck ile?” shouted the men as they rode up to the flowing out of hell’s washpot. house, two on one horse, and threw up their hats when After the first bitter hour—as bitter as the water I told them. They did the extra drilling. What a dinner itself—I shru[...]set my teeth, took I cooked that day! A huge pan of biscuit standing up on a long look at the shining shoulders of the distant crisp brown bottoms full three inches; broad thick slices mountains, fastened my flag in place and thanked the of pink-and-white bacon—no curled slivers for western gods of things as they were for a neighbor and a barrel. appetites; plenty of canned tomatoes; a mound of rice; I mailed the drillers their checks, got out my dictionary I even rashly opened a can of salmon; made all the and typewriter and went to work to try to earn the coffee, clear and strong, we could possibly consume—no money I must have if the dog and cat were to be fed need now to watch the barrel; and went so far as to set and Mary’s chickens thrive. a pitcher filled with water on the table—the last of the Two years later a man offered to dig me a well by barrel stuff I should have to use, for by night the pump hand for a very moderate sum of money and I bade him would be installed and in the morning I should draw go ahead. He struck water not very deep down. It was heaven’s free gift out of the bosom of the earth. not any too sweet but it served and when cold was quite In the morning I pumped. swal[...]nd made coffee Woe, woe, unutterable woe. The Great Mother bitter but it was wet and harmless and plentiful. By that had dealt me the hardest slap yet. For the water that time I was thoroughly “water-broke” and grumbled no gushed easily out of that pump mouth was salt, bitter, more. But I did not entirely abandon the blessed barrel. acrid—I could not hold it in my mouth. When winter came I melted enough snow to fill it to News of the “widder’s” good luck had spread the brim and let it freeze. Then when I wanted a trul[...]fore marvelous drink I hacked out chunks of ice and melted the house. A good well means a lot to a growing them. That was water! Absol[...]as limpid as community. A. Q.’s well had helped to locate me. Mine a royal diamond.
|
 | [...]ppened that while I was writing these paragraphs, the thermometer stood at nearly 100°. The iceman had failed to come. The faucet water is warm and unpleasant for now so artificial have we become that we are forced to “treat” city water with chemicals to make it soft and safe. I was on the point of grumbling when I had a vision—a distant mountain shoulder, a tiny kitchen with a barrel in the corner—I smiled and drank the city water smiling, nor had I any harsh judgment for the wail of a fellow woman, who never having been wate[...] |
 | [...]Drumlummon Views—Fall 2008 152 “The People” of Montana: The pipe is your brother, your helper, they said. Don’t In Exegesis of Indian Education for All ever ask of it anything you would not ask of yourself. Nicholas CP Vrooman If you would ask it of yourself, and then ask it of your pipe, the pipe will help you, will answer your request, A story. I’m on the Northern Cheyenne homeland and answer your prayers. Then your pipe will have a along the Tongue River just north of Birney. It’s 1992. high percentage of miracles coming true, they laughed. Tribal elders Bill Tall Bull and George Elk Shoulder That is the secret of the pipe. asked me to come down to help them record some It is[...]ancient songs and stories they wanted documented for in it. My point in telling it is simple too. There we archival purposes. Before we attended to the matter were, five hundred years following the beginnings of at hand, we brought out the pipe, offered tobacco, and European migrations to the western hemisphere. In spoke words of relationship to the surrounding world. the first hundred years of contact nine-tenths of those The songs and tellings that followed filled a timeles[...]rom disease—an estimated 90 million place there in that quiet peace of earth. I handed them people, give or take a few million. Those finding they the master tapes. were still alive have suffered a fistful of centuries fighting As we completed our purpose, Bill and George for human rights in the face of ignorance and violent sat me down, said they were going to tell me a secret oppression—along with racial policies that served up about the pipe. Something I should never forget, they a menu of apartheid or extinction as the only choice. said, and always have at the forefront of my thoughts Yet there we were, Tall Bull, Elk Shoulder, and me (an whenever I brought out the pipe. This had been told eleventh-generation son of a Nieuw Nederlander Indian to them, from their grandfathers, and they were now fur trader from Beverwijck), enveloped in a scene of pipe, telling me. They were giving me a gift for assisting song, and story that had been performed with unbroken them. They said the pipe was very powerful. It could lineage since the last ice age, here, upon this land. There perform[...]iracle: their I was, deep amidst and sharing in the world of the ten songs were now documented for posterity. The secret percenters. So much survives. of the pipe, they said, was to never ask too much of it. A metaphor. Ten percent. Doesn’t seem like There is a trick involved. The trick, they said, was not to much at first, when thinking of the loss of the other ask for things that were impossible for it to accomplish. ninety percent. But then, if we put it in American |
 | [...]market economy terms and were earning interest of over, to say, “We the People, here, in this place.” It ten percent on investment in means of production, distinguished us from all else in nature. In Montana, and it was compounded annually and folded back our part of the world, Indians have been saying “We into the principal, we have a significant number and a the People” for well over 10,000 years. As citizens of healthy growing concern. Ten percent of Indian culture these United States, “We the People,” are only slightly and civilization sur[...]n compounding over 200 years old. since the turn of the 20th century, the nadir of Indian There are two age-old aphorisms that when population in America (at one-quarter million), when coupled beautifully speak of our national identity. Indian communities turned the tide and began once One is from our European heritage, and was applied again to grow. The human value of Montana’s Indians to our nation in its early days. The other is indigenous can be understood as the base rate of our whole American, and places The People in connection to all society’s increase. things. They tell us “out of many, we are one” (from As with the Northern Cheyenne today, every the Latin-E Pluribus Unum), and as one, “we are all Indian nation in Montana, and all around the related” (from the Lakota-Mitakuye Oyasin). It’s a continent, The People are still here, yet inhabiting their complementary way to think about being American. ancient homelands. And now, Indians are the fastest There are also two sources of knowledge that help growing ethnic population within Montana society. By us understand the lives of our ancestors. First are increments, the dreams and askings of the survivors of our origin stories. Oral traditions, passed[...]catastrophe are being generations, speak the memory and belief of who we fulfilled. The People are growing in population. There are and from where we’ve come, whether Noah or has been a reversal of fortune—for all of us. And are Napi. The other, science, enables us to look at evidence those bison in the meadows and on the prairie in ever that survives from distance times. Ou[...]rth, and support from critical analysis of evidence in the form South over the hiways of the Northern Plains and of tangible artifacts that read like clues yet to be found Rocky Mountains? It is good. upon the earth. The archeology that gives us Homer’s Troy, the Flores Island Little People, and Crown of the Who are “The People?” It’s an ancient name early[...]sion quest sites—each once existing only groups of humans gave to themselves, the world as legend—now affirm oral traditions of humanity’s
|
 | [...]ummon Views—Fall 2008 154 ancient times. The pot shards, points, fire pits, and as both[...]nants, specters seeking additional advantages. of those who preceded us. Put together, our stories[...]ian oral traditions can our studies, as two sides of the same cultural coin, help be understood within three epochs of tellings: the make us whole. Stories and studies, together, reveal a primary stories are of the mythic era that rumbles with concordance—a commonly accepted version—of our gods; next is the transformational era when the world human past. is named and human and the other animal people In Montana, the Pikani (Blackfeet) tell us they lived and spoke with each other, figuring out how to have always lived along the backbone of the world. survive together; finally, there is the period of true Archeological work done in Glacier, along the Old happenings. Much of the latter period overlaps with North Trail, and in the Scapegoat Wilderness during Euro-American history. Written sources support and the 1990s gives us evidence that places people there verify oral traditions. 10,000 years ago. In human terms, that qualifies as forever.[...]nse, affirmed by stories and science, that The Apsaalooka (Crow) tell of a schism within over the preceding millennia people have checked their family. After years of wandering in search of the out every nook and cranny of this land. People have best land on Earth, they settled where we find them walked from the headwaters of the smallest stream, today. Many tribes were drawn to make the Northern following the flow to the mouths of the largest rivers. Plains side of Montana home. The ecology of the And the reverse, as well: those at a river’s mouth on an North American steppes bo[...]ghout every predominantly semi-sedentary lifeways for a successful watershed, over every divide, across every plain, nothing symbiosis of culture and environment. was unknown. The west side of the Continental Divide tells And we kno[...]Coastal people moved up river migrations at different times, of people coming from over generations to headwaters of the Columbia, the all directions to be part of this land, including Africa, Clark Fork, the Blackfoot Rivers, and Flathead Lake. Australia, Asia, and Europe. Critically, the story of The Great Divide, like a fence between competitive[...]before mass European neighbors, fleshes out much of Montana’s early history, colonization began in the sixteenth century is not one |
 | [...]Drumlummon Views—Fall 2008 155 of race. Over millennia of human ebb and flow, allies primary resources accessible that allow all of us to and enemies, peace and war, marriages and murders, view a time before time of human existence on this there was as much ethnic[...]mixing land—from a primordial existence to present times; in the western hemisphere as existed in the eastern. At from Triple Divide Peak to Makoshika. All people, the core, and as a whole, Salish speakers are as dist[...]American, South American, European, African, from the Algonkian speakers as Scandinavians are Middle Eastern, Asian, Australian—all of us—are from the Slavs. Yet marbled throughout, the Salish are descendants of indigenous peoples. Here, in this part of also related to Cree, Assiniboine, Chippewa, Iroquois, the world, it is Montana Indians who hold that place. French and Scot— much the same as the Hansa There is a larger critical purpose to learning about, intermarrying throughout the North Sea territories and protecting, and encouraging indigenous culture, here river systems of pre-Reformation Europe. in Montana, and around the world. As global society In a sense, today’s Montana can be seen in the burgeons forth, knowing who we are, and from where children’s dance of musical chairs. When the music we’ve come, is essential to maintaining our relationship stopped, that is to say when a new Euro-American to the foundations of our existence, rooted in the earth. order was overlaid on this land in the nineteenth Ecological catastrophe is a known lesson to heed. We century, those who were here then and maneuvered to can not allow ourselves to separate, in our technological chairs (reservations) stayed in the dance. They became development, from the elemental forces that support residents of what we now call Montana. Thusly, we all life. Indigenous knowledge is the primary source for have our eleven recognized tribes settled on seve[...]ow, Gros Ventre, Kootenai, Pen The Columbian Quincentenary in 1992 was d’Oreilles, Salish, and Sioux. Montana also has one hugely significant in commemorating a new period of tribe, the Little Shell Chippewa, whom the federal human history when one half of the world seemed to government has refused to acknowledge, remaining an subsume the other with Guns, Germs, and Steel. Sixteen unresolved circumstance from the Indian Wars of the years later (though few recognize it) we are right in nineteenth century. the midst of a fifty-year-long Quincentenary of a time The magnificence of human culture in Montana called “The Strange Zone,” signifying the first half is long and deep. We are fortunate to have numerous century of The Conquest in the Americas. It was the |
 | [...]ime when chaos ruled, all structures broke down—for contemporary life is not about “going b[...]uropeans as well as Indians—and a new synthesis of bringing all of us forward, not leaving anyone behind. human potential was born of incredible violence. When the new Euro-American society overwhelmed We live daily the effects of events set in motion Indian society, we thought we had no need for that from those times. Still, in the dawning of the twenty- which went before. We know better n[...]o much more about basic have volumes of information that help us recover an human rights and The Fates of Human Societies (hat understanding and appreciation for Aboriginal life tip to Jared Diamond) than just a short while ago. in our part of the world. There are fur trade journals; We are able, for the first time really, as a nation, to winter counts; material culture works in museums and envision America’s civilization in 1491, on the eve of homes; images in drawings, paintings, and photographs; mass European migration, through New Revelations of governmental records; story collections; and scholarly the Americas Before Columbus (here a nod to Charles C. interpretations—all of these giving great insights about Mann). There is no longer any question: humanity lost the lives of Montana’s earliest peoples. half of its accumulated knowledge—millennia of culture Most importantly, however, in the last generation comprising what we now know were equally complex, we have a new confidence of expression coming from sophisticated, and populated civilizations as Europe, the within the Indian community itself. Elders have Middle East, India, or China at the same time. It was a held onto critical knowledge and have been passing loss of as much again as all that’s come to us from the it on over the years to upcoming generations. Much history of western civilization. It was, as a species, our survives and is being shared, but for the asking. A most overwhelming and tragic catharsis. Whether we’ve new generation of highly educated Indians, in the learned anything over these ensuing centuries depends American sense of the term, has taken the buffalo much upon whose voices speak. Certainly, America and bull by the horns and is wrestling a secure future Montana re[...]ics, law, and politics. Indian those still washed to the margins of civility in times of performing art and literature have become sign[...]or those yet suffering violence from policies in America’s cultural life. There is a willingness to of questionable motives, at best. But not in Montana. open up and share in this new era of Montana’s and Here we are determining a differe[...]ica’s history. It is a fulfillment. Recognition of the Studying Montana Indian history, culture, and value of our past, our common destiny, and mutual need
|
 | [...]Drumlummon Views—Fall 2008 157 to reinforce our relationships is vital to our survival Montanans hold no moral or ethic[...]as a whole people. We are creating a new respect for in the world until we do. The whole of America ourselves. This is in our hands. and Montana owe the descendants of those Indians Why do we need to think of Indians as distinct who negotiated with Eur[...]ering all Americans and fulfillment of treaty obligation in perpetuity, the same Montanans? Why are they one of only three sovereign certain basic “unalienable Rights … among these are entities named in our national constitution, along with Life, Liberty, and the pursuit of Happiness” shared by state and federal governments? And why are they the all Americans. History has shown we have been remiss. only groups for whom terms are specifically articulated Here in Montana we are carving out turf, determined in Montana’s constitution? Why do Indians have to overcome the shortcomings of the past, and make of an intrinsic political relationship to our federal and our society all that is best[...]t than all other American and Montana are to hold high the standards of our citizens? Why did the Montana Supreme Court founding national and state documents, we remain uphold “Indian Education for All” as a constitutional obliged to attend to our promises. imperative? Because Indian societies were sovereign The world is shifting. Montana is in the midst peoples upon this land before America existed; because of significant social transformation. Indian Education this land, which the U.S. and Montana now claim as for All is a big piece of that change. Montana is sovereign, contrary to an all too pervasive belief, was becoming more whole. It is only 112 years (the time of never conquered, but acquired through treaty; and, my grandparents) since the then new Euro-American fundamentally, the society we know today would never Montana society still felt so threatened by our young have come to be without the knowledge, skills, abilities, state’s first p[...]’s and Montana’s first human cattle drive of Little Bear’s, Stone Child’s, peoples. Our society owes respect and honor to those and Little Shell’s people (“lice[...]e can whose societies suffered dearly as a result of America’s Indians,” we called them—not s[...]not be and will landlessness and poverty) to be herded to the Canadian never attain the ideal we profess, as a state and nation, border[...]epic narrative. Montana’s War and Peace is yet to be This is not guilt; this is affirmation. Americ[...]written. This state has made incredible advances in |
 | [...]ll 2008 158 human rights. Indian Education for All will probably making; that Indian Education for All will prove to be serve as our largest and most significant legacy to those the single most important piece of Indian legislation ends. One of our children, growing up with Indian that has ever been written. Most Montanans, I Education for All as consuetudinary, will be our Tolstoy. said, really hadn’t yet a clue as to how momentous, I remember at the end of the 1999 Legislative revolutionary, and conse[...]ill 528 (then only euphemistically play out in Montana’s future; indeed, it would help called the Indian Education for All bill) actually passed. shape that ever better society dreamed of at our 1972 Carol Juneau and Norma Bixby, state legi[...]ng with other out that future. How we rise to do the good work supporters engaged the system of societal governance inherent in bringing equity and truth to the foundation with such leadership, intelligence, diplomacy, and of Montana life, in a way only public education can grace that their[...]s accomplish, will be how we are seen from the Sand in conversation with Steve Gallus, a legislator from Hills, where the Sky Dancers—the ancestors—look on, Butte, who had signed onto the bill. He was surprised and how we are remembered in the Elysian eyes of our to hear me say I believed he was part of history in the children’s children. |
 | [...]ism, all I’ve done to earn a place up here today is to have Revisionism and Post-Revisionism in the written and published that first novel (A Sudden Country Fiction of the American West[...]se, 2005]). It’s a historical (a talk presented at the Montana Historical Society novel, and since I spent about twelve years learning to as part of the Helena [MT] Festival of the Book, write it, I’ve had some time to think about history and October 2006)[...]literature, but never with the kind of collegial support or Karen Fisher[...]insights that I might have welcomed. I did most of my thinking in the bathtub, or digging ditches, or sanding Although I was one of those children who grew up boards, or splitting wood, and some of the rest of it in knowing I’d someday write a novel, and although I front of an empty page. I don’t know if what I’m about[...]e as an English major with that intention, to say is obvious or interesting or both or neither,[...]ly that novel writing was whether much of this has been better said by others. I far above[...]rom can only hope that my ignorance might in some ways be the suburbs of California. When commanded in my an advantage, since most of what all of us know and are first fiction class to write what I knew, I realized that shaped b[...]is my persistently blank pages were a reflection of a blank popularly available, common, superficial. If any of us can mind, a blank life. I was in no way prepared or coached forge this into some deeper understanding of our place to understand who I was, what I knew, to find any aspect in the culture, of how our histories have shaped us and of an authentic voice. I retreated to an easier-seeming our work in life, I guess it’s to our credit, and possibly an study of History. This allowed me to write easily, using interesting thing. Wha[...]yed it, graduated, and only my own story of the West: of my long inarticulate flirted with the idea of higher degrees and the kind of struggle with my western identity, of how I came to academic career that might have provided me with more recognize and understand the forces that shaped it, of convincing credentials today. What happened instead how this understanding came to shape my fiction. was that I stepped, quite liter[...]y story begins here. I’m five years old, living in an outsider ever since, both artistically and aca[...]sn’t until a few years ago that I really looked at it former farmer of sorts, a former carpenter of sorts, and again. Some pictures, by[...] |
 | [...]on Views—Fall 2008 161 profound a record of a person, a place, a time, an event, author.[...]that they take your breath away, and this is one of them. with the whole pantheon of American mountain men, I am a small girl in pigtails wearing blue espadrilles beginnin[...]ver this predictable urban middle-class attire in thrilling young-adult biographies. I hurried home to I am wearing gifts from the most memorable Christmas watch the Wild Wild West, fought for the television on of my life: a leather cowboy vest, chaps, and toy six-gun Gunsmoke nights, and saved money to buy a horse. holsters. The object of my focus is the plastic palomino My grandfather, again (actually my father’s horse held proudly in my right hand. In my left is a stepfather), encouraged me:[...]Vietnam-era cowboy boots, with stories of his boyhood on a Montana Berkeley), my mother had confiscated the toy guns ranch, of his half-Cherokee mother, of his exciting life that belonged in the holsters. On that same day my as an ea[...]bodyguard. He visiting grandfather, (responsible for the chaps and guns) had been shot in the ankle once and had an impressive had also slipped[...]scar. I was somewhat less impressed by visits to two brought for me, something old of his, and I’ve had them ancient great-grandmothers, one a tiny woman named on every desk of my life since then: a little pair of solid Gippy, whose mother had rounded the Horn as a girl copper cowboy boots, paperweights. With these gifts, I in 1849, survived smallpox, and whose two brothers had became both the spiritual and practical, the willing and been killed by Indians. The other was a grandchild of her eager recipient of his western legacy. namesa[...]rossed It was 1966. I was already a child of television the plains from Iowa to Oregon in 1847. I heard these westerns, the Golden Book of Indians, had spent my stories, and in a childlike way, knew it was my heritage. fourth year in borrowed chaps and a cowboy hat Bu[...]l I was squinting out over imagined prairies from the top of the in high school I unconsciously believed that everyone preschool slide—looking for Injuns, of course. I learned I knew also shared it, that all children were descended to read from the homogenous and happy Dick and Jane from[...](Dick also wore a red felt cowboy hat), was taken to see emigrants. How the West Was Won in Cinemascope. Clyde Robert In the popular culture of that time, the West as I Bulla (Star of Wild Horse Canyon) was my first favorite[...] |
 | [...]Drumlummon Views—Fall 2008 162 the history as romance. If I could have summarized it, it The myth was of Man the Conqueror, and it is would have sounded something like this: the story of Western Civilization since the Romans,[...]ist myth, but Brave adventuresome pioneers, in search of it is a particularly relevant myth to the American a fairer land, set out from the East into an West, because this history of transition is so brief, so unclaimed and mostly uninhabited wilderness. compressed, so raw. The land, the weather, the animals, They survived the many challenges presented: the Indians in this story are all potential adversaries who by hostile tribes of Indians (though some might be turned to Man’s advantage and persuaded to tribes, of course, were friendly), by inhospitable operat[...]Christian terms, might terrain, by extremes of weather, by hunger even be his allies,[...]equal rights. after much suffering) arrived to settle and Because women played mainly a passive role in this thrive and recreate the culture they had left, myth, I chose, in my own versions, always to be a man. except that time the land was new and better, When my second g[...]its people had become better too: their to be when we grew up, I announced I’d be a cowboy. A trials had forged in them new strengths and cowGIRL, she had[...]That was my first understanding of the West. But roots at last. Strong women rode herd over at the same time, a second, almost parallel, and very[...]g. nonetheless, and who allowed themselves (the I spent my first years in Oakland, California, good ones) to be kept in line. Those who had as my parents went to UC Berkeley. When my father no women were likely to become Bad Men won a place at Yale, we moved East for two years and to cause no end of trouble. But because and made memorable trips to Greenwich Village. of their adventures, all of these people were So, while my fantasy world was in the Old West, my no longer merely men and women, they were reality was a fabulous landscape of long-haired hippies larger than life, they were Villains and Heroes in mini-skirts, psychedelia, the Beatles and Jefferson and, more mode[...] |
 | [...]mputer. My father read By my second year of college, I did not want to be a frightening yellow book called Future Shock. I heard a cowboy or a novelist; I wanted to save the world. My about The Population Bomb and cried with the Crying interest in history became less about stories, it began to Indian and wanted to Keep America Beautiful. It was take a serious turn as I realized the past held the answers the first I knew of the environmental movement. I to how my culture had become the monstrous thing it heard the Song of Billy Jack, and that was the first I was. I began not just to read history, but to ask questions knew of the American Indian Movement. And then of it. I changed from eager listener to a confused critic it was Pine Ridge and Gay Rights and Mutually eager to denounce and condemn the thoughts and Assured Destruction. It was the radicalization, the actions of my own ancestors. I was a good child, but dehomogenization of my culture; all of a sudden even this was a breach between the generations that seemed trees had rights. By the time I entered college, Man to have no remedy, it was a new cultural event, it was the Conqueror had become Man the Destroyer, and a generation gap. I went to protests, I wrote letters, I everyone who was not a man was angry. And because became a teacher of history and environmental studies at the earlier myth had allied me irrevocably with the a very liberal private high school. offending, conquering, civilizing gender, I could not in My fictions had begun to change as well. By good conscience align myself with any of his victims. eighth grade, I had read Bury My Heart at Wounded And if I could not be among the victims, I must, I felt, Knee and Farley Mowat’s Never Cry Wolf. In high bear the burden of being a victimizer. I developed, for school, Thomas Berger’s Little Big Man was revelatory, the first time in my life, an acutely conscious sense hilarious, intelligent beyond anything of its kind. N. of guilt: mine were the wrongs, I was the spawn of Scott Momaday’s House Made of Dawn was mysterious, destroyers, and it was my li[...]intriguingly unreadable, from a different kind of mind obligation to bend my will to remediation, to suffer entirely. By college, I was assigned to read Edward guilt that could never be atoned for (what apology could Abbey, Leslie Marmon Silko, James Welch, D’Arcy suffice? To the Indians, the Grizzlies, the Wolves, the McNickle. I read Louise Erdrich’s first books. In 1982 I Buffalo, the salmon, the silting rivers, the very native saw Koyaanisqatsi. grasses of the plains?) It seemed to be my job to make And my private history, of course, was revising amends somehow, to turn back a civilization founded on itself as well. My beloved grandfather was, in fact, an
|
 | [...]ulterer, a liar, and a cheat. My grandmother wore the earlier visitors had deliberately depopulated it fake-diamond wedding ring he gave her for over forty through the clever distribution of smallpox- years, then divorced him in 1976. I learned more about infested blankets. The unfailingly wise, heroic, my Gold Rush ancestors, including the fact that they’d and noble Indians who yet remained as taken up their land in the Hayfork Valley after joining impediments to civilization were attacked for their upright neighbors to “clear the Indians” in one of no good reason, despised, lied to, relocated, the many brutal and thorough massacres of California’s and robbed in a consistent and deliberate Indians. My mother’s father, a kind man who’d earned policy of genocide, from which they defended no place in my romantic history, was, I realized, one of themselves both futilely and valiantly but the supervising engineers behind the building of the whose stories ended inevitably in a state of Snake River Dam. I was reading Edward Abbey at the Plight. During this long migration west,[...]e families starved and froze and suffered Bridger to be an illiterate, bigoted alcoholic. I began because of their vast pride and civilized to question exactly why the great Jedediah Smith had ignorance (while the Native Americans reportedly never slept with any kind of woman. through whom they passed never[...]anything but what was compelling revisionist myth of the West, it would have brought by whites, becaus[...]ng more like this: lived in harmony and closeness with nature).[...]y luck or accident) Greedy white Americans, in search of survived the passage west soon settled and unearned bonanzas of furs, soil, timber, and began to cut down all the trees in sight, to mineral ores, left their degraded farmland build dams that silted up and doomed the and their ruined agricultural economy (in fish, to run cattle over all the ranges and to eastern lands already forcibly appropriated ruin the grass and to exterminate the eagles from indigenous people) to cut a swath of and wolves and grizzlies and anything[...]they ignorantly that posed a problem, all of which began the termed the Great American Desert, a place demise of the culture in which we live today, devoid of significant human life only because a culture that epitomizes the fall of man from
|
 | [...]iews—Fall 2008 165 Eden, a culture in which we must apologize and spent long summers on horseback. By evening, for being human and in which we must now we read to each other by campfires. We were always do everything in our power to stop acting like looking for good novels about the West, ones with dust the ignorant trampling White Male beasts[...]one Lonesome Dove. Even On television and in film, the Western itself these had begun to seem questionable in their styles became an embarrassment, its traditional mythology or sentiments. At last, my husband told me to stop insupportable on every level of taste and morality. John complaining. Write your own, he said. Wayne and Clint Eastwood gave up the field to Alan So I began. I began on instinct, with none of the Alda, Woody Allen. There were no heroes we wanted[...]knew that nothing I had less than grim sweaty men in hats, none we wanted read in fiction matched what I then sensed to be some more than modest and neurotic bumblers, endearing other truth, a truth that lay not in a vaguely apologetic in all their uncertainties, unthreatening in all their middle ground between triumph an[...]preceded either stance, an interpretation a cure for my own anxieties. In 1990 I saw Dances with that was inconclusive, individual, so confused in its Wolves which, with a sincerity and earnestness worthy historical immediacy as to prevent any neat or single of any romance, turned the traditional Western myth on interpretation. I wanted to know the nineteenth-century its head, made Indians romantic heroes, made soldiers West, not as seen through the lens of the 1960s, or the villains. Its saccharine depictions dated it instantly. In ’80s or the ’90s. I wanted to view that time and place 1992 I read Cormac McCarthy’s Blood Meridian, so from the perspective of those who had experienced savage and ironic and misanthropic as to fall outside of it directly, in all its confusion, its immediacy, its any but its own philosophy. It was a work, I thought, of particularity. Who were these people, really[...]get back somehow to find out what had then seemed So there was the dialectic, the romance and the true . . . . I could tell my story. revision, all contained in my personal history of the West. I think that great power in art wells from great By the early ’90’s I was married, and my husband questions. It springs from wondering about our own loved the West as much as I did. We were both teachers identities, about alternatives to what others see; it comes |
 | [...]. the hands and made to follow her own wagon, a woman But where to start? My questions weren’t, at trying to kill her sleeping husband with a rock, a woman first, too deep, and my objections were often trivial to left alone for a following train to rescue. Strange things say the least. I was thinking particularly of one genre did happen. So this became the founding premise for A of the romantic frontier novel that had always seemed Sudden Country. hilarious to me: the frontier Bodice Ripper. In its most perfect form it involved (and still might, I’m not sure) The best thing that ever happens to such airy good a beautiful, plucky, yet defenseless young woman— ideas is that they hit the hard ground of the practical Rebecca, Priscilla, Samantha—who fell for some world. What happened to A Sudden Country was the frontiersman—Whip or Colt or Holt—a lonely, tragic life that followed. By the 1990s, as I’ve since noted, figure compelled by unavoidable circumstance to protect enthusiasm wasn’t high for covered wagons, and my and guide this woman’s pioneer family on its journey. In initial drafts, largely based on written acc[...]cleavage; failures—no more true or real than the novels I’d so he has long clean hair and leathe[...]issed. entirely humorless about these books, knew of course But because of some strange combination of luck that none were intended as serious literatur[...]ght, a story told over and over until it began to live our lives going back through time. We had become, in itself, a kind of myth. And if all myths quit our jobs as teachers, having read too much Wendell had their origins in some truth, where would that truth Berry, and decided to save the world by buying an old be found? What would happen if I set out to write the homestead on the edge of Idaho’s Nez Perce reservation, original bodice ripper, to pretend that such a myth (as so fifty acres above the Clearwater River where we would many of our favorites do) had some basis in a real event? make, not earn, our living. We would leave all the It wasn’t out of the realm of reason. Several pioneer artificiality and corruption of our lives behind. What diaries in fact record an emigrant woman running off drove the Pilgrim Separatists, what drove the pioneers, with a trapper from Fort Hall, never to be heard from was driving us, and I, like an idiot, without noticing any again. Other diaries allude to marital difficulties among genuine correlation between the book I was writing and fellow travelers—[...] |
 | [...]was living toppling our new baled hay, a bad case of Giardia, and half in my life, half in another, trying to see the world a tractor stuck in the mud down by the pump house. through nineteenth-century eyes. In the years that followed we cut firewood on shares As we were at last making a real go of things in with Indians, sewed quilts to sell, and butchered whole Idaho, my husband got an itch to sail around the world. deer on the kitchen counter. I had a child, then two,[...]was cold and empty. He imagined heat and learned the difference between the theoretical and jungly islands, a new life in the tropics. We had and the actual. Nothing I had read prepared me: for two small children. Before motherhood, I’d been game motherhood, for indigence, for twelve-hour days of for almost anything. Now I was horrified. I realized in hoeing vegetables. I cursed Wendell Berry and his noble one night of tears and argument what, for seven years, assertions and his genteel income fr[...]eply, deeply difficult it tobacco. I learned that to really understand another life, must have been for a woman with five children to leave you had to feel it. To feel it, you had to live it. Not a new a home in Iowa in 1846 and set out across that desert, insight, I know, but the point is that for maybe the first through hundreds of imagined dangers, with nothing time, I learned it. but a myth of paradise on the other side. I felt it. My[...]ot only too tired and I learned, after six months of nothing but white snow hard-worked and thin from hunger to have had a decent and black trees, what price a c[...]nding I had She was terrified. been to think that Indians had been duped into trading[...], fortunately being a modern man, high-value furs for such cheap goods—as though they compromised. We sold the farm, divided what we got to had been children. When, on the contrary, a common buy an old steel ketch and ten acres of Northwest island fur could buy an unattainable hue of red or blue that land. We had a few sma[...]a wagon journeys, were cramped and full of packing and pattern, paint on a hide, a color tha[...]ad weather and wet bedding. It was mostly meaning to dance with. My life of seven years in Idaho boring, sometimes transcendent, sometimes terrifying. was made of hundreds of little lessons like those, small But most of all, difficult to sustain. We moved ashore
|
 | [...]Drumlummon Views—Fall 2008 168 that fall to our deep forest, lived in a tipi, then built a strangers? Without community, without tribe, we are all one-room cabin which the five of us then occupied for pathetic, we are doomed ghosts, afraid for ourselves and the next two years without power, phone, or running frightening to others. No book about Indians had ever water. After nights of trying to dry damp laundry over taught me this, no c[...]earned why emigrant women cried when they the questions. had to lighten loads by throwing away their irons. After In this way the novel evolved. Characters began heating water over the fire and filling our freezing tub, to speak from my experience. Israel, Lucy’s husban[...]d seldom bathed and regarded embodied the first gestures of the radicalism that had baths as dangerous. I learned why almost everyone had moved me out to Idaho—a prototypical modern man, large families of adults, or insisted on having hired help, fascinated by science and the future, willing to discard even if they could barely afford to feed themselves. Just tradition, to sever ties, having only contempt for the old, lighting stoves and lamps could take an hour in the the decaying, the wrong-headed world. Lucy spoke for evenings. And on this island I learned another th[...]rvatism, my conventionality. when I found myself, for the first time in my life, at She earned a truer romantic voice as I realized how home in a close community, a tribe. Other families had[...]ilings and inadequacies, authority but against the profound emotional restraint to be their permanent home. Their wanderings had of her time, a restraint that severely circumscribed both ended here, their children married, generations of the nature and the language of relationships. I began families had stayed and linked and knew each others’ to understand the life-and-death stresses, the social stories. I had grown up thinking that Indi[...]disruptions that must have led such women to crack—to nomads, without permanent homes, so I’d been as beat their husbands’ heads with stones, to do the kinds of baffled as Peter Skene Ogden was in 1830 when he things that left them stranded in the dust. The Nez Perce found that no worse punishment existed in any Indian characters of Lise and Noonday and Timothy spoke tribe of his acquaintance than to be cast out to wander. for my wish to go beyond guilt and innocence, beyond All preferred death over exile and saw Europeans as the sentimentalization and the bland lack of understanding wanderers, and on this island I finally felt that truth. so typical of the revisionist pan-Indianism I had learned, Who trusts anyone who drifts in unknown and will drift to convey the particular awkwardness and confusion away again, who locks doors to defend themselves from of the confrontation between two specific cultures, to |
 | [...]Drumlummon Views—Fall 2008 169 show how the approach of European culture divided and passage ten days after the World Trade Center fell. disrupted and diluted and attracted and empowered the Nez Perce all at once. I tried to allow them to speak for What would he say? For it appeared to him how absolutely those two cultures differed then, from that by some terrible accident, the genius of one another, and for how rarely anyone on either side had each race was opposed at its foundation. He understood the implications of those differences. And believed it was an accident. the trapper, James MacLaren, spoke for my own journey We cannot choose, he thought, the from despair at the impossible tragedy of human life, its people we’re born into[...]So that opposition exists, and appears to us as greed and narrow Christian righteousness, through a evil. It is a part of life, and sorrow is its natural more accurate and perhaps forgiving understanding of consequence. the forces of which he was a part. He spoke for my own He would not count for the Cayuse all journey, at last, beyond guilt, condemnation, and despair, the wrongs they’d suffered, or would suffer, to some adult transcendence, some acceptance, some from the greed or ignorance or charity of this forgiveness that comes of knowing the confusing and other race. From acc[...]s he is So what could he say to stop this war? riding west on a kind of diplomatic mission, to do what What counsel against rage and sorrow? little he can to thwart an impending massacre. My But that he knew the people they own ancestors were among those who had brought a opposed, and had come to love them also. plague of measles to the Whitman Mission that fall,[...]ot save us, he thought. Not a plague that claimed the lives of over half the nearby right or wrong, not peace or retribution. Our Cayuse Indians. More emigrants had come to settle at stories are all we have. The only thing that the mission with each coming season; the Whitmans can ever save us is to learn each other’s stories. had been warned to leave and had pledged to remain, From beginning to end. convinced of their own good work and of the benefits of martyrdom for the Christian cause. Stunned by parallels Writing this book was a defining act for me, a and by the repetition of our histories, I wrote this healing act for me, and ultimately the healing it brought |
 | of the inevitable complexity generations of family cycles, in families who and contradictions of life, and that nothing was more abandon each other. If a parent fails, and the appropriate (not condemnation, not forgiveness), nothing child cannot forgive, the parent is no longer was more appropriate than simple understanding. This honored. The wisdom of ancient generations is what fiction allows us. Because it is not distancing in has been that you honor parents, regardless the way that formal history often is, because it is not of their deeds. Even if you fail to forgive, you analytical, because it allows us to live, experience, feel must honor. By rejecting that old wisdom, another life, it allows us to understand it. Understanding, by failing to honor, we can forget how to finally, admits the even more important ability to honor honor. By forgetting how to honor, we can those who came before. To honor our ancestors. forget how to be honored. And then we lose This was some[...]countability. Romanticism and Revisionism. It was the thing I had When we forget to honor our ancestors, most mourned, and it was the thing I came to realize we end accountability. By[...]mplicitly state that we don’t ourselves I wrote in a journal not long before A Sudden Country expect to be honored—we expect to be was published: forgotten, in our turn, by future generations,[...]perhaps despised. So why even try to behave What became known as the generation gap honorably? Why try to make a life that will in the ’70s was actually a mass abandonment stand as an example to those who will inherit of ancestry, a rejection of those from whom it? By forgetting to honor our ancestors, we we had begun to inherit the entire weight of have begun to create an end to history. generations of mistakes. A whole generation metaphorically or literally ran away from I want to end with another example of what I’ve home. For the first time, significant numbers learned by putting myself on the ground, so to speak, of people chose not to reproduce on moral in the time about which I’m writing. My new book is, grounds—refused to repeat those mistakes in part, based on the true story of Jane Gay and Alice already made, refused to become ancestors. Fletcher. In 1889 Alice Fletcher was sent, as a Special The same thing happens in the briefer Agent of the United States Government, to enforce the
|
 | [...]rumlummon Views—Fall 2008 171 provisions of the Dawes Act. What better subject on American population double in twenty years, then which to base another white-guilt book? double again in two decades after the Civil War, almost The Dawes Act, passed in 1887, sought to a quarter of those in cities foreign-born—Italian, Irish, encourage Indians to renounce their tribal allegiances Polish, Russian, Norwegian. Theirs was a population and enroll for legal and individual title to 160 acres divided more deeply than we can imagine by gender, of land per head of household. During my education, class, cu[...]uage, heritage, geography, economy, Dawes and his Congress were cast as villains, and by all and the result was war. It was gangs and riots in the accounts the Dawes Act was disastrous, misconceived, cities, it was war across the plains, it was a civil war so impurely motivated,[...]rights activist, who devoted her life in the West, the first thing they saw coming off the to lobbying for and representing the causes and train was a throng of men from six different countries complaints of Indians in the field and in Congress. betting on the outcome of a pig fight. They learned that In the romantic tradition, she was a well-intentioned[...]at she did. As coyotes. she condescended to her Indians, so we condescend It was in this context, I think, that the birth to her, give her the benefit of the doubt, a good but of the virtue of homogeneity was born. Survival, as a ignorant woman in a time of Manifest Destiny. In the country, as an individual, quite literally depended on the revisionist tradition, we ignore her as a fool, condemn will of its people to accept one language, one religion, the act. In fact, a reading of her letters shows a much to become one nation under God, indivisible, with more confusing story, a story of internal division among liberty and justice for all. The pledge of allegiance was the tribes, of traditionalists allying with Indian agents formulated, written, and adopted in the final year of against progressives in favor of allotment, of death Alice Fletcher’s work on the Nez Perce reservation. threats against their stalwart surveyor by both the Nez In an age, today, when multiculturalism is such a Pe[...]each other is known. But something else occurred to me as I was Merry Christmas without worrying about implicit studying the lives of these people. Jane and Alice had cultural assumptions, it is difficult to conceive of an both been nurses in the Civil War. They had seen the intelligent person’s wish that ho[...] |
 | [...]Drumlummon Views—Fall 2008 172 become the order of the day. It was only when I those differences. learned and thought about the particular events of It’s just a theory. I don’t[...], when my general ideas about their example of the ways of thought the practice of historical lives hit the actual hard ground of their realities, that fiction can encourage, of the questions it can lead us all I began to sense something they were never able to to ask, and has been leading us to ask. Authors like Guy articulate to us because they could not imagine who we Va[...]man Alexie, William would become. We are a result of their success, a people Heywood Henderson, Iv[...]persuasive and invasive that me new ways to look at the history of the West and have not only subcultures but whole countries of the world given me more subtle and complicated[...]shaped more unsettling interpretations of who we are and what by this new power, by the loss of the more personal our stories mean, than I e[...]nd traditions that efforts, as I celebrate the efforts of all who came before were swallowed whole. Our thought is shaped by and have been a part of this great western conversation. the fact that, for the first time in history, our cultural I am glad to be beginning my own journey with their and politi[...]xamples, and with a hope that I might add a voice of understanding cultural differences to exist, and not—as my own to the story. some would still have it—on continuing to annihilate |
 | [...]08 173 When Cowboys Became Capitalists and the would pounce on a failure, sh[...]pressure to produce a blockbuster. Worse, her only copy John Clayton of the new manuscript had been accidentally destroyed[...]while she was traveling in Central America.1 She’d had Caroline Lockhart (1871−1962) wore many of the brands to rewrite it, and quickly. of the classic Western genre novelist: a love of horses, Lockhart never thought of herself as a pulp a nostalgia for the open range, a stylistic affection for novelist, so she tried to make this book strong and literary formula and contrivance, and an appreciation for unique. Within her limitations, she met with some how the western landscape could pose physical threats to success. The Man From the Bitter Roots received better men of adventure. But in other ways she was remarkably reviews than any of her books since Me-Smith.2 It unusual. She was a woman—indeed, an unmarried apparently sold at least modestly well, furnishing woman living in a small Western town. Her interests enough money for Lockhart to travel and play for three ranged beyond cattle. And her characters were based or four years without needing to publish again quickly. not on the heroic prototypes of James Fenimore Cooper It would soon become[...]figures of the day.3 And it set the stage for two later For her fourth novel, The Man From the Bitter novels, The Fighting Shepherdess (1919) and The Dude Roots (1915), Lockhart desperately needed a[...]Wrangler (1921), which today are seen as some of her After the widely admired debut of Me-Smith (a strongest. bestseller in 1911), her career had slipped. The Lady But what may be most successful about The Doc (1912) was as much a personal vendetta as a novel; Man From the Bitter Roots is the way it defies standard Lockhart had worked so hard at making her fact- critical interpretations. This is not a Western about the based protagonist an unpleasant character that nobody end of the cattle era, about the conflict between having wanted to read about her. Lockhart followed that up an adventure and building a society, about the need for with The Full of the Moon (1914), a novel she had been violence to tame a wild land, or about man’s pursuit of trying to publish for fifteen years—with a justified lack freedom and woman’s civilizing influence. It is—in a of success. With slow sales, Lockhart’s mon[...] |
 | [...]urs for a temporary sojourn that would reinvigorate his The man in The Man From the Bitter Roots is return to society. Bruce Burt, and he is a Western hero. Tall, broad- The plot of most formula Westerns—especially shouldered, a scrapper with a quick and violent temper, at the time, just over a dozen years since Owen Wister he is “a giant in his strength, and as unconscious of the had defined the genre with 1902’s The Virginian— greatness of it as a bear. He could not remember that ty[...]if necessary, he could or other threats to their way of life. They felt a tension lift a little more. . . . He was self-educated and well between their love of wilderness and their need for informed along such lines as his tastes led him. He read civilization, between their personal code of honor and voraciously all that pertained to Nature, to her rocks the lawless world they inhabited, and/or between their and minerals, and he knew the habits of wild animals need for female companionship and the threat that as he knew his own. Of the people and that vague place women posed to their rugged way of life. In The Man they called ‘the outside,’ he knew little or nothing.”4 From the Bitter Roots, by contrast, the plot consists of Such descriptions are common of frontier heroes: Bruce’s attempts to develop a mine. physical strength, personal deter[...]gence without education. But blizzards and the raging main fork of the Salmon Bruce Burt differs from the cowboy ideal in many ways. River—he faces equal challenges in the form of Most importantly, he’s not a cowboy. He’s a m[...]raise $25,000. He must hire Though he has plenty of frontier skills, they are not the good personnel. And for Lockhart his true heroism horsemanship or quick-draw capabilities emphasized is demonstrated in his overcoming of engineering by Lockhart’s contemporaries such a[...]tionally, Bruce is neither a natural The lead female character is not a society- aristocra[...]iladelphia journalist. Meanwhile, though the villain bears some financier befriends him, but treats him as something of resemblance to a rustler, he embodies neither heartless a pet. A[...]big business nor savagery. T. Victor Sprudell, the self- farmer, Bruce ran away at an early age—for good, not important head of the Bartlesville Tool Works and the
|
 | [...]umlummon Views—Fall 2008 175 richest man in Bartlesville, Indiana, is a soft and chubby placer miner to make days’ wages by rocking the rich dandy. On a hunt, he slaughters majestic bighorn sheep streaks along the bars and banks.”8 But Bruce dreams not for food or even trophy but the blind fury of the of building a mill to extract larger quantities of gold. kill. He is a coward and a liar. He aspires to be a man of Unlike prospector-heroes, his challenge is not to find learning (“the natural outcome of his disproportionate a new strike, but to design the machinery that can vanity, his abnormal egotism, his craving for maximize the value of the existing strike. prominence and power”) but is too dim-witted to It was 1914, after all, sixty years since the first be anything more than a “walking encyclopedia of gold rush. Even Alaska was played out[...]But worst, this small-town striver is wanted to use a contemporary setting rather than a small-time capitalist—a bad businessman. His office reinhabiting the old prospecting myth. She was not so turns him into an “adamantine, quibbling, frankly rash as to feature a heroic corporation, however. An penurious, tyrannical man of business.”7 His crimes individualist h[...]e filing fallacious land patents and industrial to all her heroes. Bruce had a historical counterpar[...]ce’s primary redress against him is not in Marcus Daly, the Montana Copper King who through a gunfight but in courts and boardrooms. bought claims during recessions and then waited for Obviously there are parallels to the traditional technology and investment to make them profitable. Western (what is rustling,[...]sabotage?). Writing escapism, Lockhart wanted to imagine away And certainly the genre frequently included mining the labor-management divide that would surely come th[...]is the process of processing rock. He’s a geologist: the To mine the West[...]ude shows him fascinated with rocks. When the novel opens (following a prelude He’[...]noting, “A dozen times a day Bruce looked at [the gold- acquired a gold claim in the bottom of Idaho’s Salmon laden sandbar] and said to himself: ‘If only there was River canyon. Describing the sandbar where Bruce has some way of getting water on it!’”9 Bruce is still driven first set up his equipment, Lockhart explains, “In this by money, of course—as is any capitalist. But where the deposit there was enough flour-gold to enable any good mythical prospector’s ambition led him to overcome |
 | [...]who celebrated unspoiled territory and lamented the with management theory. coming of the very industrial civilization they had fled[...]ruce is a unique (or terribly robust) West to escape. character. Lockhart’s plot is merely the “success story,” Tellingly, however, the two exist side by side in a standard American mythology dating back at least to The Man From theof nature early, as he takes a break from headed Hor[...]aracter. But when Lockhart his mining to feed salt to a flock of bighorn sheep. “His transferred the Alger myth to the West, critics saw liking for animals amounted to a passion, and he had the book as a Western. The New York Times referred to been absurdly elated the first time he had enticed them “Miss Caroline Lockhart, author of The Man From the to the salt, which he had placed on a flat rock not far Bitter Roots and other Western stories,.” while the New from the cabin door. For the first few visits their soft York City Bookseller[...]ack eyes, with their amber rims, had followed him to get the real stuff into her stories of the West—the timorously, and they were ready to run at any unusual look, the very smell, of the land, the talk of the men, the movement. Then, one afternoon, they unexpectedly lay sense of adventure and stress of life that belongs in the down in the soft dirt which banked the cabin, and he wild places.”10 Again, the Western was new at the time. was so pleased that he chuckled softly to himself all the But if contemporary critics thought that Lockhart[...]stern, then they must have thought that the family of sheep, and when Bruce finds the carcasses, large-scale industrial development of the type Bruce “he raised his eyes in the direction in which he fancied envisioned was an extension of the frontier myth. the hunters had gone. They shone black and vindictive Certainly, Lockhart implies in the novel that through the mist of tears which blinded him as he cried large-scale industrial mining is good for the West. in a shaking voice: ‘You butchers! You game hogs! I Churning up this sandbar—which rises to 200 feet hope you starve and freeze back there in the hills, as against the canyon wall— is a highest and best use of you deserve!’”12 the rugged, remote canyon. That’s a familiar philos[...]Lockhart further portrays uncharted territory for the 20th century West, when large-scale mines, as capable of coexisting with industrial mines. On the dams, and clearcuts made drastic alterations to the very next page, Uncle Bill Griswold—a sympathetic landscape. But it doesn’t match our vision of cowboys, character despite having b[...] |
 | to protect them. This is only surprising in there that I reckon there never was a white man’s foot retrospect, as we consider the large role government has on, and they say that the West has been went over with come to play in the West, and the huge investments a fine-tooth comb. Wouldn’t it make you laugh?”13 in government relations made by operators of mines: In short, The Man From the Bitter Roots tried to permit approvals, labor-safety concerns, waste handling, point the cowboy myth toward the actual, industrial taxes, and even economic development grants. The West of the 20th century. The genre did not follow industrial culture that did grow through the 20th Lockhart—readers still preferred fantasy s[...]chers battling rustlers and Indians than the libertarian fantasy portrayed by Lockhart. on the open range of the 1880s. But at least one author But for her the government could do little right. understood the West’s evolution toward the odd At one point she interrupts her narrative for a rant that juxtaposition of unspoiled and exploited. And, in fact, she tries (not very successfully) to ascribe to her hero: she recorded it with general approval.[...]On the trip out from Ore City an Private enterprise and the value of money overworked stage horse straining on a sixteen Consistent with the Western genre, Bruce and per cent.[...]ore had dropped dead Sprudell fight their battles in a lawless world. No police in the harness—a victim to the parsimony arrest Sprudell, no financial regulators slap his wrists. of a government that has spent millions on He gets h[...]seless dams, pumping plants, and reservoirs, vows to take his money from Bruce’s soon-to-be- but continues to pay cheerfully the salaries successful mine and “go back to Bartlesville, Indianny, of the engineers responsible for the blunders; and lick him every day, reg’lar, or jest as often as I kin footing the bills for the junkets of hordes pay my fine, git washed up, and locate him agin.”14 of ‘foresters,’ or ‘timber inspectors’ and Not just the rivalry, but all of Bruce’s challenges are inspectors inspecting the inspectors, and set outside the purview of government: raising money what not, yet forcing the parcel post upon through private investors, setting up the machinery, some poor mountain mail-contractor without handling the site. Though Bruce mourns for the sheep sufficient compensation, haggling over a Sprudell kills, he never suggests the government should pittance with the man it is ruining like some
|
 | [...]. ability to choose, to a great extent, one’s Like many people in the West, Bruce friends instead of being forced to accept such had come to have a feeling for some of the as circumstances may thrust upon one. departments of the government, whose Br[...]nder his observation, looks facts in the face, namely, that money is that was as strong as a personal enmity. the greatest contributory factor to happiness,[...]no matter how comforting it may be to those Aside from the ugly (if sadly common to the who have none to assure themselves to the time) ethnic slur, it may well have been true, and may contrary.15 even still be true. But the passage feels out of place in this supposed book of action, with this hero who Again, it seems an odd position for a loner supposedly knows so little of “the outside.” Surely the cowboy-geologist whom she has previously, admiringly, author got carried away here, felt the need to explain described as having no friends.16 And again, whether or her own ideology to her Eastern audiences. The Man not it is true, it’s hardly “cowboy”—deep in the book, From the Bitter Roots then is not just a narrative about the author’s passionately held philosophy snuck through the challenges of capitalism but a polemic in favor her desire to create a frontier fable. of private enterprise and libertarian philosophies The philosophy comes through one more time over government involvement. Lockhart approves of for the female lead, Helen Dunbar. A Philadelphia this evolution of Western political philosophy—an journa[...]Watt and Sprudell, but feels some pressure to submit to his George W. Bush. matrimonial entreaties when she sees a sort of ghost Similarly, and consistently, Lockhart’s attitude of her future: “Mae Smith had been young and good- toward money comes through in another passage she looking once, also a local celebrity in her way when she attempts to ascribe to Bruce: had signed a column in a daily [newspaper]. But she had grown stale with the grind, and having no special He never had r[...]y had been easily replaced when money meant in the world ‘outside.’ It was a new Manag[...]personified comfort, independence, and most of all the unsuccessful, anxious middle-age[...] |
 | of poverty— honorable, horsey, rugged, rustic, etc. The New cooking, cabbage, lack of ventilation, bad air”—and is West appropriates those ideals by applying the always in need of a loan.18 symbols to new (sometimes seemingly contrary) Money[...]objects. So an espresso stand in a mini-mall is not from private enterprise, rather than the government. necessarily New West—unless it’s dressed up to It’s a familiar philosophy, unremarkable except[...]g cabin. An SUV is New West when it’s occurring in a 1915 cowboy novel. Lockhart was i[...]on a mountaintop rather than beside transforming the cowboy into a libertarian capitalist. a soccer field. A telecommuter is New West only And the world played along. if he thinks of himself as a “modem cowboy.” 3. The confusion that arises when a myth-based The transition from Old West to New political philosophy collides with economic These days, the world plays with endless debates interests. The Old West was not just cowboys on what exactly represents the “New West.”19 It may be or their ideals, but the politics and policies they emu ranches, microbrew[...]ragmatic, or log-cabin-style espresso stands. But for the purposes and libertarian. (Of course this is also the classic of this essay, let’s explore the following ideas that I “American” political philosophy—that’s why the believe the term tries to convey: cowboy myth is so big and enduring.) In the[...]at philosophy 1. Anything that is not cowboys. The Old West even as they pursue act[...]ranches and rustlers, open range, to it. Under this cynical view, New Westers are settling the frontier. The Old West was as close as the ranchers who condemn big government as history got to the cowboy myth and the literary they cash their subsidy checks, mountain bikers Western genre. The facets of today’s West that who condemn catt[...]ch toys, and multinational mining companies 2. The application of traditional heroic values who celebrate “Western lifestyles” as they slash to new concepts. The Old West was about employee benefits and pollute the environment. the mythical cowboy’s traits: individualist,
|
 | [...]2008 180 Under these definitions, The Man From the For as many as ten years prior to the publication Bitter Roots can serve as a seminal novel of the New of The Man From the Bitter Roots, Lockhart had a West. 1) It is not a[...]named John R. Painter. Painter was trying traits to its miner hero. It dresses up its Alger story with to develop a remote mine at the bottom of Idaho’s cowboy trappings and a Western setting.[...]almon River canyon. He faced continual challenges for nature seems at odds with its view of industrial financing the mine—and met with some success with mining. Its dislike of government seems at odds with Eastern financiers including the duPont and/or Villard the federal role of taming the West. And its view of families.22 Engineering the site was tricky, and getting the the value of money seems diametrically opposed to the machinery to it even trickier. Lockhart spent the summer ideal of the honorable cowboy. of 1911 with him in Idaho; its highlight was a wild trip down the Salmon, loaded with machinery for the mine— Where fact meets fiction[...]an episode she only slightly exaggerated in the novel.23 If we accept The Man From the Bitter Roots as Undoubtedly she took great license in turning an early New West novel, then its author is a similar Painter into Bruce Burt. For one thing, she shaved pioneer. Because for today’s reader, one of Caroline 23 years off his age—Painter[...]d legally Lockhart’s most interesting traits is the value she placed married to another woman) during their 1911 on personal experience in writing fiction. adventures. For another, Painter was born and raised Lockhart moved to Cody, Wyoming (home of in Maryland; she gave Bruce a Midwestern farm a gove[...]monious father more resembling reservoir she came to regard with personal enmity), in her own. And so she doubtless exaggerated or altered 1904, and set all of her novels in the West. Like many other features as well. W[...]ved that her residence—and But in its broad outlines, the story of The Man her horse-oriented lifestyle there—legitimated her From the Bitter Roots really did happen. A man— fiction.[...]Caroline Lockhart’s hero—really did try to develop always researched her settings and stories before writing a mine at the bottom of the Salmon River canyon, them.21 The Man From the Bitter Roots was no less fact- facing challenges including incompetent and/or corrupt based than any of her other work.[...] |
 | [...]s—Fall 2008 181 financial hurdles. Along the way he found the love of an became ever more dependent on automob[...]with Painter protected) Yellowstone National Park, Cody through did not survive. Perhaps they quarreled; perhaps the 20th century saw itself as Buffalo Bill’s hometown, they were each too tied to the places where they a place of cowboys and horses and rugged libertarian lived. After The Man From the Bitter Roots, Lockhart individualists. So although Lockhart herself would returned to Cody, where she wrote three more[...]oday we might classify her as Western novels—or at least novels that people saw as an u[...]John R. Painter continued living in Idaho, such as sheep ranching (The Fighting Shepherdess) and developing his mine. A fire destroyed much of his work in dude ranching (The Dude Wrangler). She railed against 1918 (he blamed the Germans). But he rebuilt—or tried government, especially during Prohibition—but to, given the financial challenges. Lockhart occasionally later took advantage of government giveaways in sent him money. He kept plugging away, until his death the Homestead Act to build gigantic landholdings. there in 1937. Some saw him as a hero—the old man Even as she fenced off roads that her nei[...]doggedly pursuing his passion. But others saw him in the traditionally used to access government land behind sorts of terms old-timers love to use to denigrate New her ranch, she increasingly saw her[...]West poseurs. “Unlike anyone else on the river,” wrote of the Old West, the old-time values, cowboys, and Johnny Carrey and Cort Conley in River of No Return, a open range. She fought to have Cody define itself historical guide, “J. R. was out of his element—too proud the same way, and succeeded. Even as its economy to cut hay, and not wild enough to eat it.”25 Notes 1. The manuscript may have burned in Bill Historical Center/University of 3. www.imdb.com a hotel fire in Honduras, or sunk in a Washington Press, 1994), 74−5.[...]4. Caroline Lockhart, The Man From boat accident in Nicaragua; Lockhart’s[...]2. See reviews, box 2, Caroline the Bitter Roots (Philadelphia: J.B. conflicting stories lead some to question[...]ippincott Company, 1915), 40−41. if it was lost at all. See Necah Stewart Heritage Center, University of Furman, Caroline Lockhart: Her Life[...] |
 | [...]in the Painter biographical file, Park[...]id., 140−1. Wyoming. 6. The Man From the Bitter Roots, 75−6.[...]ers, Patricia Nelson 23. Caroline Lockhart, “The Wildest 7. Ibid., 74. Boat Ride in America,” Outing Limerick, Something in the Soil (New 8. Ibid., 25.[...]William Riebsame, preface to the 7, CLC). See also Furman. 9. Ibid., 25. Atlas of the New West (New York: WW 24. See Furman; also[...]self-published, 1984). Nov. 15, 1915, both in box 2:5, green the Literary West: Authenticity and scrapbook, CLC.[...]Authorship (Lincoln: University of River of No Return (Cambridge, ID: 11. The Man From the Bitter Roots, 27. Nebraska Press, 2003).[...](named Smith) she knew in Cody. 13. Ibid., 32. The Lady Doc included as characters a[...]21−2. The Full of the Moon was based on 15. Ibid., 184−5. Lockhart’s own 1898 sojourn in New Mexico. And so on. For details, see[...] |
 | [...]enie Ambrose Tubbs in Sioux Falls. Bert remembered his father reading to him and his three siblings, and the pride he, especially, When the Lewis and Clark Bicentennial Commission took in owning a complete collection of Horatio released its list of ninety-one projects, it offered many Alger books. In 1914 Hansen attended the University intriguing ideas for commemorating the Lewis and of Michigan as a chemistry major, but as with many Clark Bicentennial. The Whitehall (Montana) Chamber of this classmates, World War I interrupted his plans. of Commerce was one of many small communities He served as a medic in France for sixteen months, interested in presenting “outdoor historic drama” based later recalling that he spent much of his off-time on the expedition. Among the numerous items on their contemplating the futility of war.1 wish list was a $30,000 request for script development. After his return to the states and a brief stint as a Luckily for Whitehall, and others, the script had high-school principal and drama instructor in Roslyn, already been written and successfully performed to the Washington, Hansen set off for Shanghai, China, where applause of thousands. The man who wrote it also drew he taught English at the Shanghai American School. a road map for Montanans on how to reach the target While in China, Hansen began writing plays. His audience w[...]adfastly maintained, is ourselves. repugnance at a sign posted at a local park caused him Bert Hansen, arguably one of the great directors to embark on a mission to communicate the message of his time, was also a teacher, a playwright, a producer, that racial discrimination was morally wrong. The sign and a prominent member of the controversial Montana read, “No Chines[...]d career instruct us on many levels. For his graduate studies, Hansen headed home He respected and accorded dignity to men of all colors, to America and the Yale School of Fine Arts. While religions, and occupations. He saw the value of people at Yale, Hansen received instruction from one of the working together to tell their community’s story, warts preeminent professors of drama in America, George and all. Bert Hansen made the people of Montana’s Pierce Baker, whose talented students included cities and towns realize they had much to be proud of Frederich H. Koch and Eugene O’Neill. and much to hold in trust for the future. Hansen credited[...]ith teaching Bert Benjamin Hansen was born to Paul and him the basics of playwriting, acting, directing, Mary Hansen of Viborg, South Dakota, on April 12,[...] |
 | [...]l 2008 184 completing his graduate studies at the University dozen communities. The plan called for an activated of Washington, Bert began his teaching career in research program exploring the human resources of Bozeman at the Montana State College in 1929. He a small community, designed to develop a pattern for taught English, drama, and speech. Perhaps more community self-improvement. Initially the Study, important to his life’s work, he made many of the projected to last three years, secured funding from a acquaintances who later would participate in his $25,500 Rockefeller Foundation grant[...]fessor Brownell and Chancellor twenty-seven plays in his sixteen years at MSU, and Melby, the study was conducted by a former director of he managed to travel to Hollywood several times the Tennessee Valley Authority, Arthur E. Morgan. The during the Depression to study the studio techniques founders of the Study shared a belief that a better future of motion-picture production. Hansen later told for mankind relied on the preservation and cultivation an interviewer that he applied the motion-picture of the human values intrinsic to a small community.6 techniques he learned in Los Angeles to the production First, community members assembled in a series of his historical pageants.4 of ten weekly meetings to discuss common problems In 1945, at a convention for English teachers and work toward their solution. A study guide, “Life in in Butte, Hansen met philosophy professor Baker[...]by former newspaper editor and Brownell, director of the newly commissioned Montana author Joseph Kin[...]dy. Brownell asked Bert if he would be interested in Northwestern University, Paul Meadows, aided the taking a sabbatical and working with him on the new study members in their discussions and understanding project. The meeting would change Bert’s life and make of their relations to the community, state, region, and the celebration of community history in Montana more country. interesting, for years to come. The second part of the Montana Study, and the During the war years, the “Montana Study” part in which Bert Hansen played the most vital role, came about at the request of Montana State University was to furnish activities, such as historical pageants,[...]He wanted a community- which would enrich the cultural life of the community. centered educational program in the humanities to As Hansen would write in an article for the journal improve the quality of living in Montana. In 1944 the Sociatry, “The work was grounded in the belief that as two-part Study was devised and implemented in a long as the people of American communities will work |
 | [...]ews—Fall 2008 185 together as neighbors, the democratic way of life will the improvement of the community through integrated endure.” After study members completed the first ten- activity. week segment, a bibliographic outline of integrated Of course, Montana in the mid-1940s might seem activities and the basic outline for the pageant a strange place to be expounding theories on drama as eventually developed with assistance from Hansen. it relates to solving the problems of society. One visitor The first test of this theory for Bert and other to a Study group in Stevensville heard Hansen speaking members of the Montana Study came in September about socialism and could not contain his anger, “I 1945, in the little town of Darby in a pageant entitled knew it! I knew it all the time! Socialism! That’s what “Darby Looks at Itself.” According to an account of you are promoting! And the very word sociodrama the Study, Small Town Renaissance, “It was a kind of proves it!” With that, the outraged visitor stormed modern morality show depicting the conflict between out of the meeting.9 Eventually the term “sociodrama” traditional practices of wastefully exploiting natural evolved into the more popular reference of “historical resources, and the moderns [sic] scientific use of pageants” which Hansen would continue to develop for resources by careful planning.” The drama included decades after the Montana Study was completed. 125 of Darby’s 500 residents. The cast ranged from While a speech teacher at the Montana State three-year-old children to seventy-nine-year-old University (1948–1965), Hansen liked his students to grandparents. It was so large that the actors had to sit in call him “Bert,” and he offered them excellent advice on the audience when they were off-stage.7 how to tell a story. One student remembers Bert telling Everyone involved found the production her, “A writer must introduce conflict to stimulate tremendously rewarding. The overwhelming success of interest and produce contrast. If conflict is already there, “Darby Looks at Itself ” sparked Hansen to develop and he exaggerates it. If there is[...]one is a celebrity, his diary isn’t interesting to a term he borrowed from Dr. J. L. Moreno, one of anyone but himself and his relatives. Any other life the first to use drama as a means of restoring mental story must be rearranged and embellished to make good health.8 Bert identified the plays of the Montana Study reading.” He also felt that “It’s just as foolish to write as “rehearsed sociodramas.” Professor Hansen felt that a book without an outline in mind as it is to climb St. all sociodramas had one common aspect—drama was Mary’s Peak as the crow flies. You’ll get there quicker never an end in itself. It was always a means to an end: and safer if you follow the blazed trail.”10 |
 | [...]Drumlummon Views—Fall 2008 186 In his next production, Stevensville’s “A Tale of might take over their lands. This was the pageant the the Bitter Root,” Hansen tackled even thornier issues. Stevensville people had the courage to conceive, to His careful guidance helped the people of Stevensville, write, to produce, to see, and to let others see. They and members of the Salish and Kootenai tribes, who were fully aware, of course, that it was not without traveled fifty miles to participate, come to grips with contemporary parallel.” The effect was remarkable. the town’s complex history. In developing the pageant, “Many, not only among the 2,500 of the audience but committee members scrutinized histories, diaries, among the older Indians, wept, for the scene was one records, and newspaper files and interviewed a number which many of the older people had lived through of “old timers.” The narrators included, “two Protestant when the Indians left Stevensville on October 15th, 1891.” ministers and the Catholic priest, and what was The celebration of the Lewis and Clark considered a triumph of unity, the secretary-treasurer Expedition’s Sesquicentennial in 1955 afforded Hansen of the Farmer’s Union and the Master of the Grange. plenty of opportunity to put his sociodrama theories to The writing and research committee comprised, among work and to expand on his earlier pageants performed others, a Harvard graduate, a day laborer, a college in the area. He emphasized that such settings provided, student, and the wife of a cattle-ranch foreman. A dude “the opportunity to perform the story as a living, rancher and his wife did the make-up, and a grand realistic drama . . . against a background of nature, in old lady whose youth dated back to the nineties had the actual setting of the events enacted, so that the story charge of the costumes.”11 Stevensville residents had seemed to be the truth it was, and not the whimsical never, publicly, acknowledged, together with the Native display of theatrical affectations such as we have come people, the intricacies of their forefathers’ relations. to associate with the word, pageant.”12 In keeping with This time the injustice of the Salish people’s story of his standards of historical accuracy, Hansen required forced removal from the homeland came to life, and the inclusion of more than fifty Salish Indians from the Salish, along with the audience, heard the farewell Arlee and the involvement of all segments of the Three speech of their Chief Charlot and stood respectfully as Forks/Manhattan community. the pageant performers left the arena. By the time of the Sesquicentennial, Hansen According to Hansen, “It was a drama of willful had directed twenty-five plays—including three using aggression, the tragedy of a minority people first the theme of Lewis and Clark and the same natural frustrated, then demoralized in order that the aggressor amphitheater site (near the Missouri Headwaters |
 | [...]theless his pageant, “Outward letter of October 2, 1964, included in a book of such Bound,” represented an extremely ambitious tributes and presented to Bert upon his retirement from undertaking. The program read, “This outdoor drama UM: is written and produced by the citizens of Three Forks under the supervision of Bert Hansen whose services You took the University to the tipi, to the are made available through the courtesy of MSU.” town hall, to the school house and to the The show began at 6:30 each evening from July 23 best pastures and fringes of our towns. You though the 26th. The elaborate method of staging the blended the efforts of bartenders, bankers, two-hour costumed pageant, with the use of authentic janitors, teachers, housewi[...], props such as tents, canoes, and horses, called for a cowpokes, and miners, in programs that gave man of many talents, and Bert Hansen fit the bill. Bert them pride in their community’s past and took the cast of hundreds of local folks and combined hope for its future. You introduced them to it with trained narrators and actors who—with the Indian as an individual and helped them the aid of five microphones and a public-address build a mutual respect for one another. system hidden from view—supplied the voices of the characters out on the stage. The actors performed Certainly, Hansen was a genius at getting people their parts gesticulating and moving in synchronized together. The 1955 cast of “Outward Bound” included harmony with the voices of their counterparts who not only the fifty Salish Indians and an infant on a spoke through the microphones.13 He achieved this cradle board but also their encampment of lodgepole illusion so convincingly that many in the audience tepees at the west end of Three Forks. Many had swore the voices were coming from the field and not appeared in previous years’ pageants. They performed from s[...]colorful ceremonial dances nightly at the conclusion of True to his theories on sociodrama, Hansen liked the pageant. These dances—including the buffalo, scalp, to include everyone in his productions. In some cases war, prayer, owl, and blacktail—were introduced by entire towns took part in the pageants. His outreach Chief Eneas Granjo,[...]efforts did not go unrecognized by his colleagues at the the audience. The Salish offered handmade moccasins University. University of Montana Dean of Students for sale and taught their gambling stick game to Andrew Cogswell repeated a familiar sentiment in his interested onlookers.14
|
 | [...]l 2008 188 Newspaper clippings from the week of the of the original expedition’s members from Canada celebration highlight Hansen’s talents at public relations and California.” After one Three Forks pageant, the and in getting the Indians the treatment they deserved Chronicle stated, “KOPR radio technicians of Butte who as respected cast members and fellow Montanans. located at the pageant site said it was magnificent. They He also made sure that they received reimbursement said the portrayal of the character parts was magnificent for their services and travel costs.15 His friend and the entire performance was worthy of a town Walter McDonald perhaps stated it best, writing on twenty times the size of Three Forks.”17 September 24, 1964, in his capacity as Chairman of the Often Bert relied on the same core group of Confederated Salish and Kootenai Tribes, “I only hope performers and supporters in a given community. For the one who may take your place will have the interest example he used Three Forks electrician Edwin Bellach in the Indian people that you had. As real pioneers, you five times to portray Captain William Clark. Bellach’s knew t[...]d they knew yours, and you were account of Bert’s patient, yet persistent, directing skills faithful to them as they were to you.” reveals some of the challenges Hansen faced in putting A letter from the Montana Automobile on a pageant.[...]at it too appreciated Bert’s efforts to draw people to and from far-flung communities. I recall your weeks of instructing the group Albert Erickson, assistant manager for the MAA, wrote of local townspeople and businessmen, all of Bert, “I don’t know if Bert is a native Montanan. If amateurs, and most of whom had never not, somebody should dig up a spurious birth certificate seen a pageant of this type, let alone taken and make him a lifelong resident of the Treasure State. part in one. And how evening after evening He deserves it. He is the most Montana Montanan I only part of the cast showed up for practice know because he believes in bringing our past to the and each evening it was a differen[...]ven though you told us each As usual, when the reviews for “Outward evening that you couldn’t see how we could Bound” came in, Hansen was a hero. The town of Three possibly appear before a crowd with no more Forks came away rejuvenated and full of pride. Each complete practices than we had been able to night’s show drew thousands including, “descendents have. However, when the final evening came |
 | [...]Drumlummon Views—Fall 2008 189 and the pageant was over, we could always volumes of antiquarianism. Professor Hansen knew this look forward to your big smile and kind well and his works reflected this feeling for humanity compliments on how well we had done.18 and for the individual conscience.”[...]And finally, from a fellow professor at the Inevitably Hansen’s talent took him away from university concerning Hansen’s abilities: “To get people Montana, to produce and direct some fifty historical to meet together, to work together, to accomplish a pageants across four states (Montana[...]constructive worthwhile goal together, and to appreciate Kansas, and Wyoming). His involvement in pageants each other in the process. There can be no greater commemorating the establishment of Yellowstone Park tribute to any man than to say he helped people to love (1957–1963) and in the fiftieth anniversary celebration one another.”19 of Glacier National Park (1960) testify to his nationally Those of us who wish to commemorate our recognized prominence in the field of historical shared past would do well to follow the trail blazed by pageantry. In addition he wrote numerous articles on Bert Hansen. He showed the way by making sure the sociodrama and several books of poetry. stories he told were accurate—not based on popular Bert Hansen died in Missoula in December mythology—and included the traditionally overlooked 1970 at the age of seventy-five. He was survived by members of a community. Bert Hansen was a man his wife Margaret and two sons, Paul and Larry. ahead of his time. Certainly he set the standard for Remembering his friend and colleague University of commemorating history in Montana. Montana Professor of Education Kenneth V. Lottich The power of pageants, in Hansen’s own words, wrote, “One may argue well that local history and is that, “the people from all around will know that incident, the lives and fortunes of the frequently drama can exist without the fabulous trimmings of a unheralded and unmarked—this is the real story and motion picture story. They will know that their living not the stereotyped and sometimes pedestrian account has been interesting, if not to the multitudes, at least to that forms the basis for chapters in the dry and dusty themselves.” |
 | [...]n Renaissance, 55 15. Miscellaneous Papers of Bert Hansen’s Use of the Historical Pageant[...]8. Lokensgard, “Bert Hansen’s Use of as a Form of Persuasion.” Unpublished[...]Bozeman. the Historical Pageant.” dissertation, Southern Ill[...]9. Ibid., Hansen interview. to Bert Hansen, vol. 1. Letter dated interview with[...]2. Ibid. Letters to Bert Hansen, vol. 1 (Missoula: 17. Bozeman Dai[...]11. Bert B. Hansen, “A Tale of the vol. 1. Letter dated September 26, 1964[...]Pageantry as Sociodrama,” Renaissance: A Story of the Montana Quarterly Journal of Speech, Vol. 23, No. 19. Ralph Y. McGinnis, Te[...]12. Ibid. 6. Arthur Ernest Morgan, The Small 13. Ibid. Community: Foundation of Democratic Life (New York: Harper and Brot[...] |
 | [...]2008 191 “I learn by going where I have to go” I learn by going where I have to go. Initiatory Turnings in Poetry, Philosophy, and Religion[...]We think by feeling. What is there to know? (presented as the Annual Poetics Lecture of the Helena I hear my being dance from ear to ear. [MT] Festival of the Book, Holter Museum of Art, I wake to sleep, and take my waking slow. October 2006)[...]Of those so close beside me, which are you?[...]God bless the Ground! I shall walk softly there, For man has closed himself up, till he sees all things And learn by going where I have to go. thro’ narrow chinks of his cavern. Blake Light takes the Tree; but who can tell us how? The lowly worm climbs up a winding stair; There are t[...]lost, so darkened, that we I wake to sleep, and take my waking slow. risk even forgett[...]ear, Great Nature has another thing to do we / Dwindle, but that I have forgotten / Tortures me.”1 To you and me; so take the lively air, Where then to turn. And, lovely, learn by going where to go. Theodore Roethke’s “The Waking” is a poem whose oscillating words seem to call the author who This shaking keeps me steady. I should know. composes them to a clearing at once outward and What falls a[...]from Mallarmé through I wake to sleep, and take my waking slow. Geoffrey Hill hav[...]rn I learn by going where I have to go.2 out to know more than we know, to see more than we see, inviting us to follow them as Ferdinand follows[...]ritual exercise, or a morning prayer recited over the course of a year. Roethke, so often lost and disoriented I wake to sleep, and take my waking slow. in life, in this poem composes a space of wonder that I feel my fate in what I cannot fear. is a space of patience, balanced between inward poise |
 | [...]08 192 and outward presence. It is a space to which this poem And even the motion of our human blood would take us with all the sureness of touch with which Almost suspended, we are laid asleep “light takes the tree” and the speaker “takes his waking In body, and become a living soul: slow.” The poem is deeply marked by Wordsworthian While with an eye made quiet by the power pastoral. Wonder and poise—and the widening of being Of harmony, and the deep power of joy, they bring—are the substance of the meditation. “Come We see into the life of things. forth into the light of things,” a voice says in a poem of Wordsworth’s, and this seems to be the sort of light The speaker of Roethke’s poem perhaps remains invoked in Roethke’s poem as well. The paradoxical first more bodily present than the trance-like speaker of refrain—“I wake to sleep, and take my waking slow”— this[...]ordsworth’s vision nevertheless quietly alludes to the death toward which a life lived in haunts Roethke’s. These are both poems that search the open of freedom unfolds. At the same time it recalls for a spiritual independence anchored in a luminous the romantic fascination with a border between sleeping connection to things. This is the condition in which and waking, or a border where sleeping, tra[...]ambiguous assertion that “character is a figure for spiritual death, becomes a figure for fate” becomes not something fearful (as in the case heightened life and vision. Yet it is not the ecstatic of Oedipus) but something affirmative (as in the Keatsian version of this condition, evoked in “Ode to case of Wordsworth himself ), permitting one “to a Nightingale,” but the serene Wordsworthian version, feel one’s fate in what he cannot fear,” to dwell in the evoked in “Tintern Abbey,” that Roethke’s poem recall[...]ent without any irritable reaching after fact and In “Tintern Abbey” Wordsworth speaks of reason. Confidence then comes and turns to glide. The second refrain—“I learn by going where I have to that blessed mood go”—is a variation on the romantic and in particular In which the burthen of the mystery, Wordsworthian theme of an organic journey of life In which the heavy and the weary weight where it is the spirit of the journey itself, not the Of all this unintelligible world[...]—that serene and blessed mood, The poem traces an expanding movement of In which the affections gently lead us on, participatory attention. In the first two stanzas the Until, the breath of this corporeal frame, speaker describes his awakening to the whole, to the |
 | [...]2008 193 “fate” toward which he begins to move without fear It clearly evokes the speaker’s intuition of a calm that and the “being” he hears “dance from ear to ear.” steadies him as he touches it[...]hat abides as This is Roethke’s lyrical version of what the ancient he walks with it in the open. At the same time it refers stoics called “the discipline of desire,” or amor fati, the to the composed oscillations of this villanelle itself, the affirmation of one’s participation in the whole. Yet in refrain lines and the first two lines of the stanza coming these stanzas it is as if the speaker were alone in the together in a fiction of form that embraces the whole of world. In the next two stanzas his attention moves this spiritual exercise. This is Roethke’s deft version of outward, toward those at his side, first in an address to what the ancient stoics called “the discipline of assent,” an unspecified “you,” then in a blessing of the Ground a reflective measuring of the soundness of what one is and the Air, the descending light and the climbing saying. “This shaking keeps[...]rm. This is perhaps Roethke’s eccentric version of The shaking or oscillating movement of this poem what the ancient stoics called “the discipline of action,” holds the speaker in the space of poise it composes. He a clarified relation with others. The calm wonder of the “should know” because, after all, he is the poet writing opening stanzas unfolds into a renew[...]atement means, too, that he should make an effort to of generosity. In the fifth stanza, the third movement embody it as wisdom in a life outside the poem that of the poem, the speaker affirms the power of Nature is otherwise all too unsteady: if the poem is a spiritual as teacher and force, the riddling source of both his exercise, not just a well-made object in a book, then formative journey in freedom and his fateful approach both author and reader are meant to draw its shape to approaching death. The speaker and the reader alike, of spirit into their lives beyond the poem. “What falls “you and me,” are told to “take the lively air,” as in the away is always. And is near.” In life, we’re likely to say, previous stanza “light takes the tree,” as throughout the this is untrue, since in life what falls away is lost, is poem the speaker “takes his waking slow.” Which path never, is far, however intently we attempt to retain it in to take, we often ask, unsure finally whether it is we memory. In a metrical and rhyming poem, however, and who take the path or the path that takes us. Spirit and particularly in a villanelle, this affirmation is literally air rhyme in this place of wonder. true. The recurring iambic beat, the recurring iambic The final stanza describes both this state of being pentameter line, the two recurring rhymes on “slow” and the very activity of composing this echoing poem. and “fear” (each becoming a half-rhyme in the middle |
 | [...]Drumlummon Views—Fall 2008 194 of the poem, then a full rhyme again at the end), the ear that learns by going where it has to go. Patience frequent internal rhymes and alliterations, and the and poise, care and wonder, are the way of a grounded recurring refrain lines: all these “figures of sound” at levitation in life as in poetry. And why would anyone once fall away and stay near, recede into the past and believe this? The poem is a spiritual exercise showing return in the unfolding present of the poem. God bless that any such passage is a question of faith and practice. the Ear. “What falls away is always. And is near.” It is In the life of faith we learn by going where we have as though the poem were exploring a power of recovery to go. “Pay attention to how you listen,” Jesus tells his at work in the very echoing of patterned language. disciples, for “the measure you give will be the measure And the magic this spell would cast, no doubt, lies you get” (Luke 8.18).3 in the suggestion that this sort of composition in art To listen far is to see and walk otherwise. The could become a composition in life, an actual forming roots of lyric, Northrop Frye writes, are riddle (or of composure, a spiritual practice available from day image, figure, metaphor, disclosive shift of perspective) to day, even in those passages of life far from this and charm (or echo, spell, rhythm, disclosive play of place of patient openness. So the last two lines of the sound). Roethke’s “The Waking” sounds these sources poem, placing the refrains side by side, evoke at one to their depths. All is spaciousness in this region and the same time a fiction of spiritual orientation where riddle, spell, and experience inhabit one another. and a fiction of poetic practice. “I wake to sleep, and Roethke has composed what Rilke in the first of his take my waking slow”: I awaken to the mystery of the Sonnets to Orpheus calls a “temple deep inside [our] whole, including the certainty of my coming death, hearing.” According to Rilke’s vision of the amplitude in a condition of wonder that involves embracing the of transient life disclosed in words, it is through the gift of what is transiently there, while at the same time inwardness of hearing that the outward rising of a I awaken to the mystery of poetry, the play of words tree is felt in all its presence. “The tune is space,” and forming patterns, with all the attention to sound this we are “ourselves in the tune as if in space,” Wallace art requires. “I learn by going where I have to go”: Stevens writes in “The Man with the Blue Guitar,” life is a sequence of guesses and errors that guide the presenting a figure of sounded outwardness exactly spirit supple enough to weave them into a deepened complementary to Rilke’s figure of sounded inwardness. awareness, as a poem is a sequence of words that move It is a passage into this space of “the unimpeded and in part as guesses guided by sound, shaped by the lively the interpenetrating” that Roethke voices in “The |
 | [...]rumlummon Views—Fall 2008 195 Waking.” The poem is a spiritual exercise, an initiation, in poetry, as in religion or philosophy, the turning at a meditative sounding, a going into the world while stake will have a power proportionate to the quality of going through a field of words. We go on faith. We attention, spirit, and faith that is brought to it. That is learn by going, and talking, where we have to go.4 what Jesus teaches his disciples in the passage in Mark “The poem in itself is a ceremony of initiation,” to which Frost’s poem alludes (a passage I’ll return to Charles Tomlinson says in a short essay written to below). The motion of discovery would seem to require accompany his poem “Swimming Chenango Lake,” and a faith, however precarious at times, that one is moving this well describes the way his own poems turn acts of toward a source of value—a source of which, at the attention into ceremonies of discovery.5 He suggests, outset, one has only a premonition. “The person who too, that “living as we do in an age of demolition,” we gets close enough to poetry,” Frost writes elsewhere, “is tend to be impatient with ceremony and so impatient going to know more about the word belief than anybody with lyric poems. One might recall in this respect else knows, even in religion nowadays.”6 Robert Frost’s deceptive[...]on one level ironically suggests discovery of a transformative source and an inward that the ceremonial movement of so many modern lyric discovery of an otherwise dormant dimension of the poems is little more than the play of a child, an elegiac self. This twofold discover[...]pically demands anachronism, a pastoral nostalgia for something long a purgative movement throug[...]s or vanished from our hurried high-tech society. At the undoes us: demands, then, a genuine engag[...]ggesting that if this movement so sort of initiatory search had such a distinctive place common in the lyric is in one sense merely nostalgic in the tradition of the modern lyric? Surely it is not play, it is in another sense a zone in which discoveries specific to the lyric—it is found in other cultural forms do take place, shaped by the ancient turnings as well. Yet it does have a particularly prominent place characteristic of poetry: the patterning of sound in in the lyric. There would seem to be at least three echoes at once recurring and surprising, and the turning reasons for this.7 of meaning through semantic indirections. For these First, this initiatory movement is vital to the turnings of language are expressions of turnings of the way romantic, modernist, and contemporary poe[...]irony, Frost hints that work as practices of resistance akin in their stance to |
 | in modern philosophy. It is culture. An initia[...]one, that modern compressed version of a quest. poetries have sought to evade and surpass the abstract Third, it is my sense that older patterns of flattening of thought so pervasive in modern society. initiation travel into modern poetry in part because Romantic poets, working with processual theories of there is a parallel between the mode of attention to a knowing and creating, invent the sort of exploratory presence or a promise that a[...]ement poetry that Robert Langbaum calls simply “the poetry enacts and the mode of attention to the patterning of of experience.” Poems in this mode embody energies language that is a defining feature of the lyric. In other of response and imagination without which our ideas words, this movement, in a range of poems, may involve become but dull abstractions directing a life of spiritless not only an initiation into a domain of the world and repetition. Modernist and contemporary poems, with a dimension of the self but also an initiation into the their many tactics of dislocation, at once retain and texture of language. The movement of searching in this transform this mode, inventing poems that demand sort of poem (as, finally, in any accomplished poem) of the reader a step-by-step participation in their involves an exploratory sounding of words themselves. compositional processes: it is the searching itself, as Indeed there is a vital paradox at play in any initiatory much as any particular proposition or conclusion, that movement. In such a movement we are drawn toward is taken to be the life of thought. Designed to resist the a source of value or horizon of promise. Yet along the reification of language and subjectivity, these poems are way we have only premonitions to guide us. And these meant to be undertaken, undergone, from the inside.8 premonitions are at least as dependent on our words— Second, as I will try to suggest in the rest of anticipatory guesses occasionally taking the form of this essay, this initiatory movement involves a secular riddles—as they are on the sources or horizons these rearticulation of patterns of initiation developed in words are meant to disclose. Deepstep come shining, ancient religious and philosophic traditions. The lyric as C. D. Wright says, invoking the very light and depth would seem to have affinities with these traditions—[...]n faith. We learn by talking where affinities all the clearer, I think, if one bears in mind we have to go. It is as though words called us to the that short lyrics like those I’ve cited in this essay realities they disclosed. may themselves be emblems of all those longer, more Wisdom, the search for the good life, Diotima ambitious, more capacious “quest” poems in modern says, begins in our love for a beautiful body and,
|
 | [...]iews—Fall 2008 197 moving along a ladder of love accompanied by a of poetry. They are also, implicitly, serious challenges to ladder of beautiful speeches, ends in a love of beauty the work of any philosophy that would assume them itself: a longing for wholeness, Aristophanes says; as defining tasks. In my brief discussion here I wish a longing for the whole, Socrates says; a longing— only to bring out the extent to which Plato, whatever Rimbaud, Mallarmé, Roethke say—for where words his polemics, conceives of philosophy itself as a kind of are taking us.9 initiation, a journey of the searching soul, a tranformative conversation in which guessing and going on faith turn Is philosophy, too, a kind of initiation? Perhaps. And out to be of great importance.10 yet we know, or think we know, that philosophy ever The greatest of Plato’s middle dialogues—the since Plato has defined itself in opposition to the sort Phaedo, the Symposium, the Republic, and the Phaedrus— of riddling, humming, guessing, troping movement of are initiatory journeys. At once ironic and dialectical, discovery at work in a poem like “The Waking.” Plato’s skeptical and visionary, these dialogues are lyrical attack on poetry in the Republic, of course, is directed manifestoes for philosophy, radiant invitations to the primarily at epic and tragedy, not at lyric or romance, philosophic way of life as the highest way of seeking yet poetry in modern culture has been as ambitious in to live the good life. They can be characterized, further, its own way as epic and tragedy in Plato’s world, so it is as philosophic versions of what in literary history we worth recalling the criticisms of poetry that Plato makes know as romance. They all trace a path of erotic and in this dialogue. He claims, first, that poets compo[...]re untrue. He claims, second, that these beyond the cave or prison of darkened perception, powerful stories stir wayward passions in their audience, conventional opinion, and se[...]way from both psychic Plato’s cave of shadows is the cave of both a psyche virtue and civic responsibility. Th[...]that and a city driven by chaotic struggles for money, power, poets present their thought, not in their own voice or prestige, and sex (Pla[...]ers behind which a subtle puritan, wise in the mysteries of eros). We they remain hidden. And, finally, he as[...]Blake teaches, and Plato, like are not concerned to provide grounds or arguments for Blake, wants to change the horizon of our care. His what they say, whereas philosophers are committed to philosophic romance, as many commentators have this task. These are all serious challenges to the work noted, involves in part a “rationalizing” transposition |
 | [...]Drumlummon Views—Fall 2008 198 of the ascetic, spiritual, and occasionally ecstatic or hopelessly opaque. Yet, again, this invitation to the paths of the Pythagorean, Orphic, Bacchic, and romance of philosophy is far more ambiguous than one Eleusinian religious movements of his time. The path of might initially gather on the basis of Plato’s attacks on transcendence is now to be pursued, not simply through poetry throughout the Republic.11 ascetic practices, meditative techniques, or secret rituals, There is not space here to discuss these but through a full unfolding of the life of thought in dialogues in detail. But I’d like at least to take a concepts, critical questionings, dialectical surpassings. brief walk through the Republic. This dialogue is an Conceptual lucidity is to accompany spiritual longing. exploration of the question of justice; as it unfolds, Each of these middle dialogues provides a different it turns into an exploration of the soul, the state, the account of the sort of inner turning of the soul required education of the philosopher, the nature of knowledge, for the philosophic way of life. The search for wisdom and the light of the good, among many other things. is variously shown to begin in the meditation on death, The dialogue opens with Socrates’ objection to in the erotic love of beauty, in the divine enthusiasm Thrasymachus’ “rela[...]ustice is simply stirred by erotic awakening, and in the disillusioned an expression of power, a norm established by those recognition that those things one has taken to be truths who have the power to shape the ethical and political and realities are in fact only shadows. This philosophic codes of a given state. Then Glaucon and Adeimantus turning from a concern with shadows to a concern change the direction of the discussion, raising the with true forms of being, as Charles Kahn has shown, question of appearance and reality, showing that this demands[...]question, far from being a metaphysical fable is of course essential, but also an erotic turning, a invented to plague empiricists, in fact emerges out transformation of the soul’s otherwise unruly appetites of the everyday decisions and judgments we make all and affects. The turning is at once affective, cognitive, the time in our relations with others. Why, they ask, and ethical. These dialogues, drawing the reader into should one want not merely to appear just but in fact to small communities of conversational quest, speculatively be just[...]st, unfold, as it were, Socrates’ claim that “the unexamined be content simply to seem just to others? Why would life is not worth living,” sounding to the depths just being just, in truth, be a good that one should desire this question of existential worth, responding to our for oneself? Socrates refuses to back down: he insists fear that our lives might be incoherent, or pointless, that anytime the soul commits an injustice, in however |
 | [...]199 disguised a way, it does damage above all to itself: and truth is in fact a play of illusions to which our desire a full account of the nature of the soul, he claims, will and thought have been chained. The breaking free of show why this is so. Yet, he then argues, it is easier illusions is the first task. Further, as I’ve already noted, to see what justice is on a large scale, that of the city, this radical turning of the inner eye of the soul from than on a small scale, that of the individual. So he shadows to true forms, and ultimately to the light of the suggests that they all begin by clarifying the nature good, demands a transformation of the entire person. of the just state before seeking to clarify the nature It is this transformation that allows the philosopher of the just individual (368e–369a). This leads to the to approach, and at least to glimpse, the light of the famous account of a state composed of three classes good, without which glim[...]s and wise life is impossible. While the last three books of craftsmen), each of which classes is correlated with a the dialogue take up important issues—including specific part of the tripartite soul (the rational part, the a typological hierarchy of political regimes and a spirited part, and the desiring part), and with a virtue concluding myth of reincarnation—there is a sense specific to that part (wisdom, courage, temperance). in which the extraordinary searching movement of Justice is said to be the condition of harmony among the dialogue reaches its center with this discussion of these different classes or parts. Yet of course this is not dialectical ascent at the end of Book VII. It is with an egalitarian harmony. The harmony of justice can these first seven books in mind that I wish to underline be achieved only to the extent that the philosophers the initiatory and indeed poetic quality of the search for govern the other classes, that the virtue of wisdom the good life in this dialogue.12 guides the other virtues, that reason is the unwavering In Book IV Socrates acknowledges that the ruler of both state and soul. The education of the analogy between the city and the soul elaborated philosopher thus becomes a fundamental question. throughout the dialogue is an analogy that must How is wisdom to be found? This is the question initially be taken on faith (435b–e). Yet he assures his explored in the long discussion of the education of the companions that the soundness of this analogy can be philosopher that culminates in the analogy of the cave. clarified at a later stage in the dialogue: the structure According to this always relevant story, philosophy, of the soul is a mystery that can be clearly approached or the love of wisdom, begins in disillusionment, in only through the method of dialectic. Later, in Books the recognition that what we have believed to be VI and VII, after many detours, Socrates says that, in |
 | [...]umlummon Views—Fall 2008 200 order truly to understand this analogy, one must attain work in the dialectical quest for truth. This élan of knowledge of the good (504). This knowledge is the telos guess is linked to both eros and the love of beauty in the of the education of the philosopher and the practice Symposium, and to both eros and divine madness in the of dialectic. Yet at the same time Socrates emphasizes Phaedrus. Socrates teaches that we learn by going where that knowledge of the good itself exceeds any discursive we have to go. This “going” is at once a longing and a account (505a, 506e). He thus develops, in place of this talking: at once a turning of the soul and a following of missing account of the good, three analogies of the good: words in conversation. first, the analogy of the two suns (according to which This does not mean that Plato returns to a the intelligible light of the good, which allows us to see “sophistic” or, as we would say today, a Nietzschean, what is thought, is akin to the sensible light of the sun, Foucauldian, or constructivist perspective. Yet it would which allows us to see the world); second, the analogy seem that Plato is not teaching, either, exactly the of the divided line (according to which nous, or genuine sort of rationalist foundationalism that he is generally[...]anoia, or discursive thinking); and, thought to be teaching. Rather, as Stanley Rosen has third, the analogy of the cave (according to which the argued, he maintains a “blurred picture” between a philosopher, in a movement through critical disillusion notion of philosophy as mathematical truth (or exact and dialectical ascent, journeys from the dark of mere correspondence) and a notion of philosophy as poetic opinion to the truth seen in the light of the good). construction (or ungrounded story)[...]hat there is something like what we take to be real upon some broad blank X. this to see—must we not insist on that?” (533a). In a Plato suggests, rather, that there are realities to which slightly earlier passage he calls his myth of the cave a our words are meant to respond, realities to which “surmise” (517cd). This is a nice irony. We are asked to our souls turn, but that these can be approac[...]alogy that, we are told, will later be through the élan of guess carefully accompanied by the conceptually redeemed: later, however, the provisional movement of reflection and discursive elaboration. It analogy is clarified through an unfolding of three is this oscillating border that Plato dwells upon in this further analogies. The whole dialogue turns out to be dialogue as in his other middle dialogues.13 shaped around a subtle play of interconnected analogies. The philosophic initiation undertaken in the There is thus an élan of guess, a turning of trope, at Republic might be read as a parable about the sort of |
 | [...]Views—Fall 2008 201 initiatory movement at work in a poem like Roethke’s charismatic example. Jesus renews the prophetic “The Waking” or in countless other lyrics that read like tradition, so we must begin by taking a step back in time. initiations or spiritual exercises. Initiatory movements The great biblical prophets, in trying to make in the lyric enact, in a concentrated way, this dwelling sense of the crisis of Israel and Judah between the on an oscillating border between an experience of the eighth and sixth centures BCE, recall and reshape world and an experience of language. Do not initiatory the national myth of Exodus. As they see matters, the movements in philosophy—albeit with a decisive[...]lysis and elaboration—dwell spirit; again the people have lost their way; again they on this border as well? Are not poets and philosophers are in desperate need of a Moses-like force and a radical alike searching for wisdom, an insight into things that turning of the spirit. The concern of the prophets is really are, moving along a border between guessing and to illuminate the national crisis and find a crossing finding, turning in words and coming upon a world? through it. Their teaching, taken in a broad sense, It may be that we remain wholly al[...]or strands. we and our words are always returning to this border. First, the prophets denounce social injustice, “Without invention,” Williams writes in Paterson, “the in particular the callous disregard of the unfortunate small foot-prints / of the mice under the overhanging / inseparable from religious and ethical practices grown tufts of the bunch-grass will not / appear.” Williams, it hypocritical, empty of both inward spirit and outward has been noted, thus recalls at once the contemporary commitment. They tirelessly call the nation as a whole meaning of “invent,” to make or construct, and the and each individual to repent, to return to the ways ancient root of “invent,” to come upon or discover. This of justice and care commanded by God, to gather is the border to which lyric and philosophic initiations themselves anew out of the dispersion of their lives. awaken us time and again.14[...]riddle and emphasized that teshuvah, the Hebrew word translated spell. Plato, like Hegel,[...]entance, expansive conceptualization. Jesus, like the prophets, according to the prohetic teaching, involves not a guilty teaches[...]ll introspection but a decisive turning around of one’s and command, and, above all, through sheer presence, spirit, a radical renewal, for which reason Ezekiel speaks |
 | [...]Drumlummon Views—Fall 2008 202 of the “new heart” and “new spirit” at once demanded this visionary perspective: for, from this perspective, the by and emerging through this turning (11.19). Only suffering turns out to be an educational process within a through this turning can a “heart of stone” be turned longer journey whose promised end is redemption. This into a “heart of flesh” (11.19). Yet, too, this ethical[...]eturns wherever a secularized teaching is ethical in the broadest sense, for it involves form of this vision returns in modern thought (from, a renewed life lived in relation to a redemptive horizon say, Wordsworth to Proust, or from Hegel to Gadamer): promising a total transformation of the person, of is this a descriptive or a prescriptive account of human society, and ultimately of nature itself.15 experience? Clearly it is the latter. For we know that The prophets’ ethical teaching, thus, is interwoven in fact suffering often makes people not wiser and with the other major strand of their teaching: a kinder but duller and meaner. Yet this prophetic vision vision of the dialectic of suffering and meaning in an calls each person and the community to a purgatorial individual or a collective life. On the most archaic passage, a task of assuming the burden of suffering level—one that if taken literally can only seem childish in a spirit of freedom: the demand is to turn the to the modern reader—this is simply the teaching suffering into a deepened spiritual bearing, one open that the suffering of the peoples of Israel and Judah to metamorphic horizons undiscovered in the blinded is a punishment that their God has imposed on them world of the half-hearted and the stone-hearted. for disobedience: the pain will cease once they have This is the vision on which Jesus draws several changed their[...]e that centuries later. Influenced by the apocalyptic currents would powerfully shape all later Jewish, Christian, and of late Second Temple Judaism, closer to the Pharasaic secular thought in western culture—this is the visionary movement than is usually acknowledged, he revives teaching that the experience of suffering is potentially the prophetic theme of a radical turning or metanoia, a purgatorial passage, a furnace-like burning away of the Greek word typically translated as repentance in the the opaque, which leads to expanded insight, deepened gospels, meaning above all a spiritual metamorphosis or a sense of purpose, difficult clarification of spirit, ultimate turning of the spirit. Jesus calls the lost and the darkened redemption of self and community. All the visions of to an ethical renewal and a crossing toward a coming a joyous return of Israel to a restored Jerusalem, all the spiritual kingdom.16 proto-apocalyptic visions of a total transformation of Jesus, of course, is many things: an exorcist; a self and society and nature, form an essential pole of healer; a miracle-worker; an apocalyptic teacher of |
 | [...]Drumlummon Views—Fall 2008 203 both the imminent end of history and the emergent This call to reorient one’s life in relation to the kingdom of God; and a courageous martyr who dies promise of eschatological redemption is the second for his willingness to live out the implications of his dimension of Jesus’ teaching that recalls the earlier teaching. My concern at this point is not with the Jesus prophetic teaching. While Jesus speaks of an end-time of early Christian communities. It is with the Jesus who of severe suffering to come, he does not, prior to his speaks as a powerful if eccentric Jewish prophet. trial and death, speak out of a sheer crisis of suffering Jesus clearly voices anew the prophetic call here and now, at least not in the way that Jeremiah and for a re-awakening of ethical life through both a Ezekiel d[...]piritual realization and a concrete actualization of sort of transformative passage through suffering: he ethical principles: this double-concern is perhaps the calls those he encounters to a radiant unmooredness, an distinguishing mark of this whole line of teaching. It abandonment of all the routines and forms of security is fair to say that Jesus places less emphasis than the they have known, a kind of extravagant trust in spiritual prophets on the question of social justice, and more amplitude alone, untied, open to what Ernst Bloch calls emphasis than the prophets on the question of inward the reality of the not yet.17 renewal, though this is a question of emphasis, not It is often through parables that Jesus evokes this of opposition. Jesus, of course, is wholly concerned coming kingdom and the sort of spiritual commitment to reaffirm the prophetic teaching of love of one’s it requires. Indeed these parables take one far into both neighbor. And, like the earlier prophets, he discerns a dimensions of his prophetic teaching. The first parable close, corrosive link between the callous heart of stone that he tells in the Gospel of Mark, the parable of the that has no concern for others and the hollowed-out sower, is in fact a parable about the point of his teaching spiritual life that, in his comparison, is like a white- in parables (Mark 4.1–20). He says: “Listen! A s[...]g bones and filth. Lovelessness went out to sow. And as he sowed, some seed fell on and moralism (or, as Blake puts it, the stance of the path, and the birds came and ate it up. Other seed accusation) go hand in hand. Jesus calls his followers fell on rocky ground, where it did not have much soil, to a totally different life: a concentration on a spiritual and it sprang up quickly, since it had no depth of soil. kingdom they are to turn toward as though they might And when the sun rose, it was scorched; and since it live into[...]ed away. Other seed fell among and vision go hand in hand. thorns, and the thorns grew up and choked it, and it |
 | [...]ood soil and following his explication of the parable suggest that brought forth grain, growing up and increasing and what is at stake is not an initiation by secret instruction[...]an initiation by response, trust, faith, crossing of anyone with ears to hear listen!” His puzzled disciples spirit: “He said to them, ‘Is a lamp brought in to be put ask him what this means. He does spell it out for under the bushel basket, or under the bed, and not on them in explicit terms: it is, he says, a parable about the lampstand? For there is nothing hidden, except to the various ways people receive, or fail to receive, the be disclosed; nor is anything secret, except to come to seed-like words of the coming kingdom: the words of light. Let anyone with ears to hear listen!’ And he said the kingdom grow in those who truly embrace them as to them, ‘Pay attention to what you hear; the measure the seeds of the kingdom itself, like wild mustard, grow you give will be the measure you get” (4.21–24). It’s in reality.18 At the same time, deepening the parable, clear he’s not talking about property. The hidden will Jesus makes a general and apparently scandalous be disclosed, the secret will be revealed, to those who statement about the purpose of this sort of indirect genuinely listen, to those who in listening genuinely teaching (this is the passage to which Frost alludes in give. What are they to give? Imagination? Spirit? “Directive”): “He said to them, ‘To you has been given Integrity? Commitment? Northrop Frye writes: “Jesus the secret of the kingdom of God, but for those outside, sometimes speaks of his central doctrine of a spiritual everything comes in parables; in order that “they may kingdom as a mystery, a secret imparted to his disciples, indeed look, but not perceive, and may indeed listen, with those outside the initiated group being put off but not understand;[...]with parables. It seems clear, however, that the real and be forgiven.” And he said to them, ‘Do you not distinction betw[...]how will you understand those who think of achieving the spiritual kingdom as all the parables?’” (4.10–13). Is Jesus suggesting that a way of life and those who understand it merely as a his teaching—like that ofto go.19 “esoteric” levels, the former for the uninitiated, the latter This preparatory parable of parables in the for the initiated alone? Perhaps so, at least in a sense, gospels, then, suggests that participation in the mystery though the question then becomes just what “initiation” of “words of power” is a condition of any illumination might mean in this case. The words immediately of those words: the energy and openness of spirit given
|
 | [...]umlummon Views—Fall 2008 205 corresponds to the energy and clarification of spirit believe in order to understand) is not just an apologist’s given back. Intuitive leap is a pulse of intelligence, paradox, but an idea with which we are familiar in expectation a dimension of discovery, passionate personal relationships, in art, in theoretical studies. I openness a moment of freedom. But is this not to have faith (important place for this concept) in a person risk (whether in a secular or a religious domain) the or idea in order to understand him or it, I intuitively nightmare of superstition, priestcraft, dogmatism, k[...]n I can yet explain. [. . .] Faith and fanaticism to which the whole tradition of the (loving belief ) and knowledge often ha[...]e so. First, as relation which is not easy to analyse in terms of what is Frye makes clear, the basic issue is whether one lives prior to what.”21 in coherence with the words one adopts and speaks, Jesus evokes an initiatory crossing of a sort that or whether one says one thing and doe[...]inates, outside any particular religious context, the Presumably this is a teaching we can all take to heart: if élan of faith in any substantive adventure of life. “The I talk about a virtue, or a vision, while making no effort measure you give will be the measure you get.” Blake to live it, then, this riddle-maker teaches, I not only read the prophetic books and the gospels as among live an incoherent life but I don’t quite know what I’m our greatest parables of poetic faith, of faith in creative talking about.20[...]ere we Further, as Iris Murdoch has argued in a different have to go. Going where we have to go, turning through context, we enter into friendship and romance in much crisis or disillusion, drawn by eros and guess, we begin the way we enter into “words of power” or powerful to see. In The Gospel of Thomas Jesus, asked by his works of art that move us, namely, with wonder and disciples when the kingdom is going to come, says: “It intuition and a large measure of searching faith: this is not by being waited for that it is going to come. They movement of desire and imagination is inseparable are not going to say, here it is, or, there it is. Rather, the from the transformative insights that come to be kingdom is spread out over the earth, only people do discovered in these unpredictable relationships. no[...]initiatory lyric sound like if proof ” includes the words: “For I do not seek to understood as a door to a way of life? Perhaps it would understand that I may believe, but I believe in order become a long poem, a life-long initiatory quest. to understand.” Murdoch writes: “Credo ut[...] |
 | [...]s turning from a lost and callous heart to the call of a into wakefulness in the middle of a word. Then it turns transcendent source, a call of care and transformative out that the word is much longer than we thought, and[...]re, it is true, may be even more we remember that to speak means to be forever on the difficult than philosophy and religion to characterize road.” Robert Duncan adds: “surely, everywhere, from in such sweeping terms without falling into absurdit[...]3 Yet perhaps Nietzsche’s polemics get at something essential. The early Nieztsche, in The Birth of Tragedy, I will now try to bring this all together in a speckled egg dismisses Socrates as a “theoretical optimist,” a thinker of a conclusion. In a late essay Hans Georg Gadamer confident that reflection alone will carry us out of our speaks of “three words” that have shaped our cultural[...], and he sets against this philosophic tradition: the word of questioning (philosophy), the faith the power of tragic literature to reveal to us the word of legend (literature), and the word of promise and sheer bleakness—though also the creative energy—of reconciliation (religion). The latter, he says, is a word that our ultimately pointless existence. Nietzsche would those of us without religious faith know in the experience have us see that, from Sophocles to Shakespeare, we of forgiveness, a grace that permits a rebeginning.[...], while distinct from one another, also the comic plots and horizons of idealist philosophy, inhabit one another.24[...]prophetic religion, and the politics of progress. Here, No doubt they inhabit one another in many he argues, we are turned from the illusion of an ways. Yet perhaps they have often crossed through one orderly cosmos or a meaningful history to the truth another, shaped one another in all their differences, of an abyssal ruin in things. (In the long tradition because in some of their fundamental expressions they of initiatory lyrics, this might correspond, not to a have all involved a turning of the spirit. Philosophy poem like “The Waking,” but to all those poems that involves a turning from clos[...]id undertake meditative soundings of death.) Yet this shadows to freedom in the open air of speculative is not the only voice in Nietzsche. All his thought thought, unforgettably evoked in Plato’s story is profoundly shaped by the romantic attempt to of the cave. Religion in the prophetic tradition, translate into secular terms the prophetic passage from interpreting damaged thought and vision as outcomes despair to hope, from a blocked and damaged life to a of a damaged heart and a dispersed will, involves a renovated life in freedom and the open, a passage that
|
 | [...]mlummon Views—Fall 2008 207 only a sweep of creative power can bring about. This often display an initiatory quality. They are, at their is the passage from desperate nihilism to visionary most resonant, exemplary passages of finding a way to affirmation presented in Zarathustra. And, even as begin again, to turn again in life and language. In the early as The Birth of Tragedy, Nietzsche describes tragic words of the first of Blake’s Songs of Experience: art itself as a creative overcoming of this sort, a joyous affirmation that, dialectically, at once discloses the Hear the voice of the Bard vertigo of nothing and surpasses the nihilist despair Who Present, Past, & Future sees stirred by this disclosure. Is this a[...]ave heard, story? Is it Dionysian, prophetic, or, in some strange The Holy Word, way, both at once? The turning of romantic and post- That walk’d among the ancient trees. romantic art is often a turning from despair to vision, from a blank death-in-life to a discovery of horizons Calling the lapsed Soul of promise in the face of nothing. And weeping in the evening dew: In all “three words” that Gadamer calls to mind, That might controll, then, the deepest story may be the story of a turning The starry pole; of the spirit. Always, these words say, we begin by[...]ecognizing that we have lost our way, that we are in a cave, shackled by illusions, dispersed in attachments O Earth O Earth return! to pointless idols, eroded by our persistent inertia and Arise from out the dewy grass; despair. Beauty, autumn, a word “eye-deep in air,” the Night is worn, good, “the light of things,” even the sheer wonder of And the morn sheer nothing that Whitman felt in the murmur of the Rises from the slumberous mass. sea, come to startle us awake. “I wake to sleep, and take my waking slow.” Our vocation is to walk otherwise, to Turn away no more: turn, or, as a poet would say, to trope: to turn our words, Why wilt thou turn away a[...]ough surprising guesses, toward The starry floor unfamiliar widenings. Deepstep come shining. Take us The watry shore from this cave. And so philosophy, religion, and poetry Is giv’n thee till the break of day.25 |
 | [...]on Views—Fall 2008 208 Notes Credit: “The Waking”, copyright 462–63)—and of course one could well in the romantic and post-romantic 1953 by Theodore Roeth[...]isis poem,” as M. H. Abrams and COLLECTED POEMS OF evoked in the first sonnet of Part I. Harold Bloom have characterized i[...]a widespread type of modern poem 5. Tomlinson, The Poem as Initiation, Theodore Roethke. Used by per[...]and “Swimming Chenango Lake” in of Doubleday, a division of Random[...]in secular terms, usually involving a[...]6. Frost, “Education by Poetry” in crisis of poetic vocation, and often 1. Oppen, New Collecte[...]Selected Prose, 44, and “Directive” in The 2. Roethke, The Collected Poems, 104. Complete Poems, 520–21. of recovery (other than that implicit[...]in the writing of the poem itself ). 3. This sort of spiritual exercise seems to 7. Even a quick historical sketch should Further, over the last century a number be one of the things Yeats has in mind serve to suggest the prominence of this of poets—including, notably, Montale, when he speaks of the “ceremony” of type of movement in the modern lyric. Vallejo, and Celan—have revived a art. My passing references to ancient At the origins of modern vernacular poetry of fractured prayer, marked by stoicism in these pages are drawn from poetries, troubadours and, in their an apostrophic movement that guides Hadot, The Inner Citadel, a study of wake, Renaissance poets of courtly love an “I” lost in a place of ruin toward Marcus Aurelius’ thought. develop a poetry of displaced prayer a redemptive “you”[...]s invocatory movement. One could 4. Frye, Anatomy of Criticism, 278–81; movements of spiritual search. Later, call to mind, as well, a range of other Rilke, Ahead of All Parting, 410–11; seventeenth-century devotional poets, initiatory practices in modern poetry, Stevens, The Palm at the End of the as Louis Martz has shown in The Poetry including, say, those evoked in Keats’ Mind, 135–36; “the unimpeded and the of Meditation, shape many of their odes, Whitman’s “Out of the Cradle interpenetrating” are words of D. T. poems around the threefold movement Endlessly Rocking,” Rimbaud’s voyages Suzuki’s cited in Cage, Silence, 46 (Cage of Loyola’s spiritual exercises: a into light and the whole in the riddling in fact speaks of “unimpededness” passage from an estrangement from “charms” of 1872, Mallarmé’s sonnets and “interpenetration”). Rilke himself God, through an analysis of the exploring his encounter with nihilism, evokes a sounded outwardness in the causes of this estrangement in the Stevens’ clairvoyant late passages into first sonnet of Part II of the Sonnets fallen self, to a restored dialogue with a bare autumnor winter of things, to Orpheus (Ahead of All Parting, God. This pattern is later reinvented H.D.’s meditative unfoldings of |
 | [...]mmon Views—Fall 2008 209 disclosive words in Trilogy, Bishop’s style or technique. P[...]a widening figured by intent seashore meditations in A Cold words are emblematic: “I believe[...]d Spring, Heaney’s purgatorial passages in an ‘absolute rhythm’, a rhythm, by Stevens as a tune in space that we in Station Island and Seeing Things, or that is, in poetry which corresponds inhabit. At stake in this last tendency is Valente’s compressed soundings of exactly to the emotion or shade of a recasting of one of the oldest features death in his last sequences. One could emotion to be expressed. A man’s of lyric language: the incantatory easily extend this list in every direction. rhythm must be interpretative, it will power of words. be, therefore, in the end, his own, 8. For fine discussions of this uncounterfeiting, uncounterfei[...]10. Plato, The Republic, II-III whole issue, see Abrams, Natural [. . .] I believe in technique as the test[...](376d–403c) and X (595a–608b). The Supernaturalism and “The Greater of a man’s sincerity; in law when it is[...]irony involved in the third of these Romantic Lyric”; Langbaum, The ascertainable; in the trampling down[...]criticisms—that dramatic poets fail to Poetry of Experience; Altieri, Painterly of every convention that impedes or[...]speak in their own person—is vast. For Abstraction in Modernist American obscures the determination of the law, of course the exact same charge can be Poetry and Self and Sensibility in or the precise rendering of the impulse”[...]lodged at the Plato of the very dialogue Contemporary American Poetry; (Literary Essays, 9). Or, in more general in which the charge is lodged at the Steiner, “On Difficulty”; Adorno, terms, the shaping of the lyric as a[...]poets. The characters and speeches Aesthetic Theory; Poirier, The Renewal kind of initiation or spiritual exercise[...]in the dialogue are orchestrated by of Literature; and Bernstein, “The brings with it three important feature[...]an author who never himself appears Causality of Fate: On Modernity and of modern poetry: the emphasis on[...]on stage, never himself speaks in his Modernism.” I discuss this question the searching itself as the substance of[...]own voice. Why is this irony made so in greater detail (and provide exact imaginative life; the emphasis on the[...]riously obvious? Perhaps it is a hint references) in The Extravagant, 25–33. value of authenticity or genuineness[...]that we are to look for subtler ironies at work in Plato’s other criticisms of 9. Plato, The Symposium. On the in this searching movement at both poetry, or in his broader account of romantic exploratory lyric as a the subjective level (the quality of what he calls the “ancient quarrel” version of quest, see Langbaum, The thought and feeling) and the linguistic[...]between philosophy and poetry. Poetry of Experience, and Abrams, level (the quality of patterned sound); Natural Supernaturalism. This is and, with the gradual erosion of the 11. Dodds, The Greeks and the closely linked to the whole question transcendent in an increasingly secular Irrational, 207–35; Morgan, Platonic of authenticity in modern poetry: culture, the tendency to find in the Piety and “Plato and Greek from the romantic emphasis on voice patterned sound of the poem a space Religion”; Kahn, Plato and the through the modernist emphasis on of widening irreducible to conceptual Socratic Dialogue, espe[...] |
 | to Kahn’s labor of the dialectical journey has motion, will have much to do with splendid exploration of the quasi- taken place: “it is only when all these the way one comes to journey beyond religious nature of Plato’s philosophic things, names and definitions, visual them in the conversation as a whole. journey. My characterization of the and other sensations, are rubbed[...]Hegel, has given conversational quest undertaken in together and subjected to tests in this teaching a central and illuminat[...]ch questions and answers are place in his hermeneutic philosophy. Howland, The Republic: The Odyssey exchanged in good faith and without One must, as the poets have always of Philosophy, 34–35 and 54–55. For malice that finally, when human taught, listen to where our words have illuminating explorations of the ancient capacity is stretched to its limit, a spark come from and where they are going. practice of philosophy as a way of life, of understanding and intelligence “Wr[...]philosophie flashes out and illuminates the subject “involves an attention of all the senses antique? and Exercices spirituels et at issue” (Phaedrus and Letters VII to what the words are perhaps going to philosophie antique. and VIII, 140). My s[...]in the journey undertaken in The 12. In describing the radical Republic, a kindred sp[...]14. Williams, Paterson, 50. On transformation of the entire person have called an élan of guess, or what[...]“invention” in Williams, I’m sorry demanded by this turning, I follow the Socrates himself calls a practice of to say, I’ve not been able to locate a account in Kahn, Plato and the Socratic “surmise,” not only arrives at the end[...]1. but also guides the journey all along[...]ago in some study of Williams. The[...]late Gillian Rose, in her philosophic 13. Rosen, The Limits of Analysis, the way. Philosophy, Plato teaches,[...]ly 128 and 149–89, and, on begins in the imprecise pictures and[...]ill-will towards philosophy [she is the cave as an allegory not of the contradictory opinions of everyday[...]porary tendency] city, as is usually claimed, but of the life: the philosopher, questioning these[...]misunderstands the authority of reason, psyche, Plato’s Republic, 268–75. Rosen and stepping beyond them in order to which is not the mirror of the dogma suggestively characterizes this interplay arrive at gradually clarified definitions[...]of superstition, but risk. Reason, the of the mathematical and the poetic gathered in a broader synthetic[...]critical criterion, is for ever without as an interplay of what Pascal calls account, moves toward the truth. Yet[...]ground. [. . .] I bring the charge that l’esprit de géometrie and l’esprit de finesse. Plato also teaches that the way inin this context, too, which one picks up t[...]that transcendent ground on which we the famous passage in Plato’s Letter the finesse or élan of guess with which[...]all wager, suspended in the air” (127, VII concerning the spark of insight one turns them around or rec[...]159). that flashes up only once the long to set a philosophic conversation in
|
 | [...]n, his glory was not clothed like one of thorns: these are the ones who hear 70, and Buber, The Prophetic Faith, these. But if God so clothes the grass the word, but the cares of the world, 96–154. I draw here also on Heschel, of the field, which is alive today and and the lure of wealth, and the desire The Prophets, 119–20. According to tomorrow is thrown into the oven, how for other things come in and choke the prophets, Heschel says, “our basic much more will he clothe you—you of the word, and it yields nothing. And malady is callou[...]le faith! And do not keep striving these are the ones sown on the good for what you are to eat and drink, and soil: they hear the word and accept it 16. On metanoia as “spiritual do not keep worrying. For it is the and bear fruit, thirty and sixty and a metamorphosis,” see Frye, The Great nations of the world that strive after hundredfold” (Mark 4.13–20). Only Code, 130. For a suggestive account of all these things, and your Father knows a few words later the unfolding of Jesus as a Jewish holy man, see Vermes, that you need them. Instead, strive the kingdom itself is evoked as a The Religion of Jesus the Jew. for the kingdom, and these things mysterious process of growth from 17. See Bloch, The Principle of Hope. The will be given to you as well” (Luke seeds: “The kingdom of God is as if open to which Jesus calls his disciples 12.22–31). This is the spiritual open to someone would scatter seed on the is beautifully evoked in his words which Sylvie calls Ruth in Marilynne ground, and would sleep and rise night encouraging us to abandon our usual Robinson’s Housekeeping, less a realist and day, and the seed would sprout anxiety: “Therefore I tell yo[...]y visionary and grow, he does not know how. The worry about your life, what you will parable. earth produces of itself, first the stalk, eat, or about your body, what you will then the head, then the full grain in 18. He says: “The sower sows the word. the head. But when the grain is ripe, at wear. For life is more than food, and These are the ones on the path when the body more than clothing. Consider once he goes in with his sickle, because the word is sown: when they hear, the harvest has come. [. . .] With what the ravens: they neither sow nor reap, Satan i[...]can we compare the kingdom of God, away the word that is sown in them. or what parable will we use for it? It and yet God feeds them. Of how much And these are the ones sown on rocky more value are you than the birds![...]ground: when they hear the word, sown upon the ground, is the smallest And can any of you by worrying add they immediately receive it with joy. a single hour to your span of life? If of all the seeds on earth; yet when it[...]endure is sown it grows up and becomes the then you are not able to do so small a only for a while; then, when trouble thing as that, why do[...]greatest of all shrubs, and puts forth or persecution arises on account of large branches, so that the birds of the the rest? Consider the lilies of the field, the word, immediately they fall away. how they grow:[...]air can make nests in its shade” (Mark And others are those sown among the 4.26–32). The inward and the outward spin; yet I tell you, even Solomon in all
|
 | [...]oscillating as a substantial qualification of Paul’s Cf.: “Once Jesus was asked by the border. “anti-Socratic” thought in the Letter Pharisees when the kingdom of God to the Romans: “For I do not do the was coming, and he answered, The 19. Frye, The Great Code, 129–30. good I want, but the evil I do not kingdom of God is not coming with Elsewhere in this book, too, Frye want is what I do” (Romans[...]ngs that can be observed; nor will casts light on the difference between all know what Paul means[...]insight is then isolated from a larger For, in fact, the kingdom of God is seem to be two levels of faith, the level sense of vocation, it risks becoming a among [within] you” (Luke 17.20–21). of professed faith—what we say we word of complacency, an excuse for bad believe, think we believe, believe we faith. It is possible to hold these two[...]. Mandelstam, “Conversation about believe—and the level of what our perspectives in mind at once. Dante” in Complete Critical Prose, 259; actions show that w[...]Duncan, “Preface” to Bending the Bow, belief is essentially a statement of 21. Murdoch, Metaphysics as a Guide vi. loyalty or adherence to a specific to Morals, 393. Murdoch’s discussion[...]24. Gadamer, “Culture and the Word” community. To profess a faith identifies here could be set a[...]in In Praise of Theory, 12–15. us as Unitarians or Trotskyists or discussion of four types of belief that Taoists or Shiite Muslims or whatever[...]Ronald Johnson: “What we wanted Beyond this is the principle that all lived with poetry”: the belief in the self // was both words and worlds / you one’[...]one’s real whose dormant powers are coming to could put your foot through. To be // beliefs. In very highly integrated people be, the belief in another person with eye-deep in air, // and the inside of all the professed and the actual belief whom one enters into a relationship things / clear // to the horizon. Clear would be much the same thing, and the that is coming to be, the belief in a // to the core” (“Stereopticon [for fact that they are usually not quite the work of art whose pattern and meaning Lorine Niedecker]” in Eyes & Objects, same thing is not necessarily a sign of are coming to be, and the belief in a unpaginated). Seamus Heaney: “All hypocrisy, merely of human weakness God whose promises are coming to be afternoon, heat wavered on the steps / or the inadequacy of theory” (229). For (“Education by Poetry” in Selected Prose, And the air we stood up to our eyes in other fine accounts of Jesus’ teaching 44–46). All of these sorts of belief, he wavered / Like the zigzag hieroglyph in parables, see Vermes, The Religion says, involve going on intuition, going for life itself ” (“Seeing Things” in of Jesus the Jew, and Sheehan, The First on searching faith, and, of course, going Seeing Things, 19). Mark Edmund[...]without any assurance that the going writes: “Wittgenstein [. . .] th[...]well. that people came to philosophy, to 20. This “Socratic” element in the[...]serious thinking about their lives, out teaching of Jesus might be understood 22. Layton, The Gnostic Scriptures, 399.
|
 | [...]Drumlummon Views—Fall 2008 213 of confusion. The prelude to philosophy Whitman will teach you to think more and Revolution in Romantic was a simple admission: ‘I have lost[...]Literature. New York: Norton, 1971. my way.’ The same can be true for cannot all become philosophers, but we[...]literary study” (Why Read?, can follow the poets in their ancient translated, edited, and[...]could put it this way. We come be a way of life but whose study is Kentor. Minneapolis: University of to awareness of ourselves, first of all, death. I do not think that poetry offers[...]s lost, disoriented, badly off balance. a way of life (except for a handful like Altieri, Charles. Painterly Abstraction How did this happen to me, we say, Shelley and Hart Crane); it is too large, in Modernist American Poetry. how did I come to be here, living like too Homeric for that. At the gates of University Park: Pennsylvania State t[...]losing myself like death, I have recited poems to myself, University Press, 1995. this, and, not least importantly, talking but not searched for an interlocutor —. Self and Sensibility in Contemporary like this, mis-talking like this? Then to engage in dialectic” (66). There is American Poetry. New York: we try to begin again. Thus the abiding much wisdom in this, particularly Cambridge University Press, 1984. relevance of Plato’s great allegory of the in the suggestions, first, that an Baker, Robert. The Extravagant: Crossings cave: the movement toward wisdom internalization of the words of poetry of Modern Poetry and Modern begins in disillusion. Thus the abiding brings a power of insight in itself, Philosophy. Notre Dame: University relevance of the prophetic cry: why and second, that poetry or literature of Notre Dame Press, 2005. have you turned away from[...]comprehensive than Bernstein, J. M. “The Causality of Fate: will you turn back to, what matters? philosophy. I have nevertheless tried Modernity and Modernism.” In The Thus the abiding relevance of Blake’s to suggest here at least some parallels Recovery of Ethical Life. London: renewed prophetic voice: “O Earth O between the initiatory movements of Routledge, 1995. 159–96. Earth return!” In Where Shall Wisdom poetry, philosophy, and religion. Blake, William. The Complete Poetry and Be Found? Harold Bloom writes[...]ose. Rev. ed. Ed. David E. Erdman, half a century of teaching poetry, I Works Cited[...]with commentary by Harold Bloom. have come to believe that I must urge Abrams, M. H. “The Greater Romantic[...]New York: Doubleday, 1988. my better students to possess great Lyric.” “Structure and Style in Bloch, Ernst. The Principle of Hope. 3 Vols. poems by memory. Choose a poem the Greater Romantic Lyric.”[...]Cambridge: MIT read it deeply and often, out loud to Harold Bloom, 201–29. New York:[...]Press, 1995. yourself and to others. Internalizing Norton, 1970.[...]Bloom, Harold. Where Shall Wisdom Be the poems of Shakespeare, Milton, —. Natur[...] |
 | [...]lummon Views—Fall 2008 214 Buber, Martin. The Prophetic Faith. Trans. Paris: Gallimard-Folio, 1995. of the Seventeenth Century. New Carlyle Witton-Dav[...]York: Farrar, Straus & Giroux, 1995. Morgan, Michael. “Plato and G[...]ham. Between God and Religion.” The Cambridge Companion University Press, 1961. Man: An Interpretation of Judaism. to Plato, ed. Richard Kraut, 227–47. Duncan, Robert. Bending the Bow. New Ed. and with an introduction[...]New York: Free Press, 1992. Dodds, E.R. The Greeks and the Irrational. Press, 1965.[...]c Piety. New Haven: Yale Berkeley: University of California —. The Prophets. New York: Perennial, Univer[...]Murdoch, Iris. Metaphysics as a Guide to Edmundson, Mark. Why Read? New Howland, Jacob. The Republic: The Odyssey Morals. New York: Penguin, 1992. York: Bloomsbury, 2004. of Philosophy. Philadelphia: Paul Dry Nietzsche, Friedrich. The Birth of Tragedy Frost, Robert. The Complete Poems. New Books, 1993. and The Case of Wagner. Trans. York: Holt, Rinehart, and Winston, Johnson, Ronald. Eyes & Objects. and with commentary by[...]Highlands, NC: The Jargon Society, Kaufmann. New York: Ra[...]athem. New Kahn, Charles. Plato and the Socratic —. Thus Spoke Zarathustra. Tran[...]Collier, 1964. Dialogue: The Philosophical Use with a preface by Walter Kaufmann. Frye, Northrop. The Great Code: The Bible of a Literary Form. New York: New Yo[...]anovich, 1982. Langbaum, Robert. The Poetry of Michael Davidson, with a preface by Gadamer, Hans-Georg. In Praise of Experience: The Dramatic Monologue Eliot Weinberger. N[...]Theory. Trans. Chris Dawson. New in Modern Literary Tradition. Direct[...]e University Press, 1998. London: Chatto & Windus, 1957. Plato. Phaedo. Ed. and translated by Hadot, Pierre. The Inner Citadel. Trans. Layton, Bentley. The Gnostic Scriptures. David Gallop. New Yo[...]and translated by Walter Hamilton. antique. With a foreword by Arnold Constance Li[...]Ardis, 1997. —. The Republic. Ed. G. R. F. Ferrari. Albin Michel, 2002. Martz, Louis. The Poetry of Meditation: A Trans. Tom Griffith. New York: —. Qu’est-ce que la philosophie antique. Study in English Religious Literature Cambr[...] |
 | [...]Drumlummon Views—Fall 2008 215 —. The Symposium. Ed. and translated House,[...]k: Steiner, George. “On Difficulty.” In On Penguin, 1999. Difficulty and Other Essays, 18–47. Poirier, Richard. The Renewal of New York: Oxford University Pres[...]n: Yale University Press, Stevens, Wallace. The Palm at the End of 1987. the Mind. Ed. Holly Stevens. New Pound, Ezra. Literar[...]Obra Poética. Vol. 2. Rilke, Rainer Maria. Ahead of All Parting. Madrid: Alianza, 1991. Ed. and translated by Stephen Vermes, Geza. The Religion of Jesus the Mitchell. New York: Modern[...]1993. Roethke, Theodore. The Collected Poems. Williams, William Carlos. P[...]Canyon, 1998. Rosen, Stanley. The Limits of Analysis. New York: Basic Books, 1980.[...]Yale University Press, 2005. Sheehan, Thomas. The First Coming: How the Kingdom of God Became Christianity. New York: Random |
 | [...]ews—Fall 2008 217 “Stuck Situations” in the Philanthropic Responsive Philanthropy, highlighted findings from Divide: The Need for Nonprofit Capacity Rachael Sw[...]t “inadequate organizational capacity” is one of Note: This essay first appeared in Philanthropy & Rural the key barriers NCRP identified that constrains grants America, a publication of The Council on Foundations. to rural nonprofits by regional and national foundations. One of the sessions on the last day addressed U.S. Senate Finance Committee Chairman Max Baucus how to build philanthropy for rural America, and much and the Council on Foundations have brought national attention was given to the Intergenerational Transfer of attention and focus to the philanthropic challenges and Wealth. Participants pointed to the vital role that local long-term, systemic under-funding of rural America. community foundations can play in helping capture The conference held in Missoula, Montana, in August, a portion of the wealth transfer as a community- 2007, showcased excellent projects in rural America that focused philanthropic legacy for generations to come. have been supported by some of the most thoughtful Frustration surfaced once again, this time over the foundations in the country. Field trips organized by the poignant reality that many areas in rural America lack Montana Community Foundation e[...]adequate philanthropic infrastructure to engage and to exciting programs and projects being conducted assist rural residents regarding the Transfer of Wealth by terrific local nonprofits. Many attendees left the and the possibility of leaving a philanthropic legacy. conference energized to learn more and possibly fund the vital new work they had seen; others talked about Disparities in Funding for Rural and Urban Areas exploring with philanthropi[...]Building institutional infrastructure in rural programs could be replicated in the rural areas tied to America that can guide and nurture the development their mission’s focus. There was also genuine frustration of philanthropy and nonprofits is a core strategy for among a number of conference attendees. Lurking in both building local philanthropy and attracting a the wings was the crucial question: Why does so little more equitable share of the nation’s annual foundation foundation money make its way to rural America? grantmaking. States vary with respect to their resources On the first day of the conference, Aaron Dorfman, and capacity to build such infrastructure, which led my executive director of the National Committee for organization, the Montana-based Big Sky Institute for |
 | [...]Drumlummon Views—Fall 2008 218 the Advancement of Nonprofits (BSI), to undertake average of $63 million per state. The ten states with the research to document and articulate these disparities. most assets had an average of almost $9.26 billion per BSI’s findings documented long-term systemic under- state. The asset gap, comparing averages of the bottom funding of a number of low-population rural states, ten states with the top ten states, was $9.2 billion. a phenomenon BSI refers to as the “Philanthropic According to data published in 2007 by the Foundation Divide.” Center, the average amount of assets among the bottom The Philanthropic Divide is a complex ten states had increased to $757 million per state, while phenomenon of limited philanthropic and nonprofit the top ten states averaged $36.8 billion per state. The sector resources and infrastructure that places[...]Divide asset gap had nearly quadrupled nonprofits in the ten Divide states at a competitive to $36.1 billion. disadvantage with their counterparts in other states. When BSI first published its data regarding the For most of the last fifteen years, the ten Philanthropic Philanthropic Divide, some foundation staff scoffed at Divide states have been Alaska, Montana, Wyoming, the numbers, alleging that there were so few people in North Dakota, South Dakota, Mississippi, West these states that very few assets were needed to satisfy Virginia, New Hampshire, Vermont, and Maine.1 BSI the funding needs of these states’ nonprofits. However, has documented not only significant disparities in in- when BSI examined figures for per capita grantmaking state foundation assets, but also in in-state per capita among these states, we once a[...]time. Data published capita grantmaking have been the lightning rod to draw by the Foundation Center in 2007 pegged per capita attention to these states, whose operating conditions grantmaking for the ten states with the least assets at for nonprofits represent the extreme manifestation of $34, compared to a national average of $117, and $171 per the challenges and barriers facing rural America more capita for the states with the most assets. Comparing generally. In particular, the term “Philanthropic Divide” averages among the bottom ten states to the top ten has been used to focus on the rapidly increasing gap states showed a per capita grantmaking gap of $73 in in-state foundation assets between those states with according to 2000 figures, with that gap increasing to the least and those with the most. According to data $137 seven years later. published in 1990 by the Foundation Center, the ten The paucity of foundation resources in the states with the least amount of foundation assets had an Philanthropic Divide states is critically important to |
 | [...]Drumlummon Views—Fall 2008 219 the question of how infrastructure can be built to assist foundations to the Philanthropic Divide states in the development of philanthropic and nonprofit declined precipitously from a very significant 50.4 capacity for these rural states. In Montana, for example, percent in 2000 to 29.9 percent in 2004. the great majority of the in-state foundations are small and unstaffed. Most grantmaking is at the Work Underway to Build Infrastructure to Strengthen $10,000 level or less. Relatively few grants are made Rural Philanthropy and Nonprofits in the $50,000 to $100,000 range, and grants over The Philanthropic Divide states have not sat $100,000 are scarce at best. The building of nonprofit by idly, awaiting a reversal in national foundation and philanthropic infrastructure has generally been grantmaking trends, to figure out how to build the domain of foundations that can make large grants inf[...]strengthen philanthropy and ranging from $100,000 to $250,000 and greater. This led nonprofits. Some brief examples: BSI to examine grantmaking by the Top 50 Foundation Grantmakers to each of the ten Divide states during the • In Alaska, nonprofit and philanthropic leaders years[...]reliminary findings worked together to found the Foraker Group, were both illuminating and disturb[...]rrently a multi-million dollar Grantmaking to the 10 Philanthropic Divide management support organization providing states by the fifty Top Foundation grant-makers (by consulting, training, and management support giving) to each state increased from a total of $205.9 services to nonprofits of all sizes throughout million in 2000 to $320.9 million in 2004. Most of this vast state with many remote and isolated this growth, however, came from in-state foundations. communities. The in-state foundations that made the Top 50 in • West Virginia established the West Virginia their respective states in 2000 granted a total of $22.5 Grantmakers Association with a full-time million that year; this increased to $122.6 million in Executive Director to serve and help strengthen 2004. Top 50 grantmaking to the Divide states from the state’s growing ranks of family foundations, national foundations was $103.7 million in 2000. as well as a consortium of twenty-six local By 2004, however, the national foundation total community foundations. had declined to $96 million. More importantly, the percentage of total Top 50 grant dollars from national • In New Hampshire, a consortium of in-state |
 | [...]all 2008 220 funders pooled resources to underwrite a multi- Kellogg Foundation for the OEG Program, seven year nonprofit capacity building initiative, in Montana foundations have provided funds for this which the state’s nonprofit association, the New initiative, and several others are exploring participation Hampshire Center for Nonprofits, has ramped up this year. Program partners worked in collaboration and emerged with an extremely robust program with BSI and several national consultants to design the of professional development and Board training M[...], which is being launched with opportunities for nonprofits all over the state. a budget between $150,000 and $200,000.[...]months of program development during the first half of • In Montana, special attention has been given to 2008, the OEG Program will begin making grants for organizing and incubating diverse partnerships organizational assessments, as well as grants to support in order to coalesce resources and leadership to organizational development projects. Current pl[...]nderwrite infrastructure development. Two for three years of demonstration activities, followed illustrative examples are: the Montana Nonprofit by evaluation and assessment to determine how to Organizational Effectiveness Grantmaking continue the program on a sustainable basis. Program and the Indian Philanthropy and Senator Baucus’ interest in growing philanthropy Nonprofit Group Initiative. for Montana and the rest of rural America is strongly mirrored by the interests of the state’s governor, BSI has partnered with[...]Brian Schweitzer. Governor Schweitzer hosted a of in-state foundations to develop the Montana Conversation on Endowments and Philanthropy in Nonprofit Organizational Effectiveness Grantmaking November of 2006 that generated keen interest in Program. Currently, if a nonprofit decides it wants building philanthropy for Indian Country in Montana. to strengthen its capacity—whether it be through[...]ategic plan, improving its financial Americans to his cabinet than any other governor management systems, diversifying its funding, or in Montana’s history. He supported his economic co[...]tivities—there are no development specialist for the seven Indian reservations statewide grantmaking programs to which nonprofits in Montana and the Coordinator of Indian Affairs to can turn for support to hire a consultant. work with the Governor’s Task Force on Endowments In addition to seed funding from the W. K. and Philanthropy and BSI to develop an initiative |
 | [...]Drumlummon Views—Fall 2008 221 to build philanthropic resources and nonprofit and cost for individual foundations to become involved. development assistance for Indian-led nonprofits on the Historically, the localized focus of so many of the reservations and urban-based Indian communities. At state’s grantmakers, the lack of a statewide grantmakers present, this effort is known as the Indian Philanthropy association, and the overall problem of geographic and Nonprofit Group Initiative.[...]ve constrained funders from getting their `At its heart, the IPNG Initiative has brought arms around thes[...]te Efforts by Philanthropy Northwest, the Governor’s government, in-state foundations, and nonprofit sector Task Force on Endowments and Philanthropy, the infrastructure organizations to develop a long-term Montana Nonprofit Asso[...]ing group helped establish a new chapter in building diverse has begun sharing information to develop common partnerships and better[...]s. These understandings regarding nonprofit needs in Indian promising efforts also present new opportunities for Country, the availability of resources within the regional and national foundations to partner with state, new and emerging programs and projects that in-state organizations where there is a confluence of potentially could be tailored to assist nonprofits in interest in developing infrastructure that can help build Ind[...]philanthropy and nonprofit capacity. regional and national funding circles. When this initial Despite the overall positive tone and constructive work to build shared understandings is completed, direction of the rural philanthropy conference in the working group will establish priorities and plans Missoula, those of us living and working in rural states for building philanthropy and nonprofit resources for are still asking the important question: Why are so Indian Country. BSI is providing fiscal sponsorship, few national and regional foundation dollars making as well as incubation services, during this initial their way to rural areas? With promising and successful develo[...]efforts like those described in this essay, and many In both of these examples, Montanans have more that also could be highlighted, rural and national taken “stuck situations” and created new strategies foundations need to recognize that the old excuses are to get them “unstuck.” All too often, infrastruc[...]Terrific organizations doing fabulous development in a Philanthropic Divide state like work stand ready to partner with interested funders. Montana has appeared far too daunting in complexity |
 | [...]Fall 2008 222 Notes 1. Data published in 2007 by the Foundation Center indicate that Wyoming and Maine have pushed their way out of the bottom ten, being replaced by New Mexico and Idaho. BSI is currently engaged in research activities that will develop a more comprehensive and definitive set of philanthropic metrics and associated indicators r[...]c Divide designation. It is anticipated that when the research is completed, the number of states receiving Philanthropic Divide desi[...] |
 | [...]“Jeff ” Holter A Serendipitous Life: An Essay in Biography Rick NewbyIntroduction Probing the Unknown A miracle is happening to you And you are annoyed. A miracle is happening to me And I am keen with delight. from “Trio,” Beyond the Mores: Poems of Frieda Norman Jefferis “Jeff ” Holter at home, ca. 1978. Gene Fligelman (Berkeley:[...]) Legend has it that there were three princes of Serendip, whatever that is or was, and that they set out in the At the southeast corner of Women’s Park in the heart world to see specific places and find specific things. They of Helena, Montana’s capital city, stands a grand granite did not get to these places or find these things but got arch (rescued from an apartment block destroyed by fire). to other places and found other things. Hence the word Affixed to the left side of the arch is a bronze plaque that “serendipity,” which plays such a part in probing the reads, “In Loving Memory of Norman Jefferis Holter, unknown.[...]1914–1983, and His Many Contributions to Science, Medicine, Business, Community, the Arts, and Learning.” Norman J. Holter, “The Genesis of Inscribed at the bottom of the plaque (donated by Joan Biotelemetry,” Biotelemetry (New York: Treacy Holter, the honoree’s widow) is the phrase: “The Academic Press, Inc., 1976)[...]Holter himself had given the arch to the city in 1982, just |
 | [...]umlummon Views—Fall 2008 225 Jeff Holter at work in the Holter Research Foundation laboratory, Helena, Montana, no date. Photographer un- known. Collection of Joan Treacy Holter. |
 | [...]on Views—Fall 2008 226 before his death, in memory of his parents, Norman B. and laboratory wher[...]other and guesses, and accidental discoveries at will. It has been grandfather, Mary P. and Anton M. Holter, “Pioneers and said that the greatest scientists—those who make Builders of Montana and of Helena.” the great discoveries—are very like artists, operat[...]st, neither Norman articulate proponent of what he called “non-goal- Jefferis “Jeff ” Holter—nor the global impact of his directed scientific research,”1 and[...]ntributions—have been fully appreciated to the field of what is today called “noninvasive beyond a small circle of physicians and researchers. electrocardiology” and his invention of the Holter This essay seeks to correct that oversight, attempting to Heart Monitor (and related technologies), he proved shed light on both the character of this singular man that just such an approach can be mightily effective. and his important work. At the same time, it makes no Put simply, the highly portable Holter Heart claims to be a full biography. Rather, it focuses almost Monitor (today the size of the smallest iPod) allows a exclusively on Jeff Holter’s scientific achievements. It physician to record the heart rhythms of a subject over gives short shrift to Holter’s family and social life and many hours, while the patient engages in his or her his myriad interests outside the sciences (except as daily routine. The physician can then quickly review those came into contact with, or had an impact upon, the collected data, determining what the patient’s heart his life as a research scientist). reveals over, for example, a twenty-four-hour period. Trained as both a chemist and physicist, Holter— Before the Holter Heart Monitor, the only heart who spent his life shuttling between H[...], information available was that collected in a matter of and La Jolla, California—was a man of the world, minutes while the patient was stationary. In describing passionate about ideas and the arts (especially sculpture, his insight that su[...]), infinitely curious, and dedicated data over the long term—was desperately needed, Jeff to making a difference in the lives of his fellow humans. Holter compared the recording of the heart to the The scion of a remarkable Montana pioneer dynasty, assaying of ore (an apt comparison, given his family’s he believed in the virtues of education, hard work, long connections with the gold and silver mining camps and intellectual independence, and because he had the of Montana). He told an interviewer: means, he was able to establish a private foundation |
 | [...]Views—Fall 2008 227 If I owned all of Mount Helena [the other? Or getting drunk as[...]w a city park, that overlooks hit in the butt by an automobile? None of Helena’s historic West Side], and I picked[...]when you’re lying down. . . . 2 up a rock at the bottom of it and sent it to a chemical analysis laboratory, and I said, Undeniably, theat the Holter Research “Well that’s 37 percent zinc, 11 percent lead Foundation in Helena (beginning in 1947), has saved . . .,” then I would conclude that all of Mount countless lives and helped launch a whole new field of Helena consisted of the same amount. That’s medicine. As William C. Roberts, editor-in-chief of The what’s called poor sampling, in any kind of American Journal of Cardiology, wrote soon after Holter’s science. . . . The idea that I should conclude death in 1983, “nearly 7,000 articles have been published that that mountain has those percentages of on Holter monitoring . . . and 1 medical[...]u do when you take an electrocardiogram for publications on the subject.” Roberts added, “Not a in the office. You take twelve to fourteen bad accomplishment for a man who had neither an MD heartbeats. But in the meantime, the heart nor a PhD degree, who funded his o[...]began beats 120,000 times a day. So you look at his own laboratory located in a former train station twelve of them, and you say, “Oh, you’re very in a town with a population of less than 30,000, and healthy,” . . . Or,[...]In 1984, Holter’s discovery received further He went on to add: validation when a group of physicians and research scientists formed the International Society for Holter [S]ince when does life consist of holding and Noninvasive Electrocardiolo[...]lying down and not moving created ISHNE to “promote and advance the science a muscle? What about people on skis? of noninvasive electrocardiology in all its phases and Skydivers? People falling down stairs? People to encourage the continuing education of physicians, having three meals, one right on top of the scientists and the general public in the science of Holter |
 | [...]at Eniwetok Atoll immediately[...]after the Second World War. He[...]was among the earliest scientists to see the therapeutic possibilities[...]of radioactivity, and he is still[...]remembered for his pivotal role in the formation of the Society of Nuclear Medicine (SNM).[...]C. Craig Harris noted in a 1996 history of the Society, “The Society of Nuclear Medicine was created[...]many branches of medicine and the physical sciences, but it[...]originated mostly in the mind of a[...]a handful of colleagues launched Jeff Holter on board on a U.S. Navy ship during his service as the Pacific Northwest Society of Nuclear Medicine in a physicist in World War II. Photographer unknown. Cour- 1954, only fifty-seven years after Marie Curie named the tesy Montana Historical Society (Lot 3 Box 5 Fold[...]the first clinical therapeutic application of radiation and Noninvasive Electrocardiology.”4 ISHNE’s journal when he used phosphorus-32 to treat leukemia. Holter is called Annals of Noninvasive Electrocardiology. served as the president of the national Society from As a physicist, Jeff Holter served on the Navy its founding in 1956 until 1967. The Society remains teams that conducted atomic bomb tests at Bikini vigorous into the twenty-first century, and as Harris
|
 | [...]Drumlummon Views—Fall 2008 229 concluded in his history of SNM, “[ Jeff Holter] was for my autograph. I say, “What the hell? I’m a clever innovator; his name is known to thousands not a movie star.” . . . I never went to Famous of cardiologists and their patients from the Holter School, so I give an autogra[...]say, Monitor, which he invented. He also invented the “Let’s go have a drink or something.” . . . I Society of Nuclear Medicine.”5[...]een doing what gives me a great Nearly all the commentators on Jeff Holter’s deal of pleasure. And that’s to search out the career marvel at his ability to have had such a major unknown.6 impact on the scientific community—from his home in the wilds of Montana. However, Joan, the scientist’s * * * * * * * widow, speculates that, because of his relative isolation (and therefore relative freedom), Holter accomplished The life of Jeff Holter might well serve as instructive a great deal more than he might have in an academic in a time (the early twenty-first century) when science or gover[...]fer from his isolation, but when he found himself in increasingly global economy. In a United States House academia (in 1964, he accepted a full professorship as hearing in 2006, Dr. Joseph Heppert, chair of the a “Specialist in Physics” in the Institute of Geophysics American Chemical Society’s Committee on Education, and Planetary Physics at the University of California, testified that his daughter, an[...]l no San Diego), he quickly found that it was not to his longer be competing with her fellow A[...]stead, he favored an environment where he was for an ‘American’ job [in the life sciences]. She will be free of rigid thinking, arbitrary boundaries, and jealous competing with all of the outstanding students in her colleagues. field on the planet for the best, most rewarding high- Jeff Holter was a gregarious man who refused to tech jobs—jobs that know no national or geographic be bounded by social distinctions, and he was frankly boundaries. In such an environment, she and other uncomfortable with his fame. At the end of his life, he students of her generation need to be well prepared.”7 told historian Bill Lang: At the same time, Heppert pointed out, there[...]ruggling.” These troubling indicators out of Helena, and doctors begin to ask me include “unsatisfactor[...] |
 | [...]Views—Fall 2008 230 international tests of science knowledge, declining (who might almost be quoting Holter’s thoughts on student interest in science careers, and many high school serendipity and being open to accidents), “For an graduates who do not have sufficient preparation to inventor to be successful they have to think outside choose scientific and technical career pathways.”8 the box and propose things that are wildly different.” A 2005 article in the New York Times, “Not O’Brien then[...]: Are U.S. Innovators Losing Their on the importance ofthe accident itself is underscores the sense that Jeff Holter can be seen as seen as an opportunity, whereas in the corporate world an important figure in American science, not only accidents are seen as failures. When people exist outside because of his laboratory’s discoveries, but also because of the corporate model and have vision and passion, he stands as an exemplar of an independent researcher then accidents an[...]utiful things.”10 whose approach resembles that of an artist as much as it Sadly, O’Brien reports, the U.S. is on the verge does that of a traditional scientist. of losing its advantage in the field of innovation. He O’Brien notes, “Inventor[...]public capital [i]s not being research scientists in this category] have always held adequately funneled to the kinds of projects and people a special place in American history and business lore, that foster invention. The study of science is not valued embodying innovation and economic progress in a in enough homes . . . and science education in grade country that has long prized individual cre[...]school and high school is sorely lacking.”11 the power of great ideas. In recent decades, tinkerers Jeff Holter[...]chers have given society microchips, personal at this juncture when the United States stands on computers, fiber optics, e-mail systems, hearing aids, the verge of losing that distinctly American mix of air bags and automated teller machines, among oth[...]inventiveness, independent thinking, and pleasure in devices.”9 Certainly the Holter Heart Monitor belongs discovery—an[...]young scientists to follow a more independent path, It is O’Brien’s emphasis on independent helping to keep alive that grand American tradition of researchers, however, that speaks most powerfully to genuine innovation, a tradition that inclu[...]dison, as well as thousands Vishniac, a professor at Johns Hopkins University of less well-known inventors who dared to break the |
 | [...]rules. As a report from Massachusetts Institute of Technology’s Program for Inventors asserts, “Indeed,[...]invention itself can be perceived as an act of rebellion against the status quo.” 12 Jeff Holter certainly possessed[...]a profoundly restless curiosity and the will, the skill, and the means to follow his intuitions. This brilliant,[...]ratitude—and much greater exposure, well beyond the limited spheres of the medical community and highly[...]in his 2006 essay, “The History, Science, and Innovation of Holter Technology”:[...]It is memorable to have known personally the modest lifestyle that Jeff Holter lived,[...]to pursue his scientific endeavors in Helena,[...]Every form of electrocardiographic information of humans who go about their Bill Glasscock, Jeff Holter’s chief collaborator at the Holter daily activities and is protracted[...]olter Heart Monitor on duration of time “without touching” (i.e. the streets of Helena, no date. Photographer unknown. without cables) is an evolution of Jeff Holter’s Collection of Joan Treacy Holter.[...]accepted as the “Father of Ambulatory and[...] |
 | [...]iews—Fall 2008 232 ignore and fail to recognize the clear footstep greatest entrepreneurs, and it can be said that Jeff Holter of a giant [who] lived within our own time.13[...]knighted by the King of Norway for his contributions In a tribute to Holter in The American Journal to education—a predilection for quick thinking and of Cardiology, the authors—in thanking him for his “non-rigid” exploration (when[...]enterprise “monumental contribution”—quoted the Montana failed to succeed, Anton quickly turned to another until scientist approvingly. Holter, they[...]he achieved success). Anton was known as the father near the end: ‘Through training and observation, I have of Montana’s lumbering industry (he started the first learned that honesty and integrity are not just cliches sawmill in the territory near Virginia City in 1863), but sources of both self respect and enlightened self an[...]usiness interests included Holter interest.’” The authors concluded, “[ Jeff Holter] lived by H[...]and mining and milling machinery at both wholesale and retail), the Virginia City Water Company and Chapter One[...]other utility companies (including the United Missouri Beginnings[...]dams near Helena), and numerous mining operations in Jeff Holter was born in 1914 in the family home in Montana, Idaho, and British Columbia. Helena, directly across the street from the house where Through necessity, Anton became, as his he would spend much of his adult life. The physician grandson would, a resourceful and skilled inventor. In who delivered him was John Lear Treacy, the father his memoir, “Pioneer Lumbering in Montana,” Anton of his future bride, Joan Treacy Holter. His paternal recalled that, in setting up that first sawmill, grandfather Anton M. Holter (1831–1921), a Norwegian immigrant, had come to the United States in 1854. As a . . . we soon encountered what seemed to be writer for the Mountain States Monitor asserted in 1919, the worst obstacle yet. This was that we had “[Anto[...]ilization first struggled no gearing for the log carriage, not even the to gain a foothold on the frontier, and he proved himself track irons or pinion—and to devise some a veritable pioneer by his constructive ability and mechanism that would give the carriage the indomitable energy.”15 A. M. Holter was one of Montana’s forward and reverse movement became the |
 | [...]mon Views—Fall 2008 233 Anton M. Holter, the pioneer patriarch of the Montana Mary P. Holter, Jeff Holter’s paternal grandmother, no Holter clan. From Progressive Men of Montana (Chica- date. Photographer unknown. Courtesy Montana Histori- go: A. W. Bowen & Company, ca. 1901).Courtesy Montana cal Society[...]942-820). paramount problem. After a great of thought experimenting, before we learned to temper and experimenting we finally succeeded in the chisels so they would stand the cutting of inventing a device which years later was iron. . . . We finally got the mill started and patented and widely used under the name of sawed about 5,000 feet of lumber before we “Rope Feed.” . . . ever had a beast of burden in the camp.16 [I]n order to construct this, we had to first build a turning lathe, and when[...]account, Jeff was deeply influenced we came to turn iron shafting, it took much by[...] |
 | [...]ter (far right) gather with their extended family at their Helena home, September 1905. Photogr[...] |
 | [...]ation (“[h]e was a carpenter”), he inculcated in his children and grandchildren the mantra, “You’ve got to work. You’ve got to work. You’ve got to be educated. You’ve got to work.” This family credo was seconded[...]at Columbia University as a mining engineer), and[...]took over many of the businesses started by the[...]these were the hardware company, the vast N-Bar Ranch in central Montana, the Holter Realty Company,[...]and a closed-end investment company named the Holter Company, which invested in mining, oil, and California real estate. The brothers’ only sister, Clara, held stock in each of the family companies. But it was[...]Norman B. who took primary responsibility for the[...]Jeff Holter came of age in a time when American[...]science education was seriously deficient. In an interview at the end of his life, he recalled—with Jeff ’s father, Norman B. Holter, at a Holter Hardware considerable chagrin—the failures of his science Company picnic, June 1930. Photographer unknown. education in the Helena public schools (and a Courtesy Montana Historical Society (PAC 942-850). private high school in Philadelphia, where he spent
|
 | [...]his sophomore year). As a brilliant young chemist[...](he began his first experiments at age seven or eight and noted that “since the day I was born, I wanted desperately to be a chemist”), he was told that, as a freshman in high school, he was too young to study chemistry and that he’d have to wait—just like everyone[...]“studying high school texts for the previous three or[...]he was fortunate in two regards: First, his family did[...]not discourage him (“In fact, they didn’t encourage or[...]urage me. They just said, ‘Do whatever you want to do’”); one Christmas his parents’ gift of a chemistry set had launched his passion for that science. And second,[...]his passion. The German-born Dr. Emil Starz, owner of the local Starz Pharmacy and a chemist in the Montana[...]wing. At the end of his life, Holter fondly recounted his experiences in Starz’ lab:[...]Dr. Starz came over from Germany in the 1800s, a very highly educated man in chemistry. . . . there was no place for a Ph.D. The bookish young Jeff Holter, no date. Photographer un- in chemistry in Montana in the 1880s. . . So, known. Courtesy Montana Historical[...]4 he finally got a job—what was it?—in the Folder 12).[...] |
 | [...]spent most of their time analyzing cows’[...]I was carrying the Saturday Evening Post on[...]Thursdays, paid three cents, sold them for a[...]ten cents, twenty cents, one for the movie on Saturday afternoon . . . and the other to take the streetcar, out to Dr. Starz’ laboratory—[...]ook time out from his “pretty heavy schedule” to guide the high school student through experiments:[...]It was the state veterinarian’s chemical[...]of course, the smells and everything else thrilled the hell out of me. . . . And he was a[...]charming old gentleman—much maligned in the First World War by super-patriots—but Dr. Emil Starz., Jeff Holter’s first mentor in chemistry, he would sit me up in the corner and every Helena, 1938. Photographer unknown. Courtesy Montana once in a while . . . he’d come over and say, Historica[...]“Well, now you put ‘dis solution in dis’[...] |
 | [...] 238 . ..” Those were probably the biggest thrills You may have use for it & if not I rather see you have it, of my high school days, of everything. 20[...]Starz would offer his protegé best wishes—in Holter spoke of Starz with considerable emotion, 1939, on the eve of Jeff ’s receipt of his master’s degree and it is clear that each man held the other in high in physics from the University of California, Los esteem. After he departed Helena for higher education, Angeles—with some prescient words, “Knowing Holter kept in touch with his mentor. Holter recalled: you will make a mark in your chosen profession & cognizant of the fact that science will hear from you in [A]fter he had got old and retired, I went the years to come, I wish you the success & fortitude to his house on Ninth. Chemistry was to master the final proof of your proficiency.”22 Though advancing rapidly in those days, and I was Jeff Holter would never receive the PhD Starz alluded a graduate student. And I would remember to, the “final proof ” of his proficiency would come just his taking his time . . . to see that I learned as certainly, through his contributions to science at the something. So I would bicycle out to his Holter Research Laboratory.[...]ould Holter was always willing to go against the grain sit there and I would ask him if he’d heard if doing so made good sense to him. This willingness of the such-and-so reaction. Or the new to follow his own direction manifested itself in his developments in what’s-his-name. And he experienc[...]. . And he loved [M]y great claim to fame . . . is that I’m the it. And I loved it. . . . [A]s I look back[...]on with twenty-nine merit badges those were the absolute highlights, the visits [who] never made Eagle Scout. . . . I thought to his laboratory.[...]knows-what-kind-of merit badges, most of In 1927, when Jeff was thirteen, Starz sent the which were a breeze. Go down and resc[...]ung friend,” he wrote, flat iron from the bottom of the pool at the Y. “Herewith I present you with a set of analytical weights, . . . And go into the forest with a rusty razor the same I used when I first entered College in 1884. blade and come out with a pan of biscuits. . |
 | [...]haven’t got one of the required merit badges, which is the athletic merit badge.” I said,[...]“Athletics, smashletics; what the hell, I’ve[...]the IRS. Holter did try for his athletic merit badge, but[...]throwing a baseball the necessary distance eluded[...]he said, “‘Phooey on the Eagle Scouts. Who needs them?’ And I went on to other things.” 23 As he entered high school, Jeff worried that[...]chemistry,” but though the pressure to conform to the male norm in 1930s Montana must have been great,[...]he remained committed to his passions. He was, for the most part, an honest and law-abiding young man Je[...]d. Photographer unknown. (though hardly lacking in spirit). He admitted to, “back Courtesy Montana Historical Society (PAC 945-085). in our foolish years,” getting “a little tanked[...]a switch engine from the Northern Pacific depot. But,[...]while his peers were shoplifting gum from the corner store, Holter “got my thrills out of making bombs. Set fire to my father’s house accidentally. . . .”[...] |
 | [...]mlummon Views—Fall 2008 240 predilection for pyrotechnics would extend throughout his life, from his time at the nuclear bomb tests in the Pacific to his sculpting of metal with dynamite to the family Fourth of July celebrations at their Colorado Gulch cabin, which always involved[...]curiosity and inventiveness could prove alarming to his parents. He recalled that his mother called up a friend and asked, “[W]hat am I going to do with this naughty little boy? He’s alw[...]alarm. . . . I had a little laboratory room in the cellar. . . And I had this [life-sized dummy] attached to the ceiling horizontally, hung by the head with a release mechanism on the feet so that, when you opened the door, this whole thing would come swinging right down and bat you in the face. And my poor, dear mother—I wish I could’ve apologized to her—she went down to see what’s going on in there and she opened the door and this monster came down and batted her right in the puss. And I said, “Well, Jeff ’s mother, Florence Jefferis, at the time of her high school that’s a poor way to treat your mother, but it’s graduati[...] |
 | [...]initiatives, foremost, he wrote, “I am glad to hear that you are Jeff Holter cared deeply for his parents, and getting much better and I hope you may come home particularly for his mother, Florence, who suffered soon and I suppose you do, too.”27 This solicitude for the severe chronic pain of rheumatoid arthritis. his wheelchair-bound mother, and desire to see her Because of Florence Holter’s condition, she and her suffering cease, pervades his letters to her. son were often separated as he pursued a quality Perhaps his empathy for his mother’s pain education and she traveled in search of relief from her had something to do with his later career. Despite suffering. Into his mother from the Benjamin curiosity”28—he was interested in more than pure Franklin Hotel (where he lived while attending the research. With his passion for science and a highly Episcopal Academy of Overbrook, Pennsylvania, a developed capacity for compassion (like other children neighborhood of Philadelphia), “I am glad to hear that of the chronically ill), he was intent on making a real Dr. Pemberton seems to be helping. . . . I’m sorry you difference in the health and well-being of his fellow have to get so tired out and I suppose you would like humans. As literary scholar Elaine Scarry has argued to come home but as it seems to do you some good in The Body in Pain, the obverse of pain’s destructive I hope you will stay.” As Christmas approached that nature is its ability to stimulate our capacity for year, Jeff wtote his mother, “It seems kind of empty imagining; it can lead not only to the “deconstruction like without you & Daddy to help wrap stuff up. I am of the world, but [also] to that world’s construction or sure that it will be better for you to have Christmas reconstruction.”29 where you are. . . .” Clearly, during the winter of Back home in Helena, Jeff ’s private researches 1928−1929, the notion of home for Jeff Holter must continued unabated inThe following January he reported that he had and am now making a lot of stuff.” At the moment just taken his final exams and that “I will make it fine.” (in March 1928), he was making a “Hectograph,” a He could also tout his five new merit badges—in primitive duplicating machine that u[...]hemistry, Personal Health, and gelatin to print text and images.30 Swimming—and that he h[...]gressed through high school, Jeff and star badges at a Boy Scout court of honor. But regularly reported his grades to his faraway parents
|
 | [...]Florence Jefferis Holter (center), on a visit to Atlantic City, New Jersey, in search of relief from her rheuma- toid arthritis,[...] |
 | [...]s—Fall 2008 243 (they generally wintered in Beverly Hills, again on A scrapbook Holter must have kept during these behalf of his mother’s health). His marks revealed a years includes scores of clippings about discoveries by pronounced talent (and predilection) for the sciences. great scientists, not just by those who found practical In November 1929, he wrote that his final grades for applications for great discoveries (like Edison), but the quarter were: “Algebra 86, English 92, Latin 87[...]purely theoretical discoveries, especially those of French 87, Chemistry 97.” In algebra he “was the only Albert Einstein and other physicists. Clearly, even as a one in the class of 21 that passed, I also had the highest boy, the nascent scientist was following the masters of chemistry and next to highest English grades.” He innova[...]n aspirations wrote further, “I made some glass in my furnace and upon their accomplishme[...]ayon (artificial silk). I am laboratory assistant at Mrs. Ellen Myers, who had helped care for Jeff ’s school and do all my experiments at home.”31 mother, wrote in 1940 (soon after Florence’s death) that In January 1930, Jeff wrote to thank his parents “I miss her . . . but we must all go and cannot prevent for the “very pleasant surprise of your movie camera it. She was afflicted[...]t and projector.” He reported that Carl Hermann of Jeff “is one that will keep on tr[...]had his works down basement films including some in color.” He also noted that the was to ‘do something someday,’ and he sure has a goo[...]an Jefferis Holter graduated from Helena a number of times” and that the young Holters had High School in June 1931. His friend and mentor Emil “sent in the first film of our own to be developed.” Starz wrote him a congratulatory note: Later in the month, he expressed pleasure at being back in Montana. “Even with more to distract me You have . . . successfully fought the first here at home,” he wrote, “I find it easier to study than round in the struggle for higher education when I was cooped up in the hotel” in Philadelphia. and are now on the way to face the second His parents continued to be supportive of his scientific one with an abundance of faith, ambition and interests. In the same letter, he noted, “I got your letters energy. . . . “Per aspera ad astra” [“through and the chemical stuff that Mother forwarded. . . . adversity to the stars” or, as some would Thanks very much.”32[...]have it, “through suffering to renown”] was |
 | [...]rumlummon Views—Fall 2008 244 Emil Starz at his home on Ninth Avenue, Helena, 1942. Ph[...] |
 | [...]mlummon Views—Fall 2008 245 always the battle cry of the Holters and they Germany, Jeff endeavored to keep friends and family succeeded as histor[...]rded. informed about his adventures. On the outgoing With such a family record back of you you voyage, on the Deutschland of the Hamburg-America can not fail to add more honors and fame to Line (which advertised itself as the “fastest steamer in the name of the Holters.34 the world”), he wrote to his father that, in a few days of speaking with his fellow passengers, “I have pi[...]up more German . . . than in many weeks of college[...]helpful. With high school behind him, Jeff moved to southern She “does not have a single word of English. She does California and enrolled first in Los Angeles Junior not care to learn so the improvement is all on my side.” College and then the University of California at He also made the acquaintance of a “very intelligent Los Angeles (UCLA), where he received his A.B. in and attractive girl from Carolina who is going to Chemistry in 1937. The summer of 1937 took him to Europe to study medicine.” He added, “We have tried Heidelberg, Germany, where he studied the German to speak German exclusively and have found that language in preparation for graduate school. reading a German newspaper to each other is very good This journey into the heart of Germany just practice.”35 before the Second World War seems to have marked On the twenty-sixth of June, he reported, “Today him profoundly. Despite the rise of Nazism, he found we are seeing land for the first time,” and a day or much to love about German culture, and in his spare two later, he announced, “We are entering the North time, he immersed himself in opera, the visual arts, Sea and the water is getting rougher. I feel quite the architecture, and literature. Much of his later book traveller, having spent a few minutes each in France collecting would focus on first editions of classic & England.” His address in Heidelberg would be German scientific texts, like Goethe’s 1790 study of “Hirschgasse 20 Telefon 3737.”36 plan[...]Albrecht Durer’s stunning had arrived in Heidelberg the previous evening work on the proportions of the human body, Hierin sind to an “excellent dinner.” He was pleased with his begriffen vier Bucher von menschlicher Proportion of 1528. accommodations: “a room on the top floor of this very While in transit to and during his stay in nice house owned by Dr. Fohnenb[...] |
 | [...]ws—Fall 2008 246 wife,” adding that “the view from my ‘study’ window”— Holter family and friends gather on the front steps of the which included a large castle directly across the Necker Norman J. Holter home, Helena, undated. Jeff is on the River—”is very beautiful.” His fellow boarders were stairs at the upper right; his sister Marian sits on the wicker an Englishman, a Swedish girl, his friend Harrison, chair to the left. Photographer unknown. Courtesy Mon- another[...]Box 4 Folder 1). “German is spoken exclusively at the table.” “We are now waiting for lunch,” he concluded, “after which we[...] |
 | [...]Drumlummon Views—Fall 2008 247 The students with whom Jeff Holter traveled to Heidelberg, A few days later, Jeff wrote his mother that Germany, June 1937. Jeff is in the back row, fifth from the he had “just returned from the greatest chemical left. Photographer unknown. Courtesy Montana Historical exposition in the world” in Frankfurt. “The exposition,” Society (Lot 3 Box 5 Folder 6).[...]I didn’t begin to see it in two solid days of walking |
 | [...]2008 248 through massive halls filled with the latest in chemical ability to develop substitutes (“ersatz”) for science.” He was struck by the German effort to use resource deficiencies. The most important chemistry to solve the “problem of lack of natural of these substitutes was coal tar derivatives, resou[...]ood only, which not only made up for petroleum thousands of products have been made to replace metal deficiencies, but also became the basis for parts etc. Silk, flexible glass, plumbing fixture[...]uard explosives industry.39 metals are only a few of the results.”38 Jeff Holter had reason to be impressed. As Of course, this fusing of science and technology economist Doug Dowd has written: (including the development of ersatz products), when[...]joined with fascist ideology, resulted in catastrophe. Mention has been made of Germany’s large It allowed Hitler’s Germany to build a war machine aims and limited resources. That it was second to none and undertake its expansionist nonetheless able to move forward rapidly and aggressions during the coming years ofof its interesting.” He wrote, “The classes are composed of earlier checkerboard existence as hundreds every nationality in Europe and only German can be of principalities and their associated spoken.” Because his course of study was the German bureaucracies. The serendipitous product was language, he spent his day studying grammar, engaged the most literate society in the world and the in conversation for two straight hours with fellow class highest proportion of skilled craftspeople: members, and listening to lectures in German “covering a deep mine of talent that provided a wide range of subjects.” He was free to choose the Germany with much of the “social capital” lectures he audited and then choose “whatever final it needed to deal effectively with problems exam he [felt] prepared for.” In early July, he wasn’t of organization, science, and technology. yet sure “whether the lower courses are too easy or the For Germany, more than others in its era, upper courses too hard.”40 “necessity was the mother of invention.” Jeff was developing a powerful interest in The successful fusing of science and photography and was eager to purchase a fine German technology was the source of Germany’s camera “to record my trip better,” finally settling on a |
 | [...]Father for this trip. Harrison wants to argue a little[...]Jeff continued to find his German stay productive. “On the whole,” he reported, “there are many fewer[...]diversions here and it is easier to study.” Back home, he[...]without being aware of the fact that many[...]biography or article in a non-technical field. In spite of my interest, it has been a struggle[...]and a constant inner pep-talk to get my work[...]e.42Jeff Holter may have taken this photograph of a Nazi He did admit to an occasional distraction even in soldier with the Zeiss Contax camera he purchased during Heidelberg, though the “novelty of speaking German his Heidelberg stay, 1937. Courtesy Montana Historical [to German girls]. . . is now no more and I can’t d[...]Lot 3 Box 5 Folder 6). to these brass bands”:[...]nd run into a Zeiss Contax f/1.2 (which cost $425 in California and crowd of girls from Vassar or Smith touring only $112 in Heidelberg). After asking his mother to the country. There is usually one or more who send him sufficient Reichsmarks (5oo) to cover this are attractive and miss B[...]is a gorgeous evening and I wish am late for dinner.43 you could all see the beautiful Necker valley from this |
 | [...]Drumlummon Views—Fall 2008 250 At the end of July, he reported that he had good condition”) out of town, hoping to “round up a “about exhausted the supply of things to see.” Most symphony concert or two.” They cycled to Stuttgart, importantly, he and his friend Harriso[...]owns “every hospital and clinic within a radius of ten miles” and “never missed a side trip, seeing all the castles, of Heidelberg. At the Kaiser-Wilhelm Institute, a “very museums and exhibitions of which the country side is hospitable doctor-chemist-bacteri[...]covered more than two hundred kilometers through the laboratories and explained what work was in two days, returning by train “in time for school.” The in progress.” He was delighted to report that he was trip, Jeff wrote, was “so full of interesting details that I able to converse easily with the German scientist since couldn’t begin to remember them all.” His old camera “my techni[...]s necessarily more complete” was “too big to take along,” but he used Harrison’s because of his intensive language studies.44 smaller camera to take pictures of a “tremendous crash In his effort to fully encounter the German into acquire the Nazi regime: tickets to a concert by renowned conductor Arturo[...]Toscanini.46 I have had fun trying to locate a book Immediately after the Stuttgart trip, Jeff bought of short stories by Thomas Mann who is the new camera, writing his father in a letter dated decidely disowned by Germany[...]gust 5: like a speakeasy during prohibition to go in and whisper what you want. Several book Thanks again for the wherewithal for the handlers have taken me confidentially into camera. . . . [I] will be able to accurately the cellar and shown me the forbidden books record all the rest of my trip. This camera is which they neglected to burn. Others are especially made for scientific work as well as quick to explain what a horrible menace general photography and has many special Mann is to the welfare of Germany. 45 applications not obtainable in any other[...]iend Harrison rode their bicycles (“we are both in |
 | [...]ews—Fall 2008 251 He was glad, he wrote, to hear of his father’s “beer kind of journal of this final trip. Penned on Hamburg- bust with Dr. Starz and the rest of your gang.” Such America Line stationery[...]10, when he and Harrison set out for Switzerland, As summer ended, Jeff ’s thoughts turned to final and ended August 24, when—liner-bound for New exams and graduate school. The two exams included York—he contemplated the next steps in his young one on general aspects of German and the other on life. His account would be, he wrote, a “hodge podge of “technical German principally in the field of physical impressions patterned after [Walter[...]he would pass either or whatever style suits the purpose.” exam but noted, “if I do pass, I will have completed Jeff found Zurich “quite the cosmopolitan city one-half of the language requirement for the chemical and it is not unusual to see a sign which is written in doctorate.” He had been eager to attend Massachusetts a mixture of languages.” He and Harrison enjoyed a Institute of Technology—“one semester at M.I.T. will Schubert concert on the shores of Lake Constance, and offer me more advantages than will CalTech”—but the in a Swiss nightclub “where waiters were busy carr[...]m that “I am a little short on around trays of pastry and ice cream instead of gin and higher mathematics to enter the graduate school.” His seltzer water,” he visited with a German-speaking black father wanted him to attend a California university, but jazz musician who had recently toured in the Soviet Jeff implored him, “Please let me be the judge of what Union, where two of the members of his band had school is best for my requirements.” The University of “spent three months in prison for discussing politics Wisconsin, he noted, “has come into consideration, ‘out of school.’” and if I do go there I will be at least that much closer Jeff declared himself “not overly impressed with to home.” He remained hopeful that, with a little European culture.” He felt that there existed in Europe make-up math at UCLA “or wherever I go,” he could “about the same minority of people who are genuinely still attend M.I.T. As soon as he completed his exams, interested in something besides the movies and radio he and Harrison planned one last European journey, as there is in America.” He noticed that the visitors to traveling through Zurich, Munich, Leipzig, Berlin, and the art museum in Zurich were mostly American and Hamburg and sailing on August 19 from Auxhaven.48 English, and the operas he attended “all over Germany In a nearly twenty-page missive addressed “Dear seem to cater almost exclusively to the tourist trade—a People” (probably meant for his family), Jeff offered a sort of commercialized culture.” Only the “tourist filled |
 | [...]ews—Fall 2008 252 A studious Jeff Holter in his room in Heidelberg, 1937. Photographer unknown. Courtesy[...]cafes” offered “good string music” instead of “cheap Rembrandt reproduction for his friend Hal Jenkin, vaudeville,” and “the truly native places were much and spending one entire day in Munich exploring lower than our American ‘joints’ yet were patronized by the Deutsches Museum. Devoted to science and what would correspond to our middle class.” technology, the museum was the “largest in the world Meanwhile Jeff continued to happily consume of its kind.” The exhibits held Jeff rapt: European high cul[...] |
 | [...]t its “most interesting,” but the “very quantity” of work made complete evolution was seen. For example, him “suspicious about some of the quality.” one walks into an alchemical laboratory of At a concert of Richard Strauss’ comic opera 1200 and then into one typical of 1300, 1400 Der Rosenkavalier, he found himself—“upholding the etc. up to the modern completely equipped Holter tradition for coincidence”—standing next to an laboratory. . . . The histories of music, old friend, Carl Ross, “that[...]ics, art perspective and ran around with at Junior College before he went off many other fields were objectively presented. to Stanford.” Ross was “rounding . . . off ” his master’s I took some pictures of one of Bach’s pianos. degree with a European to[...]On August 16, Jeff and Harrison arrived in The next day he visited the famed Pinakothek Berlin, where they “passed several groups of soldiers . . art galleries, but for him the more important discovery . practicing dragging cannons up and down hills.” He was the Deutsches Museum library. This remarkable commented, too, on the heavy police presence. He had repository thrilled him with its “current issues of 1000 hoped to visit Dr. Starz’s relatives in Potsdam, but ran scientific monthly journals as well as bound volumes out of time; “I am sorry,” he wrote, “as I really wanted to of all previous issues.” He lamented, “I only had time say hello to them.” to walk around and see what was there—would like to On August 18, the two young men caught spend a summer.” the “Flying Hamburger,” the famous streamlined During a long walk through the city, he was less train running between Berlin and Hamburg. The than thrilled by the heavy military presence, and at “Hamburger” maintained the “fastest schedule in the the changing of the guard at a “tomb of some Nazis,” world” and averaged “about 100 miles an hour.” Early he found himself “caught in the midst of a bunch of the next morning they boarded the ship bound for goose stepping soldiers and marched through most of home. To the envy of his traveling companions, Jeff had the ceremony with them.” He and Harrison also visited “eight very nice letters” waiting for him, including one the impressive new “House of German Art,” which from Dr. Starz. Hitler had had built to showcase “proper” contemporary He soon found himself speaking English again art, as opposed to the “degenerate” modern variety and wondered whether “7 weeks in Germany would denounced by the regime. Jeff found the exhibition really affect one’s E[...] |
 | [...]when I three, four or more years of being seen only at speak.” Many of his fellow passengers were seasick, but meals or not at all if my betterance indicates he seemed immune. He reveled in a return to “quite periods of study away from home. The work unGerman” breakfasts: “eggs, bacon, steak, potatoes, will be of the most difficult and exacting kind. pancakes, mushr[...]ed rolls.” . . . I have never been able to know whether On shipboard, he observed that[...]out bringing closer together—his twin passions for art and remarks such as “one-track-min[...]While he objected to this characterization, he Hope I don’t se[...]concluded his letter by admitting, to correlate two fields of interest by reading Mathematik und Malerei [“Mathematics I will have to shelf the things which I enjoyed and Painting”], a book which analyzes this summer, with the knowledge that after I mathematically the more famous paintings have a doctorate I can then sit back and enjoy of well known artists. . . . Go ahead and call music, literature and art. The other alternative me eccentric—I can enjoy a sunset in its full would be to take time now to read all the beauty by viewing it as a whole and then books from the book-of-the-month club, enjoy it a little more by knowing what makes take time now for enjoying the broadening it beautiful. interests which are a part of me, and remain[...]mediocre as a scientist. He looked forward to his time in graduate school: Thus resolute, he prepared to undertake this This whole business of higher education “most difficult an[...]that it is a would not realize his dreams of attending M.I.T. or rather selfish interest[...]ning a doctorate, Jeff Holter was well on his way to to continue in school, but I do think that becoming not[...]but rather a singularly everyone can share in the benefits. It means accomplished sci[...] |
 | [...]ll 2008 255 Notes 1. Norman J. Holter, “The Genesis of Washington, DC, May 3, 2006,” http:// Monitor, June 1919, 12. Biotelemetry,” Biotelemetry (New York:[...]17. N. J. Holter, Lang interview, MHS. of the Montana Historical Society,[...]19. Ibid. (hereinafter referred to as N. J. Holter, Lang interview, MHS).[...]21. Ibid.; Emil Starz, letter to Jeff the Editor: Who Was Holter?,” The[...]lter, Holter Research Foundation American Journal of Cardiology, 52 12. Quoted in O’Brien, “Not Invented[...]Society Archives, Helena (hereinafter Society for Holter and Noninvasive F.A.C.C., F.E.S.C., “The History, MC 173, MHS). Electrocardiology (ISHNE) website, Science, and Innovation of Holter[...]22. Emil Starz, letter to Jeff Holter, July http://www.ishne.org/english/inicial_ Technology,” Annals of Noninvasive[...]lter, Lang interview, MHS. 5. C. Craig Harris, “The Formation 14. Quoted in William C. Roberts, and Evolution of the Society of MD, and Marc A. Silver, MD, 24. Ibid. Nuclear Medicine,” Seminars in Nuclear “Norman Jefferis Holter and Medici[...]1996), 190. Ambulatory ECG Monitoring,” The 25. Ibid. American Journal of Cardiology, Vol. 52 6. N. J. Holter, Lang intervi[...]26. N. J. Holter, letters to Florence J.[...]Holter, November 5 and December 7. “Testimony of Dr. Joseph Heppert 15. Mabel Roberts, “History of a 19, 1927, Holter Family Records, to the House Committee on Science, Montana Pioneer,” The Mountain States Manuscript Colle[...] |
 | [...]a Historical Society, 34. Emil Starz, letter to N. J. Holter, 42. N. J. Holter, letter to Florence J. Helena (hereinafter MC 80, MHS).[...]Folder 3, MHS. 27. N. J. Holter, letter to Florence J. Holter, January 25, 1928, MC 80, Box 35. N. J. Holter, letter to Norman B. 43. Ibid. 32, Folder 3, MHS.[...]44. N. J. Holter, letter to Florence J.[...]36. N. J. Holter, letter to Norman B. Folder 3, MHS. 29. Elaine Scarry, The Body in Pain: Holter, June 22–27, 1937, MC 80, Box The Making and Unmaking of the World 32, Folder 3, MHS.[...]37. N. J. Holter, letter to Florence J.[...]937, MC 80, Box 32, 47. N. J. Holter, letter to Norman B. 30. N. J. Holter, letter to Florence J. Folder 3, MHS.[...]38. N. J. Holter, letter to Florence J.[...]Box 32, 48. Ibid. 31. N. J. Holter, letter to Florence J. Folder 3, MHS. Holter, November 14[...]49. N. J. Holter, letter to “Dear People,” Box 32, Folder 3, MHS.[...]der 4, The Work of Robert A. Brady (1901– MHS. 32. N. J. Holter, letters to Norman B. 63),” Journal of Economic Issues, Vol. and Florence J. Holter, Jan[...]40. N. J. Holter, letter to Florence J.[...]y 3, 1937, MC 80, Box 32, 33. Ellen Myers, letter to the Holter Folder 3, MHS. family, January[...] |
 | [...]Drumlummon Views—Fall 2008 258 The Hegemonic Eye: Can the Hand Survive? Chris Staley Note: Ceramic a[...]and Helena, Montana, first presented this lecture at the 2004 annual conference of the National Council on Education for the Ceramic Arts in Indianapolis, Indiana. Many thanks to Chris for permission to reprint. Have you ever had a broken heart? Perhaps a pet you had for a long time passed away or a partner decided to leave. I can remember my heart aching when someon[...]x 20 inches. I loved left me. We often use a part of our bodies to © 2005 Chris Staley. describe our feelings[...]n-skinned.” This influence our well-being. The writer Saul Bellow once confluence of our thoughts and feelings with our bodies said, “People are literally dying for something real is one of the most profound aspects of our human when day is done.” It is my belief that our lives are experience. We are the only animal that sheds tears when becoming increasingly ocular-centric. In other words happy or sad. circumstances in our lives increasingly call upon us I am interested in the senses of the body, because to use our eyes at the expense of our other senses. As I believe there has been a dramatic change in how vision becomes more dominant, our i[...]m. I am concerned that we underestimate the world becomes flatter and the joy and fullness of the extent to which our senses are used, how they[...] |
 | [...]umlummon Views—Fall 2008 259 Part of the catalyst for my interest in this topic generations of human beings (twenty-five years being is what I do for a living. I am a potter and teacher at one generation). The realization that there has been a large university. How I touch clay is a fundamental more change in the past 4 generations than in the consideration when making a pot. I was recently asked preceding 796 gives us some idea of how quickly the to have electronic sensors attached to my hands as I human experience is changing. was throwing a pot, to stimulate the creation of a form Just over one hundred years ag[...]ne. With computers we can primary source of transportation was a horse, the disseminate information to large audiences as never Wright Brothers flew a plane for the first time, and before. Why not teach a pottery c[...]ght sixty-five years later we landed a man on the moon. be the largest pottery class ever taught. What might So much has changed, so quickly, that sometimes it some of the implications of this online learning be? is difficult to realize how profound the change has I would like to discuss how the use of our senses can been. The late designer Victor Papanek said the two influence all facets of our lives, from how we learn to biggest changes in the twentieth century are that we how we relate to others. In essence, how the use of our went from working primarily outdoors to working senses influences the quality of our lives. indoors and that we now have the capability to destroy I would like to address four topics. First, how the world as we know it. It was only one hundred dramatically peoples’ lives have changed in recent times. years ago that the majority of people in our society Second, how sight and the eye are becoming more worked on singl[...]rms, and now it is less than dominant. Third, how the sense of touch and the hand 1 percent. And certainly our relationship to the world are vital to our well-being. And fourth, where hope can changed with the creation of the nuclear bomb and its be found as we look into the future. devastating capabi[...]For over 100,000 years our ancestors gathered Change around the flickering flames of campfires, yet it is only With new scientific and technological in the past fifty years that we have instead gathered innovations happening every year, human beings are around the glow of a television. After work and sleep, experiencing[...]re. Twenty thousand watching TV has become the most time-consuming years ago our ancestors were painting animals on the activity for the average American. The average home walls of caves, and since then there have been 800 has a TV turned on for over seven hours a day. The |
 | [...]we stare into the campfire, the[...]invented to communicate.[...]school in 1973, there were no[...]no signs of slowing down. Chris Staley, Stoneware Bowl, 2004, 7 x 8 inches. With the increasing presence of TV in both private © 2004 Chris Staley. space and public space, from cars to airports and banks and schools, we are exposed to more information than[...]ever before. By 2001 over half of all Americans were average person watches more th[...]. online, a statistic that has continued to grow by about According to the national average, those of us who two million Internet users a month. The writer Thomas live to be seventy-five years old will have spent over Friedman says what comes next is not just the Internet nine years of their lives in front of a TV. The different but what he calls the “Evernet,” a world where we will sensory experiences of watching a campfire and be online all the time through a watch, cell phone, or watching TV are worth noting. While the campfire can portable PC. evoke silent contemplation, the TV creates a sense of It is difficult to dispute these remarkable changes. anticipation according to its prescribed narrative. The Many of these innovations have enriched our lives,
|
 | [...]of our lives with such speed[...]that we have had little time to consider the implications of[...]paradoxes in this new world of[...]one of the supposed benefits of the new technology is its[...]efficiency and the free time[...]to do more in less time has[...]only fueled our desire to be[...]harder. The second paradox of technology is the more Chris Staley, Stoneware Cover Jar, 2005, 18 x 19 inches. connected we become through the Internet, the more © 2005 Chris Staley.[...]in a house where it is easier to just e-mail each other with the most tangible being that life expectancy has from their respective rooms than to meet in the living increased by thirty years in the past century. With room to talk. With this new technology we can work at innovation comes change. Oftentimes change brings home and be in contact with virtually anyone anywhere. consequen[...]ons that must be considered. Certainly to reduce the time we have available to spend with when Henry Ford created the assembly line to build family and friends. Insofar as relationships can be automobiles, he did not consider the phenomena messy, sometimes it just seems easier to either watch of smog or global warming. Yet new electronic TV or surf the Internet than to deal with the reality of
|
 | [...]Drumlummon Views—Fall 2008 262 someone in the flesh. the notion of our other senses giving meaning to our What has happened to our relationship with lives is of lesser significance. The eye is the sense of time? What is real time? Most often when you ask privilege in our culture. As children we were often someone ho[...]s doing, they reply, “Oh, I’ve reminded of this when visiting someone’s home to just been busy.” Who hasn’t been in an elevator and pressed “look but don’t touch.” The phrase “out of sight, out of buttons to make it move faster? It seems like we never mind” reinforces the notion that what we see is what we have enough time to do all the things we want to do. think. After a while it seems our lives become a to-do list, In his book The Object Stares Back, art historian racing from one thing to the next. In cultural critic James Elkins says that the act of looking is one of desire James Gleick’s book Faster, he writes, “We have become and that we want to possess what we see. He argues a quick-reflexed,[...]nel flipping, fast- that looking is a search for what we want, and goes on forwarding species. We don’t completely understand it to use the example of when we are shopping and the and we are not altogether happy about it.” Socr[...]p you?” We respond with, “No, ago anticipated the effects of a frenetic culture when he I am just looking,” when in fact we are examining the said, “Beware of the emptiness in a busy life.” merchandise and makin[...]see. “Do I like the fabric of this shirt? When would I The Eye[...]doesn’t occur only when we are shopping, In western culture the eye has been regarded but continually. What we look at triggers thoughts. as the noblest of senses, and vision as an extension of For example, seeing an empty cup reminds us that we thinking itself. Aristotle once said, “Sight is the most are thirsty, seeing a pile of mail on our desks reminds noble of the senses because it approximates the intellect us that we haven’t corresponded with someone. The most closely.” During the Renaissance the five senses eye is being called upon as never before in our daily were understood to comprise a hierarchical system with lives and when our thoughts are not reciprocated with vision being the highest and touch being the lowest. a corporeal experience, we increas[...]rs since then have reinforced this from the world. notion of the hegemonic eye and its connection to the In our ever-increasing technological world, mind. When Descartes declared, “I think therefore I the only part of our body that is fast enough to keep am,” he implied that thinking is pa[...] |
 | [...]Drumlummon Views—Fall 2008 263 stream of images, whether on TV or the computer most fundamental ways. Recen[...]first made evident with a sonogram may our lives. According to the Association of American likely die in a hospital in front of the glow of TV. Advertising Agencies, the average person is exposed Certainly in ceramics a photograph of a pot can have to 1,500 advertisements a day. Less than 60 of those profound implications. Often it is s[...]ted than ever, with corporations paying 2.3 to, what jobs we get, or where we sell our work. And yet million dollars for a thirty-second commercial during we know a functional pot isn’t really appreciated until the Super Bowl. Over the years TV commercials it is used. As a young potter I was told that the quality have gotten shorter and shorter, challenging the eye of a 4x5 transparency was more important than the pot to process what it sees. Advertising has become so itself, simply because more people would see the photo. ubiquitous and persuasive that it has caused what When we experience art, in this case pottery, solely philosopher Jean Baudrillard refers to as a sense of through our eyes, we become an audience of viewers, lacking because consumption is irrepressible, and in which is much different than the full sensory experience the end we continually feel empty. Increasingly we live of using a favorite cup. By using a cup we reclaim in a culture where the desires for money and status are personal experience. the primary goals in peoples’ lives. With a steady diet The essay, “The Work of Art in the Age of of visual information, ironically we become numb. As[...]cal Reproduction,” written by Walter we “tune in,” we “tune out.” When the hegemonic eye Benjamin over fifty years ago, is about how the dominates touch, hearing, taste, and smell, it diminishes photographic image has changed the way we experience our feeling of participation. The most obvious example art. Most people today experience art objects through is watching wild animals on the Discovery Channel films, magazines, boo[...]t cards, or versus actually experiencing them out-of-doors images online. The mass production of images has where suddenly our whole body is responding. This depersonalized the interaction between the art object detachment of our other senses leads to alienation from and a person. Recently, I stood in front of a painting the world that we live in. of shoes by Van Gogh. I got very close to the painting Since 1839, when the first photo was taken in to look at individual brush strokes. The metaphysical Paris, photography has transformed our lives in the energy of a brush stroke took me to that moment when |
 | [...]around the sun and the cycles of day and night. Then was a[...]and we were very attuned to the rhythms of nature. According to historian Daniel Boorstin,[...]for the first time on church[...]towers and the hour was born.[...]measurable, something to use[...]accustomed to the idea of “time[...], 2005, 20 x 24 inches. a commodity—something to spend wisely. We lose © 2005 Chris Staley.[...]something with this efficiency: our ability to play and to create moments of silent reflection. With almost[...]scientific technological breakthroughs, children the brush stroke was applied to the canvas. I was with growing up today will so[...]that their lives will Van Gogh. Time had stopped. The images of the shoes be significantly different than their parents’. Recently, had drawn me in—yet it was the memory of my hands my eight-year-old daughter Tori asked me, “Dad, who having ex[...]strokes and felt their thickness, that enabled me to know. Who do you think?” She responded,[...]that I could “virtually” touch a brush stroke of When I asked her why, she simply replied, “[...]It’s worth noting how our relationship to time When a “lack of time” becomes a state of being, itself is changing. For centuries our existence revolved we lose part of ourselves. We can lose our curiosity
|
 | [...]Drumlummon Views—Fall 2008 265 to go on a walk with no particular place to go, or our with the movement of my hands. Wondering how compassion to just check on how a friend is doing. much[...]d how long I would last It is this moment of connection between touch and if students had a remote control device in their hands thought where time stops. When ou[...]used on how we are touching, our consciousness is The writer Milan Kundera has observed that often following the lead of our fingertips. I believe it is the when you see two people talking, one person is giving direct consequence of how we touch the clay that is so a speech while the other person listens impatiently for satisfying. Part of clay’s appeal is its malleability—how that person to finish or pause so they can interrupt to responsive it is to our touch. I would be hard-pressed to give their speech, with no one really listening. teach someone how to throw without showing them. I[...]often demonstrate how I hold my hands, the speed of the The Hand wheel, how much water to use; in doing so the student As a professor at a large university, I’ve often begins to sense what to do. The essence of making thought how unusual it is to be teaching students to with the hand is the wisdom of the body and its stored make pottery. On a basic leve[...]hing students memory. It is our past history of tactile experiences that how to use their hands to shape clay. In almost every assist in guiding the hand. I have always been intrigued other subject, students are asked to use their eyes and by the fact that when ceramic artists visit our program, ears to process information and expand their minds. students invariably ask them to demonstrate how they The nuances of touch are rarely called upon by the shape the clay. We want to watch their hands, and it academic institutions. The interconnections between is only through this corporeal experience that we gain the ancient art of making pottery and a generation of real insight into how they create their work. Why don’t students raised in a new visual electronic world are painters set up an easel and paint? The answer, I believe profound. When students’ hands touch clay, there is is complex, yet part of the answer is that clay is formless learning that tak[...]t goes far beyond just skin when it is dug from the earth. It takes on the shape of touching earth. the shovel, and when it is put into a plastic bag it takes I can remember how challenging it was to learn on the shape of the bag. It’s been said that shaping how to throw clay on the wheel. I remember learning clay is like drawing in space—instantaneously creating how to center and attempting to connect my thoughts three-dimension[...] |
 | [...] 266 fingerprints, which when fired remain for thousands of of tomorrow. When I pick up a stone polished by the years. While we are throwing on the wheel, the water tumbling of endless waves, it’s like holding time in my and clay slowly move through our hands with new forms hand. Feeling the stone’s weight in my hand I have a seeming to emerge on their own. It’s no wonder the feeling of connection not only to the stone, but to its self-proclaimed world’s greatest potter George Ohr once past as well. Somehow the touch creates a greater sense called his pots “clay babies.” of awe about where it’s been. Ultimately I feel immense Often the cups that I use at home are the ones that gratitude for holding such a gift, smooth and dense have been made on the slower-moving treadle wheel. in color with an interior that only adds to its mystery. Potters who throw on this wheel often use much wetter When I touch the stone, time slows down and seems clay, and this contributes to a great deal of variation in larger and I feel more alive. wall thickness of the pot. I believe we are drawn to this I remember the excitement of getting dirty when variation because it reminds us of the same sensation I was younger and then the pleasure of taking a shower of touching the human body. When using the cup I and watching all the water turn brown. And, more imagine touching some[...]ime and again recently, digging into the black earth with my hands studies have shown that when humans feel a connection and the pleasant surprise of finding a potato has given through touch it is beneficial to their well-being. What me pleasure. Dirt is full of paradox. Plants and life come are the experiences that make you feel most alive? from it, and plants and animals die and return to it. Who hasn’t marveled at the interior of a bird’s Clay closely resembles dirt and as an artistic medium nest? A bird gathers blades of grass and twigs and shapes has always struggled to be considered a material worthy them with its whole body, using its chest and even the of high art. There are complex reasons for this bias that palpitations of its heart to conform the nest to its body. I won’t go into in this essay. Yet clay as a medium has Part of our appreciation for the bird’s nest is that we great potential to address issues of our mortality. Gone realize the time and care it took to build such a simple are the days on the farm when we saw animals butchered structure. Our body memory understands that some for food and witnessed grandparents passing away in things take time to build. Standing on a beach and our homes. Death has become an out-of-sight, out-of- gazing towards the horizon line where the ocean ends mind proposition. What the messiness of clay does is and the sky begins is like staring into the future. The connect us to the cycles of life. In contrast technology is distance of the long horizontal line creates the allure both “clean” and “effici[...] |
 | [...]mon Views—Fall 2008 267 sometimes breaks in the firing or when we are using it, used more than others. The many reasons for this are we become participants in the evolution of a pot’s life. As the weight, color, gesture; often it just feels right[...]Rowan why she liked using handmade cups instead of We are part of a culture that fears growing older. the machine-made cups at school, she said, “Because We want to erase the effects of aging on our skin with they have mistake[...]-called Botox or face lifts. Yet pottery is often at its best when it mistakes to be comforting. Handmade cups represent reveals the process by which it was made, thus revealing a fired moment in the journey of a potter’s life. When passage of time. We can feel a kinship with a pot’s we hold a cup and can feel the indentation made by history because the marks left by the hand, a tool, or the the potter while the clay was still wet, it becomes a firing process are much like the wrinkles and scars that shared moment. Hence the cup becomes a catalyst that we acquire during our[...]od thing that pots brings two people together to celebrate the beauty and eventually break; otherwise we would have no shelf space difficulties in life. available for new ones. As our bodies age and begin to In the past several years I’ve wondered why fewer decline, we can have a shift from the physical world to ceramic students are interested in making functional one of reflection and compassion. Robert Turner once pots. Perhaps part of the answer is their busy schedules. told me to look to the inside of the pot for answers. They eat a bag of Doritos on the run in one hand It’s this empty space and its potential to be filled with and talk on a cell phone with the other. Who has anything that reminds us of our own potential to change. time to cook a meal or hassle doing dishes? Today In the forming of the pot, it is the pushing from within Americans consume half of all their food outside of that shapes the pot’s exterior. So too in our existence do their homes. I recall reading that the three aspects of a our inner doubts and dreams shape the lives we live. childhood that people m[...]family vacations, and experiences in nature. Everyday Hope people put a cup to their lips to drink. This can be A cup is meant to be used and isn’t complete an unconscious activity or one of deep reflection. I until someone actually draws the cup to his or her lips have been curious about my students’ memories of and drinks from it. Having a kitchen full of handmade their dinner time while growing up. I often start the cups enriches our lives in many ways. Certain cups get conversation by asking what is the difference between |
 | [...]a habit? I ask students what they recall about to talk. Perhaps these examples seem simplistic yet I family dinners while growing up. The discussion that have been personally stru[...]tions like movement or communications become that the sit-down family dinner is one of the most compromised, something deeper gets triggered. significant ways a child can experience the family Numerous scholars have wr[...]our coming together and as a result feel a sense of security. innate desires have been formed over years of evolution. I will never forget when my daughter T[...]tensively about how years old and we had sat down for dinner as a family human beings have a biological need to make objects of after a particularly busy day. As Kate and I started to meaning with their hands. Art-making is an essential eat, Tori reached out, wanting to hold hands to do part of the human condition. To make something what we usually do, have a moment of silence before special is fundamental to our humanity—from college we eat. Obviously this sense of coming together was freshmen wanting to decorate their dorm rooms to important to her. wanting to dress up for a special occasion. This making How we exp[...]dings is both things special is a form of caring. complex and innate. When I’ve become stuck in a long Whether it is making art, or playing in an traffic jam, I become quite agitated. I believe the reason open field—when our senses are wide open we feel most of us have a hard time being stuck in traffic is that alive. These activities that charge our senses can be it is unnatural, since for almost all of human existence experienced in a myriad of personal ways. Yet it is this we just walked when we needed to go somewhere. subjectivity, this personal expression in the arts that Being buckled into a seat and wanting to go forward is often thought of as non-essential to learning. Since feels frustrating. I also believe a similar response the arts are not easy to quantify or measure, our culture occurs when our[...]and we are suddenly finds them difficult to assess and find relevant. Often unable to use them to communicate with someone. music, art, or dance are the first areas in school curricula This seems unnatural, particularly when we have no to be cut when budget concerns arise. Our schools are idea what went wrong with the computer. Odd how increasingly driven by standardized testing. In not-so- disconnected we can feel whereas in the not-too-distant subtle ways our students lea[...]ests is more past we would write a letter or walk to a neighbor’s valued than nurturing the curiosity to learn. The arts
|
 | [...]a message that each student has a personal story to offers itself to your imagination, calls to you like express and it is essential that they be heard. the wild geese harsh and exciting, over and over Art inspires us to ask questions, and questions announcing your place in the family of things.” So our are profound things. Art, whether it’s a song, a poem, challenge is not to let our lives become flatter and more or a cup, has the potential to reawaken the childhood ocular-centric, but to reach out and engage life with all wonder we all once had. We live in such frenetic times our senses. that you th[...]eflecting on When we experience all the nuances of life, what really matters in our one short precious life. When the sadness in another’s face, the warmth of the sun’s author Norman Maclean writes, “It is in the world of rays on a cool day, these enable us to feel connected slow time that truth and art become one,” I believe he to something larger than ourselves. It’s the ability to is saying that in order to have a sense of awe we can’t be pay attention to life’s subtleties and ambiguities that working on our “to-do list.” enables us to make our lives deeper and richer. It is in For it is in the world of reflection and in quiet the moments of slow time when we lean into life that moments that epiphanies and a sense of awe can be meaning can be found. And s[...]o eloquently, touches clay that we embrace the moment. “Whoever you are, no matter how lonely, the world
|
 | [...]ws—Fall 2008 270 Rudy Autio: Coming Home to the Figure Rick Newby Note: This essay first appeared in the catalog accompanying the exhibition, Rudy Autio: The Infinite Figure, at the Holter Museum of Art, Helena, Montana, Summer 2006. It is reprinted here by kind permission of the Holter Museum of Art. Our thanks to Rudy Autio (1927–2007) and his family, especially Lela and Chris, as well as Liz Gans, Marcia Eidel, and the rest of the staff at the Holter Museum, for their invaluable assistance. Although Rudy[...]lechase, 1997, serigraph, 38 x 52 I’ve retained the present tense in this essay, to honor Rudy’s inches. Collection of the Holter Museum of Art. Gift of living spirit. For more tributes to Rudy, see Chris Autio’s Miriam Sample. Pho[...]Kurt Keller. video, which follows this essay, and the In Memoriam section in this issue of Drumlummon Views. of the Archie Bray Foundation for the Ceramic Arts, one I. The Journey of the great centers for ceramic creativity in the world. As creator of significant works of public art in Montana Figures placed to complement each other in gesture and beyond. And as an influential[...]ary colors. have carried the torch of ceramic modernism throughout the United States.2 —He[...]often overshadow Rudy’s central achievement of the Rudy Autio is celebrated for many things: As seminal past twenty-five years: the making of large stoneware force in the launching of a modern ceramic tradition that (and somet[...]he paints has successfully blurred, even erased, the line between lovely and colorful[...] |
 | [...]These works of Rudy’s maturity, as Montana[...]written, are “metaphors for elusive happiness. They belong to the realm of the classical, in the sense that[...]an uncomplicated world of pleasure that is beyond our[...]grasp, and perhaps exists only in imagination and art.”[...]assessment, adding that Rudy’s “figures probe the complex relationship between an Arcadian vision of the celebration of sensual beauty and an almost baroque[...]sadness about the transience of life.”3 The son of Finnish immigrants who settled in the mining metropolis of Butte, Montana, Rudy Autio did not come easily to this bittersweet vision. It was[...]only after a series of explorations, encounters, and Rudy Autio, Return of the Pinto, 1983, acrylic on paper, detours that he found the exact melding of material 34 x 34 inches. Collection of the Holter Museum of Art. and imagery “where I’m at home.”4 Rudy first began to Gift of Miriam Sample. Photograph by Kurt Keller. find creative “home” in the late 1970s, as he turned away from the Abstract Expressionist pots he’d been making[...]on Abstract Expressionism5) and the large-scale bronze,[...]concrete, and steel sculptures to which he had never[...]Rudy had discovered clay under the tutelage of Frances Senska during his undergraduate studies at Montana State College, Bozeman, immediately[...]following World War II. And of course, the encounter
|
 | [...]ray and his fledgling foundation had been central to Rudy’s development as a ceramist, especially the early workshops by such international figures as the British potter and thinker Bernard Leach; the Japanese master potter Shoji Hamada; the scholar of Japanese folk art, Soetsu Yanagi; and the Bauhaus-trained potter Marguerite Wildenhain. Rudy meanwhile studied sculpture during graduate school at Washington State University, Pullman, where he worked in many different media (wood, stone, aluminum, stee[...]t Diego Rivera. After receiving his Master of Fine Arts, Rudy returned to the Bray (as it became affectionately known), and went to work fulltime for the foundation and adjoining brickyard. As an aspiring sculptor, Rudy was not interested in making conventional pots; in fact, he yearned to work with “serious” materials like bronze and steel. Change was in the air, and when Pete Voulkos returned from a visit to Black Mountain College in the summer of 1953, he introduced Rudy to the Abstract Expressionist ethos and energies he had encountered at the avant-garde institution hidden away in the hills of North Carolina. Rudy Autio, Cantata, 1999, stoneware, 33 x 25 x 23 Soon the two young mavericks “started to do inches. Collection of the artist. Photograph by Kurt Keller. wild sculpture in clay,”6 thereby launching in Montana a revolution that would forever alter the character of American—and world—ceramics. Simultaneously
|
 | [...]brick murals for clients of Archie Bray’s brickyard; almost all of these murals were figurative, depicting[...]on whether they were for churches in Great Falls and Anaconda, or for secular institutions like banks and[...]After Rudy left the Bray for a teaching job in the art department at The University of Montana, he[...]vessels and fulfilling various commissions for public[...]art, ranging from stained glass windows to tile murals, monumental bronzes to Cor-Ten and stainless steel[...]something was missing. The metal sculptures, he told[...]his biographer Luanna Lackey, were “a hell of a lot of[...]work, and I found [that] something I had wanted to[...]recognized the beauty of clay.”7 At the same time, Rudy found himself weary of[...]abstraction. He’d always been “pretty good at drawing the figure,” even as a boy, and he finally asked hi[...]“Why abandon the figure?” He thought back to his[...]Montana (and New York) artist Rudy Autio, Goodbye to the Girls of Galena Street, Henry Meloy, who had painted countless studies of 1986, stoneware, 36 x 25 x 25 inches. Collection of the art- nude models and had decorated the pots of his brother, ist. Photograph by Kurt Keller. Peter Meloy (a co-founder of the Bray), with marvelous[...] |
 | [...]lummon Views—Fall 2008 274 thought, too, of his own earlier figurative murals. Even though they were works for hire, he had found working on them, in some way, deeply satisfying. Now, weary of the “same-old, same-old,” he was ready to generate figures of his own choosing. He “toyed” for a moment with the idea of becoming a painter, but quickly realized that “it’s just not the same”—he needed that third dimension, and the materiality of clay, to realize his vision. One day in the late 1970s, while teaching a workshop in Apple Valley, California, Rudy “hand- slabbed” a vessel and, while constructing it, began talking to his students about working with the figure. A woman in the audience challenged him, “Why don’t you do a figure?” That “scared me to death,” Rudy recalls. “Here’s this audience watching me. Did I still know how to do a figure on a piece?” He studied the slabs he’d Rudy Autio, Penryn III, 2004, stoneware, 3.5 x 27 inches. assembled into a vessel and told the participants, “‘Well, Collection of the artist. Photograph by Kurt Keller. I can see a head here—maybe I can move the body this way, and have it envelop and go around.[...]ts, “It turned out pretty good. . . . I started to gouge it with figural vessels drew increasing c[...]ce it with trowel lines . . . painted galleries in Chicago, New York, and San Francisco were some black line and filled the lines with different colors. clamoring for the new work. In 1981, he enjoyed another . . . It had an energy t[...]encounter that further cemented his commitment to The Apple Valley workshop—a genuine the new approach. He was contemplating retirement epiphany—helped to launch what Rudy now calls a from The University of Montana, and he applied for a “major move” in his evolution. And just a few years later, National Endowment for the Arts fellowship, in order a reinvigorated Rudy Autio had been discovered. His to travel to Finland. His stay in Helsinki, working at |
 | [...]oneware, 34 x 31 x 21 inches. Collection of the artist. Photograph by Kurt[...] |
 | [...]Drumlummon Views—Fall 2008 276 the Arabia Porcelain Factory, was revelatory. Not only contained “a kind of tenderness” that Picasso’s lacked. A was he able to work without interruption after all later encounter with The Dance (I), 1909, at the Museum those years of teaching, he had access to new materials of Modern Art, New York, cemented Rudy’s sense tha[...]and commercial Matisse was an ideal model for the kind of work he was glazes of dazzling hues) and he was treated “like a eager to pursue. He recalls, “I said, ‘My god! This guy was king.” At the end of his stay, the factory remodeled doing what I’d like to do now!’ . . . the way he invented its salesroom into a swank gallery appropriate for the that line and made it work and work as pain[...]ewell exhibition, and he was describing the figure. It was just very canny.”10 fêted by fe[...]fellow Montanan Henry Autio had truly come home: to his ancestral homeland, Meloy—were not the only models for Rudy’s newfound to a passionate investigation of the figure, and to a devotion to the figure. He discovered affinities with sense of himself as a painter whose canvases happened the simplifications of Egyptian art, with the complex to be massively voluptuous stoneware forms that are illuminated letters in medieval manuscripts, with themselves, as Rafael[...]and with sculptural objects. . . . as dynamic as the rich paintings the woodcuts of modern Japanese printmaker Shiko that cover their[...]Munakata. Looking at Munakata’s prints, which blend[...]compositional issues. In Rudy’s view, Munakata “was Lines in the figure are directions to infinity. just as interesting as Matisse,” and he admired in —Henry Meloy9 Munakata’s works “a certain kind of traditional elegance and a formal way of solving figure description. . . . a very It is a commonplace to call Rudy Autio the “Matisse lyrical kind of line.”11 of ceramics,” and certainly Rudy has drawn inspiration He found the same elegance, simplicity, and from the French master. Early in his career, he found lyricism in the decorations on Greek black figure vases. both Pab[...]n ancient ceramic tradition that spoke especially for their energy and mastery of line—but directly to his enterprise. He has said, “Those line[...] |
 | [...]rather be.” see where they started up here at the arm and came Just as he responded more to the tenderness of down. . . . Came down and described fingers and hands Matisse than to the sheer force of Picasso, this ceramic and arms, as it related to the whole.” Rudy noted, “I’m revolutionary of the 1950s today finds himself willing to sure that the Greek potters, when they were making risk “a little sentimentality” and to embrace beauty (for their pots too, wondered how’s this side going to fit decades a forbidden notion in contemporary art) rather with what [they did] on the other side. . . . . They tried than contribute to the “jazz and pizzazz”—and what he to keep a union of things going,” just as he wanted sees as the deficit of meaning—in much twenty-first- to “have these forms relate to parts of figures as they century art and life. round the pot and [create] a new configuration of shape relationships.”12 III. The Power of Place More and more Rudy found himself drawn to older traditions, not just for technical reasons, but Man is one of two things: either the hero or in terms of feeling and meaning. He recalls a visit the victim of the accident of his heritage and to the National Gallery in Washington, DC, where environment. he saw a “choice” show of Impressionist painters; he[...]downstairs, where he encountered an installation of new American art—“Franz Kline and[...]tist, revered as others.” His response was that the brash Americans much in Finland and Japan as he is in the United States. “weren’t any kind of match for the Impressionists—they At the same time, a universal art often emerges out were so ego-centered.” He speaks critically of “so much of the particulars of the local. Rudy’s colleague at The jazz and pizzazz” in contemporary art and admits that University of Montana, painter and printmaker James he prefers the “calmer side of hard studious art [of Todd, has written that we cannot fully[...]e’ve lost work if we ignore his origins in Butte. A western mining a lot of that. . . . Maybe it’s an extension of violence. metropolis second to none, Butte was, in Rudy’s words: We have to have everything now, it has to be different, it has to be original, it has to be novel. . . . I admire the a very interesting busy, bustling place.[...]dense with humanity. . . . sort of an oasis
|
 | [...]ectra, 1993, stoneware, 3 x 28 inches. Collection of the artist. Photograph by Kurt Keller.
|
 | [...]between Minneapolis and the Coast; it was the big city! With opera, acting companies, the arts, boxing matches. . . . there were the Italians and the Yugoslavians and the Finlanders and the Jewish people and the Cornishmen, and all kinds of ethnic groups[...]in their own little colonies around the city. [A]ll of the company heads—the[...]heads—were living in the same community, practically next door to the miners. . . . So, they didn’t live in New York and clip[...]coupons, but they lived right in the city, in[...]everything like that. But the miners were just down the block, a few houses down. It was[...]this kind of mix that made Butte interesting. .[...]and kind of grew up in—tenements, housing[...]tenements, one right next to another, three- Rudy Autio, Astarte II, 2005, sto[...]tenements. No yards, no lawns. inches. Collection of the artist. Photograph by Kurt Keller. It was like living in Brooklyn!14[...]Todd notes, “[H]ow appropriate it seems that the[...]claymaker Rudy Autio came from this city where the
|
 | [...]umlummon Views—Fall 2008 280 Rudy Autio, The Chase, 1997, serigraph, 38 x 52 inches. Collection of the Holter Museum of Art. Gift of Miriam Sample. Photograph by Kurt Keller. |
 | [...]983, acrylic on paper, 34 x 34 inches. Collection of the Holter Museum of Art. Gift of Miriam Sample. Photograph by Kurt Keller.
|
 | [...]Drumlummon Views—Fall 2008 282 materials of earth determine the destiny of its citizens” He certainly achieves this with his vessels and plates and he adds that, because of this dependency, Butte’s and paintings and prints. His sense of play and citizenry have developed “special characteristics of improvisation, his marvelous eye for what pleases, are realism, optimism, fatalism, flexibility and simple wonderfully present in his works created within the last dignity,” all qualities that Rudy possesse[...]much more than this. If we lent Rudy an openness to the broader world, a profound look closely at these floating nudes and their attendant respect for other cultures, and the fondness of an horses (and occasional other beasts), we see scenes urbanite for the complex mixing of elements, whether that, as often as they suggest “an Arcadian vision of the of social classes, ethnicities, or the rough and the refined celebration of sensual beauty,” call up darker themes, (especially evident in his work). Out of this colorful darker tonalities—of melancholia alongside rapture, of place, Rudy took inspiration and a clear understa[...]unspoken threats alongside delightful promises, of the that the world was never simple—only endlessly inevitability of death alongside the miracle of fertility. fascinating. One has the sense that, despite the gorgeousness of[...]rely and paradisiacal scenes, terror and loss IV. The Work[...]This tension, this sense of the complexity of existence, There could be movement in lines and in shapes & colors & lends these works their power to hold us; they possess values. . . . the idea being that movement & life are iden- the qualities of Eros which, as Guy Davenport has tical. . . . Life is the thing desired—the thing we wish to written, is “about things spinning, moving,[...]. . colliding frequencies of meaning which sometimes —Henry[...]but joined.” In Eros, Anne Carson has written, a The grace and vivacity of Rudy Autio’s painted figures “simultaneity of pleasure and pain is at issue”; we and the energetic monumentality of his vessels produce stagger “under the weight of Eros.” In Rudy Autio’s a powerful and, at times, uncanny tension. Rudy speaks tumbling visions, his chases and escapades, we sense of wanting to “make an agreeable composition of form the unfolding of desire, in all its fierceness and its and surprise an[...] |
 | [...]ive, one that involves Whether Rudy refers in his titles to classical friends and family, especially[...]o, an myths (Astarte, Electra, Daedalus, Icarus), to cultural exceptional artist in her own right.) The poetry of these and natural landscapes of Montana (Magic Horses of titles only serves to reinforce Rudy Autio’s stature as Columbia Gardens, Heart Butte Pony, Lady at Kicking a poet of the visible and the tactile, a visionary artist Horse Creek, Goodbye to the Girls of Galena Street), who has emerged out of the American West to bring us or simply to places or themes, he aims to “evoke a meaningful, tender, haunting works, works that speak to kind of story.” (For him, titling—which he sees as an our d[...]le, WA, for the fullest biography of Rudy to Oral History Collection, Archives of 2. For more on Rudy Autio’s role date, Louann[...]tio American Art, Smithsonian Institution, in the founding of the Archie Bray (Westerville, OH: American Ceramic Washington, D.C (hereafter OHC, Foundation, see Rick Newby a[...]oralhistories/transcripts/autio83.htm. Origins of the Archie Bray Foundation 3. Harvey Hamburgh, The Poetic Vision: for the Ceramic Arts,” and Patricia Visual Forms in Five Montana Artists 6. Autio, interview by LaMar Failing, “The Archie Bray Foundation: (Bozeman, MT: The Haynes Fine Arts Harrington, OHC, AAA. A Legacy Reframed,” in A Ceramic Gallery, Montana State Univers[...]7. Lackey, Rudy Autio, 76. Continuum: Fifty Years of the Archie 1995), 6; Hipólito Rafael Chacón, Bray Influence (Seattle/Helena, MT: untitled essay in Rudy Autio: Work 8. Chacón, in Rudy Autio: Work 1983– University of Washington Press/Holter 1983–1996, 53. 1996, 50. Museum of Art, 2001). For more on[...]erwise noted, are drawn from an “Rudy Autio,” in Autio: A Retrospective interview with the author, April 7, 10. Autio, interview by LaMar (Missoula, MT: University of Montana,[...]Harrington, OHC, AAA. School of Fine Arts, 1983), and Lela
|
 | [...]dd, “Rudy Autio 18. Guy Davenport, “Eros the Retrospective,” in Autio: A Bittersweet” [a review of Eros the 12. Ibid. Retrospective, 3.[...]16. Meloy, Notes, 1. Eros the Bittersweet (1986; Dalkey 14. Autio, inter[...] |
 | [...]Rudy Autio, Gala, 2003, signed “Autio, at Kaneko’s 5/03,” stoneware, 40 x 31 x 16 inches. Collection of the artist. Photograph by Kurt Keller.
|
 | [...]neware, 32 x 26 x 19 inches. Collection of the artist. Photograph by Kurt Keller.
|
 | [...]Drumlummon Views—Fall 2008 287 Close to Home: The Photographs of Richard Buswell Julian Cox Note: This essay first appeared as the introduction to Richard Buswell’s new book, Traces: Montana’s Frontier Revisited (University of Montana Press), which accompanied the exhibition of the same name at the Montana Museum of Art & Culture, The University of Montana, Missoula, Autumn 2007. It is reprinted here by kind permission of the author and the Montana Museum of Art & Culture. Our thanks to Richard Buswell and Julian Cox, as well as Barbara Koostra, Manuela Well-Off-Man, and the staff at MMAC for their invaluable assistance. Richard Buswell’s photographs of Montana’s abandoned, overgrown homesteads are precisely realized individual works, intended to be studied and savored one at a time. In a sustained practice spanning more than thirty five years, Buswell has used the camera to explore the visual profundity and unique historical complexion of his native state. The laconic intensity of his vision is central to his project: to begin to understand things, we must look patiently,[...]Bedroom, silver gelatin print. without prejudice, at what is actually there. Buswell’s © Richard S. Buswell. photographic subjects have an air of eternity about them: individual circumstances may change, but the |
 | [...]forces at work are timeless. Beaten and weathered[...]facades become as sublime as the cloud dappled, never ending Montana sky. In the world as seen through[...]meshed. History provides the link between then and now, and archaeology the means to understand and reconstruct the passage of time.[...]of images since he dedicated himself to photography in the early 1970s. It was then that he purchased[...]50mm lens, and began to use it on pilgrimages to the ghost towns of his childhood.1 Trained as a physician,[...]photography appealed to his appetite for precise[...]became accomplished in the fundamental techniques of the medium. In spite of the relentless march of digital technology, he continues to cherish the smooth, luminous surface of fiber-based gelatin silver paper and the immediacy of working with traditional materials that allow for an expressive latitude which[...]optimal portability and flexibility when working in Richard S. Buswell, Sheep Shed, Interior, silver gelatin the field. Buswell very seldom crops his pictures, pr[...]Buswell. preferring to fully resolve the composition prior to exposure in the camera. He is a consummate printer,[...]who follows closely the exacting procedures first
|
 | [...]ws—Fall 2008 290 outlined by Ansel Adams in the 1930s.2 No prints have left his studio that were anything less than the very best he could make. * * * * * * * From the moment of its invention, photography allowed its practitioners to be archivists of their own world, record keepers of the soon to vanish and recorders of the newly uncovered. The earliest cameramen set up their tripods and aimed their lenses at countless monuments along the Nile, at medieval Richard S. Buswell, Half House, silver gelatin print. © cloisters in Europe and at jungle covered temples in Richard S. Buswell. Mesoamerica. From the Enlightenment onwards, monumental ruins have been interpreted as metaphors for the transience and persistence of human history. fragility of the social order. The foundation of Western civilization—the Greek The history of landscape photography has kept and Roman classical past—comes to us almost entirely pace with ever-shifting concepts of the land and our in the form of fragments, shards and ruins. There is place within it. Nineteenth century photographers enormous value in these fragments and ruins. With like Carlet[...]son their original utility gone, they become ours in an documented the American landscape and, along important way—to be used for new ends, as spurs to with it, the expanding evidence of our inhabitation. the imagination. Of course human presence is more Signs of human presence on the land, such as shacks, frequently inscribed in the landscape in ordinary farmsteads, railway tracks, bridge[...]rial structures, buildings not other tokens of progress and industry were frequently usually accorded the respect or attention of ruined portrayed uncritically as part of the natural order monuments. These remnants of everyday existence of things and even celebrated for their harmony seem to imply not the grand march of history, but the with the land. In the work of Edward Weston and |
 | [...]e was seen as completely exempt West “a cult of ruins.”3 During the late nineteenth from civilization—as something to be preserved and early twentieth century, the Great Plains and and isolated from human reach. Roads, buildings, the neighboring states to the north tolerated tens telephone lines and even human spectators were of thousands of settlers from the eastern half of customarily treated as violations of a sublime the continent, but they also heartlessly expelled an[...]rom photographic scenery. enormous number, and the ruins that pepper the The American West is littered with abandonment. landscape bear witness to their sometimes rapid Historian Patricia Nelson Limerick has called the departure. The very climate that drove families away—
|
 | [...]unerringly steady dryness—now preserves, almost to a fault, their leavings. Many of the sites that are the subject of Buswell’s photographs are rarely visited, sometimes requiring more than a day of solitary hiking in the backcountry to reach. But this is the environment he grew up in, and Buswell’s recollections of his youth spent rambling in the mountains with his parents underscore his love for the land: “My dad was an amateur geologist . . . and my earliest memories are camping out in ghost towns. We had this ’49 Dodge pickup that[...]’d spread our sleeping bags all tucked together in the truck bed.” In this way Buswell’s project is like an ongoing homage to his native state, and the settlers and homesteaders of its rugged outback. Although he cites but a handful of photographers as guiding influences in his work (among them are Paul Strand and Ansel Adams), Buswell’s affinity with the great High Plains writer and photographer, Wright[...]rong indeed. Morris’s seminal 1948 publication, The Home Place, is the most significant portrait of the people and artifacts of the Great Plains, and seamlessly interweaves text and[...]ed by his Richard S. Buswell. time spent on the family farm near Norfolk, Nebraska. Morris was as much a man of Nebraska as Buswell is
|
 | [...]Drumlummon Views—Fall 2008 294 of Montana, both men sharing a life long commitment hints of a warmly remembered but now vanished way of to recording and “saving” the visual history of their life. Buswell transforms these trivial relics into objects of beloved home states. Morris once wrote: “Photog[...]graphs suggest discovers, recovers, reclaims, and at unsuspecting a spectrum of human experience; not simply the pathos moments collaborates with the creation of what we of decay and dissolution, but the power of dream and the call history.”4—phrasing which seems to resonate with inexhaustible forces of mutation. Buswell’s project and philosophical outlook. The photograph is both a record of the visible traces of the past and an artifact ofof the early appreciation of the utility of photography It is the unmistakable fly-in-amber quality of the for recording ruined remnants of the past. But photograph—with its unique conjunction of place and as a photographic collector of material culture, a subject at a particular moment in time—that allies it process that inevitably produces the construction of with the study of the past. The photographic frame typologies—in this case a typology of abandoned yields a concrete, time bound unit of information from structures and objects in Montana—Buswell is also which one may construct narratives about the people and of his own cultural moment. He is drawn to places objects recorded and the relationships between them. and objects with histories; things imbued with the This quality of memorial also connects photography evidence of time and chance. Just as Eugène Atget to transience—it is the nature of the photograph to and Walker Evans created unique photographic preserve, as it underscores the recognition that something records of their respective times and cultures, which existed at the moment the shutter was released Buswell has steadily accumulated his own typology is destined to dissolve into nothingness. Buswell’s still of subjects that is unique of its kind. It is assembled life photographs of torn posters, wallpapers and popular with discrimination and acutely honed powers of engravings, such as Trunk Lid, have an antique or even observation, which precede and inform the enterprise nostalgic quality. Much like Frederick Sommer’s richly of collecting, grouping, and naming. nuanced still life of a collage of shredded posters and Photography is well suited to the construction engravings, I Adore You, 1947, Buswell’s photographs of of typologies. The photographic act removes fragments these found narratives stand as emblems of memory, of the physical world from the flow of time, isolates |
 | [...]ce, and preserves them he endeavors to go about his work with his eyes and for comparison and study. In part, it is this sense of mind open to new possibilities: “I don’t know what I’m the archive, not the lone individual print that is the looking for, but I’ll know it when I see it.” His image appropriate framework for understanding the inherent entitled Bedroom represents a rare instance where he value and importance of Richard Buswell’s “traces” pre-visualized the scene. He first encountered the of Montana’s frontier. Diane Arbus located Walker subject (roughly eighteen miles northwest of Helena) Evans’s photographic power in: “a profound historical during the summer, and realized that a dusting of empathy which permitted him to see things around snow would enhance the geometry and mood of this him as destined for extinction and to photographically architectural space, with[...]ective relics.”5 Evans discovered elements of peeling ceiling, weather-beaten floorboards rich picture making potential in fragmentary building and tree reaching in through an unglazed window, materials. In his study of a Stamped Tin Relic, 1929, which he seamlessly shaped into this memorable Evans takes delight in the familiar texture of pressed tin picture. Similarly, the striking study, Sheep Shed, Interior, paneling, the light caressing every crimp and crease. The has staying power because it avoids the formulaic same heightened visual acuity is present in Buswell’s predictability that characterizes so many design-in- work, which reveals a similar instinct for the imminent Mother-Nature photographs. The strength of the disappearance of places and things. With great picture lies in the fact that Buswell has recognized and precision and dignity, Buswell records the desiccated celebrated not only the forms of the building itself, but remains of a scrubby patch of linoleum floor, its surface also the fleeting and “accidental” designs imprinted etched with an arterial system of cracks and fissures. by the sunlight leaking through the roof and into the He is keenly attuned to the lived beauty of this object; structure. Buswell has discovere[...]cture, a new his picture is a concise visual poem to beauty. The set of relationships, made half of fact and half of aspect, object is recorded, but also transformed by the camera. which amplifies the significance of his subject. In Buswell’s hands each object seems mysteriously[...]* * * * * * * and deep quality of recognition. Buswell is modest about the details of his Buswell’s project is as much abo[...]he has said more than once that about time. The time dedicated to his photography
|
 | [...]Views—Fall 2008 298 represents thousands of hours and miles spent crossing a remarkable catalogue of structures, places and objects, and re-crossing the state of Montana—a land mass as the best of Buswell’s photographs are a celebration of large as the British Isles, but populated by less than a the heart and soul of frontier experience, laced with the million people. Great distances have been traversed on ebullience and indomitable spirit of one of the great unmaintained roads, in week long excursions, striking out American poets, Walt Whitman. They are simultaneously into the backcountry from one small town or another.[...]artifacts, representing very specific conditions The remote geography is not explicit in Buswell’s most and relationships, and ballads singing of beauty, recent photographs, but rather deftly implied in the heartbreak and longing. small interiors. Structures are derelict, weather beaten The impact of Richard Buswell’s dedicated and openly vulnerable against the forces of nature. visual record of frontier Montana lies in the tension Occasionally there are great surprises, as in Half House, between his use of the neutral archaeological record and which looks like one of Gordon Matta-Clark’s “building carefully constructed details that trigger the emotional cuts” from the 1970s, the site specific artworks he made response elicited by an abandonment that is close in abandoned buildings in which he variously cut in spirit as well as time to our own lives. While his and removed sections of floors, ceiling, and walls for subjects are commonplace, the intensity and persistence sculptural effect.6 Buswell’s photograph radically alters of his vision has a transformative effect. For Buswell, our perception of the building and its place within its as it was for Paul Strand before him, the subject is not environment. No truer a picture of the precarious nature merely the occasion but the reason for the picture. His of existence on remote plains has ever been made. In close-up studies are intimate, miniature l[...]study, Cactus Covered Roof No. organized with the same rigor and described with 1, Buswell pictures a blacksmith shop in a stage stop the same sensitivity to light and space as he accords in the Elkhorn Mountains, roofed with prickly pear the grand vista. He takes obvious pleasure in graphic cactus rather than sod, which underscores the harsh, adventures, which in recent years has led him to unforgiving elements of high plains existence. Setting investigate an increasingly abstract approach in his up the tripod on the roof of his Jeep (and extending it photographs. Yet he has continued to shape his body of as high as it would go) Buswell’s composition captures work and define the terms of its meaning with clarity the unique blend of natural materials and the ingenuity and insight. He knows that it is through common or of vernacular construction. In addition to being part of abandoned things that some of the most significant |
 | [...]ideas in our culture can be effectively expressed. In the panoply of photographic images that now sustains[...]our optical understanding of nature, Richard Buswell’s[...]reminder that the most unique forms of beauty and invention can often be found close to home.[...]The details are well covered in his previous[...](Missoula: Archival Press in Association with the Museum of Fine Arts, The University of[...]Montana, 1997), unp. and Silent Frontier: Icons of[...]Museum of Art & Culture, 2002), unp. 2. The most influential of all Ansel Adams books[...]is Making a Photograph: An Introduction to[...]provides information and instruction on the fundamentals of light, optics, and darkroom[...]consulted The Ansel Adams Photography Series,[...]which includes the definitive volumes, The Richard S. Buswell, Honeycomb, silver gelatin print. © Negative and The Print. Richard S. Buswell.[...]in The Big Empty: Essays on Western Landscapes[...] |
 | [...]on Views—Fall 2008 300 University of New Mexico Press, 1994), 28. 4. Wright Morris, “The Camera Eye”, Critical Inquiry, Autumn 1981, reprinted in Wright Morris: Time Pieces: Photographs, W[...]ture, 1999), 14. 5. Diane Arbus, “Allusions to Presence”, in The Nation, 11 November, 1978. 6. For details on the life and work of Matta-Clark, see Gordon Matta-Clark, “ You Are the Measure” (New York: Whitney Museum of American Art, 2007).[...] |
 | [...]Drumlummon Views—Fall 2008 309 Dinner at Olympia’s in the same place. Gilles Stockton And in a sense we are not. The coast of East Africa belongs more to Arabia—a strip three No sooner would we get the courage to pick up speed, kilometers wide and five thousand kilometers long. The we would hit a bump, and everything—including us— demarcation is a ridge of sand and clay that the sea would fly through the air and rearrange. We had given breezes have built to a height of 100 meters. The newest up traveling on the highway, the lack of maintenance sand to arrive on that ridge collects into dunes that had finally ended in the potholes outnumbering the march into Africa. But they fail when the ocean breezes smooth. But the barrow ditch was not that much better. fail, and Africa claims them with flat topped acacias. And from the ditch, I could not see the harvest of maize From where the road feels its way out from and sesame, or the livestock headed to water. We were, between the dunes on the ridge above the ocean, I could however, in a hurry. For we were invited to dinner at see Merca. An ancient town. The explorers Ibn Battuta Olympia’s and when you are invited to Olympia’s, you and Vasco deGama both wal[...]streets—shackled—on non-voluntary one At the price of some discomfort and a broken way voyages to the slave markets of Arabia. mineral water bottle, we had made up for the late start. Merca is a jumble of two and three story homes Ahead I could see, on the underside of the low formless built of coral blocks and mortared with lime baked clouds, the rose reflection of the sand dunes. Once we from the same coral reefs. Small dunes drift in very reached the source of that reflection, we would turn left narrow streets where only donkey carts can pass. The and follow the narrow road that finds its way through men dress in white nightshirts, their heads covered by the dunes to the sea. turbans or elaborately embroidered white fezzes. The No matter how many times I have seen it, the women in black with black veils. They descend from the sight of the blue Indian Ocean, edged by the white sailors and merchants who traded on these shores for beaches of East Africa makes me catch my breath. The centuries. It is a city devoted to the international trade contrast between the formless monotony of the flat of ivory, gold, and slaves; cargo for the dhows that no Somali bush, through which we had just been subjected longer sail these seas. to an uncomfortable ride, and the cheery bright waves But we don’t enter the town because Olympia’s breaking on the reef gives the impression of not being villa sits high on the ridge. A large brick block. It is not |
 | [...]resort home. No, it is a very solid idyllic way to start an evening. Italian country house, built to be both a home in which Dinner was served promptly at seven. The long to raise a family and the center of a financial empire. table in the main hall was set with china, crystal, and Olympia met us at the door, a good looking silver. Three forks on the left, two knives on the right, woman of 85 years, dressed in a low cut tangerine and a pyramid of five spoons climbing in the center mumu. Perhaps a little incongruent in a woman her above the plates. The five spoons have bothered me age but loose fitting, cotton clothing makes sense when for years. There was a great big spoon to help the big you live so close to the equator. Around her neck was a fork twirl up the spaghetti. There was a big spoon for string of huge pearls. the soup. There was a regular spoon for the dessert and I was introduced, since I was the only one of our a teeny little spoon for the coffee. But why the fifth little company she did not know. Yusif was[...]spoon? guest and he brought Joe with him a number of times. Olympia apologized for the serving girl’s Joe and Yusif were close friends. They looked like ineptitude. The maid of forty years had retired, too brothers: the same height, the same build, the same hair crippled to keep up this big house. This girl was skinny style. Just a different shade of skin. and awkward. Her white smock was too big and her Joe and I first came to Somalia twenty years large black bare feet stuck out from under the hem. before in the Peace Corps. But he returned in the early She kept trying to serve from the right and clear from 1980’s to work in the camps for Ethiopian refugees. the left but would remember at the last moment. During those years he had perfected Somali which is This added to her awkwardness, embarrassment, and one of the harder languages to learn. perplexity. I don’t blame her for being perplexed, formal After the introduction we settled into the guest dinning is a strange ritual. Olympia dined formally bungalow to shower and change. There was not much e[...]r not. time because cocktails are served promptly at six. We The cook brought in the spaghetti and hovered sat at a little table on the south side of the house; the around for a little while and bantered with Olympia. sun was settling over the sand dunes; the tide was They were the same age and he had been her cook for coming in over the reef where the waves were pushed nearly 60 years.[...] |
 | [...]mon Views—Fall 2008 311 scattered around the world, her friends had died or Every week when he visited his plantation, he stayed retired back to Italy, and Merca was no longer a center in Olympia’s home. He brought her things from of colonialist activity. Just her, her old cook, and her big Mogadiscio and shepherded her affairs through the house. The spaghetti was the best I ever ate, and I come labyrinthine Somali bureaucracy. In the early 1970’s, from a family of Franco-Italian good cooks. just out of school, he was a bank administrator in Olympia and I conversed in French. I learned Merca. The Italian-controlled banking system had been that h[...]d father Austrian. She nationalized by the new dictator. Scientific Socialism grew up in Paris. In 1925 she married an Italian who was the Somali way to the future, and Olympia was newly appointed the physician for the Governor needed someone to help her circumvent the currency General of Italian Somaliland. I asked if she often[...]ais non!” she sighed, “Paris is not like to master the mysteries of European society. Through it was.” I wondered if my grandparents had the same the years they developed a grandmother–grandson impression of Paris in the 20’s. Italian immigrants—my relationship. grandfather working in the Citroen factory spraying She confided to me that not only do Somalies lead-based paint on automobiles he could never afford. never master the fork, “their water glasses always end But after the Great War, Paris must have been a up on the left side of their plates.” “ They eat with the magical exciting place for the children of the rich. fingers of the right hand, so they drink with their left.”[...]slapped Yusif ’s hand. “No manners!” In sixty two years in Somalia she had “ Hold your fork right!” She snapped. To me, in French been invited many times to eat Somali fashion under a she explained, “ It is impossible to teach Somalies table tree in the bush. Somehow she had managed to avoid manners.” the indignity. “There are standards to maintain!” “ They grow up eating with their fingers, you At eight o’clock dinner was over and we moved know.” I almost spit out a mouthful of food stifling to the sitting room for brandy and conversation. We a laugh. Yusif, forty years old, Sultan of his tribe, vice were four people each speaking two of four different president of the national bank, owner of a large and languages. Conversation wor[...]gized and held his and Yusif would speak in Italian. Then Yusif would fork correctly. translate to Joe in Somali. Joe and I would discuss it Theirs was a warm and close relationship. in English. And finally Olympia and I would speak in |
 | [...]mlummon Views—Fall 2008 312 French. Than the conversation would flow the other morning Olympia’s husband would ride a mule across way, from French to English to Somali to Italian like a the dunes to oversee the work. He stopped practicing slow moving alternating current caught in a loop. But medicine and started a construc[...]inning and ending with Olympia. the highways in Somalia and he built a kiln to fire the I was fascinated by this woman and wanted bricks for their villa. to know more about her and her life, but etiquette “The dunes” I asked, sensing an answer toforthe dunes have always been like they are.” It was a[...]en I visited their plantation. suspected. The development agencies were spending an They both w[...]Everything grew—all inordinate amount of money and energy planting trees kinds of crops and trees, flowers of all colors festooned to stabilize the dunes. Experts were flying in from the the edges of the lanes and irrigation canals. Flora capitals of the world. Four-wheel-drive vehicles were marketed vegetables to the ex-pats in Mogadiscio. bouncing along the no longer existent highway system. Twice a week, for five dollars, each subscriber received Reports[...]important meetings held. All a two bushel basket of fresh vegetables. Sometimes to stem the desertification of southern Somalia. But the included in the basket would be a bundle of flowers dunes were no more a problem than they had been 65 that would release its fragrance only at night—in years before. pulses—that would spread through the house to “My husband spent nine years as a prisoner of surprise you. war in Kenya and was not released until 1949.” “We “My husband brought Bubolini from Italy to be were fascists.” “Everyone was, you know.” “Those our mechanic.” “His land is part of the plantation we were very difficult years, the children were little, but developed.” “Still,[...]e survived.” Many years before, while traveling in is such a coarse man, and so much older.” “But it is Kenya, it was pointed out to me that the highway that difficult for the children.” descended into the rift valley, and a little stone chapel Oly[...]ad been built by Italian prisoners 5,000 hectares of bush and jungle along the river of war. Could Olympia’s husband have been in charge and pioneered banana cultivation in Somalia. Every of that construction? |
 | [...]2008 313 I never found out because at nine o’clock the other industries, the dictator cut a deal with Italian Olympia excused[...]was too old organized crime. Bananas grew in organized rows and to stay up, and unless we told him not to, the guard ship loads of green bananas left for Italy at organized would turn the electrical generator off at ten. I got the intervals. The workers, however, lived in the mud and impression that she was not recommending that we stay filth of unorganized villages, just as ignorant and just a[...]oited as their ancestors. That night I lay in bed mulling over the With the money, the dictator imported Toyota ironies. A young aristoc[...]—colonialist and Landcruisers as rewards for his lieutenants. But the fascists—cleared farmland, dug irrigation syste[...]system that planted bananas, and built highways. In the process never received maintenance because the Minister of they forced entire villages of recently emancipated Public Works pocketed all the money. Meanwhile, slaves to work the fields. The Somali dictator, a fascist foreign experts, with degrees in Social Forestry, were of a different color, depended on the export of bananas earnestly endeavoring to fix an ecological disaster for hard currency. Toof bothered about that damn fifth spoon! |
 | [...]rumlummon Views—Fall 2008 314 Long Lines of Dancing Letters The Japanese Drawings of Patricia Forsberg Rick Newby “We struggle to locate ourselves in a tangle of histories. . . . There are more things in modernity than are dreamed of by our economics and sociology.” —James Clifford, On the Edges of Anthropology, 2003 “[O][...]colour Patricia Forsberg, Heart Twisting in the Wind, 2006, gouache, differently. The Japanese draw quickly, very ink and collag[...]pler.” —Vincent Van Gogh, letter to Theo van papers—resonate with this characterization of classic Gogh, Arles, June 5, 1888[...]in general). Like Van Gogh, who found his Japan Browsing a stack of books I own but haven’t read, I in the south of France, and like the French theorist come upon this quotation from A Guide to the Gardens Roland Barthes, who saw in Japan a paradigmatic of Kyoto: “It is not the materials in isolation that form Empire of Signs (“The author has never, in any sense, a garden but the fragments in relation. . . .” Montana photographed Jap[...]s, or more has starred him with any number of ‘flashes;’ or better properly, her mixed-media works—crafted out of still . . . a situation of writing”), Patricia Forsberg ink and gouache and fragments of splendid Japanese finds in Japanese culture a kind of aesthetic paradise |
 | [...]and its arts. Think of the Pacific[...]adoption of elements from Chinese[...]and Japanese painting. Or of the[...]artists of such Japanese potters[...]visits in 1952 to the Chouinard[...]Art Institute in Los Angeles and[...]In Montana, of course,[...]er Peter’s pots, Patricia Forsberg, Holding You in Me Still, 2006, gouache, ink and Rudy Autio looked as much to and collage on paper, 4.375 x 5.75 inches © 2006[...]Japanese sources (Hamada, Yanagi, and especially the Photograph by Chris Autio. printmaker Shiko Munakata) as he did to Matisse and the Greek figure vase tradition. Beth Lo has explored[...]both the ceramic traditions of her Chinese heritage and where, ideally at least, the literary and visual arts meld the rich contradictions that surround her experience into daily life in ways that are meaningful, spiritually[...]ceramists have embraced aspects of the Yixing teapot elsewhere, given their proximity to the Pacific, artists aesthetic, rendering their own improvisations upon this in the American West have long been drawn to Asia wonderfully expre[...] |
 | [...] 316 scholar Marvin Sweet has named Helena the epicenter in the U.S. of what he calls the “Yixing Effect” (see Sweet’s book by the same name, published by Beijing’s Foreign Languages Press and serving as the catalog to a major 2006 exhibition— mounted by Helena’s Holter Museum of Art—of both traditional Chinese and contemporary American “Yixing” pots). All of which is to say that Patricia Forsberg is not alone in her explorations of Asian aesthetic principles, cultural values, and spiritual traditions. At the same time, her series of drawings, created over more than ten years and Patricia Forsberg, Sounds of Weeping, 2006, gouache, ink and collage on paper, numbering in excess of 300 intimate 4.75 x 6.25 inches. © 2006[...]. Photograph by Chris Autio. works, stands as one of the most engaging, masterful, and achingly lyrical engagements by an artist of the West with a “Japanese” works echo the ancient tradition—in both specifically Asian culture. Just as Provence became Van Chinese and Japanese cultures—of the seamless bringing Gogh’s Japan (“it is a beautiful Japanese dream,” he together of painting and poetry. And Patricia’s drawings/ wrote of the Provencal countryside), Patricia has found collages honor (and borrow from) the blossoming of the her Japan within the confines of an artist’s studio. first truly[...]Japanese culture, more than one Created in the late 20th[...] |
 | [...]Views—Fall 2008 317 Behind all of Forsberg’s Japanese works hovers the extraordinary world of Japan’s Heian era (794−1185 ad). At least since Arthur Waley translated Lady Murasaki’s six-volume The Tale of Genji (published ca. 1015 ad and considered to be the first psychological novel in world literature) in 1921−1923, women artists in the West have looked to the period and especially to the Japanese court’s exceptionally talented female[...]ations. Virigina Woolf famously reviewed the first volume of Waley’s translation of Genji in 1925 and expressed her envy of a time and circumstance when, instead of focusing on war and politics, a culture could dwell almost entirely within the aesthetic dimension. While Europeans of the Dark Ages “burst rudely and hoarsely into crude spasms of song,” Woolf wrote, “the Lady Murasaki was looking out into her garden, and noticing how ‘among the leaves were white flowers with petals half unfolded like lips of people smiling at their own thoughts.’” Of course, this era of relative tranquility and luxurious introspection was temporary, only to be followed by centuries of civil war and brutal rule by Patricia Forsberg, The Geisha’s Pose, 2006, gouache, ink and warlords.[...]4.75 inches. © 2006 Patricia Forsberg. In the grand tradition of American self- Photograph by Chris Autio. invention, Patricia Forsberg has seized upon the aestheticism of the Heian court as a part of her own cultural ancestry. Kakuzo Okakura has written in his Book of Tea that this is not “aestheticism in the ordinary |
 | Long Lines of Dancing Letters 318 acceptance of the term, for it expresses conjointly with most agonizing grief . . . they express their emotions in ethics and religion our [the Japanese] whole point of elegantly-turned poems of thirty-one syllables.” view about man and nature.” As Ivan Morris writes in Freed by servants of all domestic duties, the his classic study, The World of the Shining Prince: Court women of the court, imperial consorts and ladies-in- Life in Ancient Japan, the Heian era waiting, lived together in the palace, where they whiled[...]ading, practicing will always be remembered for the way in calligraphy and music, entertaining male visitors, and in which its people pursued that cult of beauty many cases, writing poems, tales, and memoirs. While in art and in nature which has played so Japanese men of the time wrote their works in Chinese important a part in Japan’s cultural history.... (the official language of the time, just as Latin was in The “rule of taste” applied not only to the the West), the women were free to write in the Japanese formal arts but to nearly every aspect of the vernacular. Using the kana phonetic script, they could, lives of the upper classes in the capital. It in Ivan Morris’s words, “record the native Japanese was central to Heian Buddhism, making . . . language, the language that was actually spoken, in a religion into an art and art into a religion. . . . direct, simple fashion that was impossible in . . . pure The immense leisure enjoyed by Chinese.” members of the upper class allowed them to Because of their leisure, their access to this indulge in a minute cultivation of taste. Their strong, vivid language, and their genius, the women of sophisticated aesthetic code applied even to the Heian court have left us an unparalleled record. the smallest details, such as the exact shade Among the important works are Lady Murasaki’s diary of the blossom to which one attached a letter and her masterpiece, The Tale of Genji, Sei Shonagon’s or the precise nuance of scent that one would witty and richly observed Pillow Book, Lady Sarashina’s use for a particular occasion. melancholy As I Crossed a Bridge of Dreams, and the poems of Ono no Komachi and Izumi Shikibu, Morris adds, “Finally, the aesthetic cult . . . available in English in The Ink Dark Moon, beautifully provided the framework in which the ‘good people’ not translated by poet Ja[...]ut even experienced their emotions. . . . (Many of the titles of Patricia’s drawings are drawn Even when Murasaki’s characters are plunged into the from Komachi’s and Shikibu’s ve[...] |
 | [...]sources and inspirations in Patricia’s[...]of Heian culture, but it is more[...]difficult to trace her influences from[...]drawings partake of the “Japanese genius,” in the words of art historian[...]Jack Hillier, “for the expressive line, for pattern and design, the representation of natural objects as[...]a means to an end, not an end in itself.” For Japanese printmakers[...]and painters, the making of art,[...]“like poetry,” notes Hillier, was “the ‘spontaneous overflow of powerful[...]‘emotion recollected in tranquility’” Patricia Forsberg, Today Sake-s[...]paper, 4.75 x 6.25 inches. This quality of restraint, which yet contains © 2006 Patricia Forsberg. Photograph by Chris Autio. undercurrents of intense emotion, is evident in Patricia’s[...]drawings, where we find ourselves in the midst of moments of repose colored by melancholy, outright exhibits the work, she couples each drawing with the grief, fleeting joy, and occasionally a[...]Some event has just transpired or is anticipated: the writes in her introduction, these “court attendants arrival or departure of a loved one, the change of must surely have been the most illustrious company of seasons, an ongoing solitude for which there is no women writers ever to share a set of roofs.” respite (“Call It L[...]e clearly served as Color,” as one of her drawings is titled).
|
 | Long Lines of Dancing Letters 320 Perhaps the closest source for Patricia’s drawings embrace of a familiar room. Some appear to be truly might be woodcuts created in the 1600s to illustrate insouciant, happy to nap for a lazy moment or a long a later edition of The Tale of Genji (examples can be afternoon; others curl into themselves, radiating grief; seen in Edward Seidensticker’s 1976 translation of the some confront the viewer frankly, with their sexuality or novel). These marvelous prints depict life within the their boredom; still others huddle against[...]nterior by screens Although a few appear to be Japanese, most of these within screens behind fences within walls.[...]foundly when these men and women venture outside, the modern in spirit. Their sheer nakedness would have omnipresent fog seems to tame and contain them; marked them as other in the Heian world. Lady this is a profoundly inward-loo[...]Murasaki and her cohorts wore clothing that was, in Shonagon wrote in her Pillow Book, Ivan Morris’s words,[...]elightfully quiet consisting inter alia of a heavy outer costume there.. . . In the winter one sometimes catches and a set of unlined silk robes (twelve was the the sound of a woman gently stirring the standard number). . . . So that their fastidious embers in her brazier. . . . On other occasions blending of patterns and colours might be one may hea[...]inese properly admired, women wore the robes in or Japanese poems. . . . Bright green bam[...]especially when beneath came closer to the skin. them one can make out the many layers of a woman’s clothes emerging from under And in fact, the naked female form was brilliantly coloured curtains of state. considered anything but beautiful in Heian culture. Lady Murasaki, at the sight of a pair of maids whose The sense of enclosure so central to Patricia’s clothes had been stolen during the night, wrote: Japanese works resonates with these words, and the “Unforgettably horrible is the naked body. It really does women we see in her drawings might be said to be, if not have the slightest charm.” not delighted, at least content within the comforting Female experience has long been central to |
 | [...]ctionate and insightful exploration/appropriation of other cultures. Witness, for example, her works of the 1980s, when she immersed herself in another culture[...]obsessed with beauty, that of Renaissance Italy. For[...]Patricia’s Japanese drawings seem models of restraint[...]and calm. But her concerns remain much the same; in 1985, she spoke of the essential elements with which she sought to imbue her work. Her paintings would be[...]dramatic, energetic, and alive.” The Renaissance paintings were, for the most part, interiors (like the Japanese drawings)—and in 1985, she wrote of the tension in that earlier work between the “pursuit of freedom, choice, and space” and the “inevitable taming and containment of the[...]this modernity of spirit— the absolute nakedness of the work—is what takes Patricia Forsberg’s Patric[...]2007 Patricia Forsberg. even heartfelt tribute. In their exploration of the Photograph by Chris Autio. interior life of women today, these drawings are, quite[...]simply, marvelous expressions of one artist’s allusive[...]rained feeling, quiet power, and a riveting sense of[...] |
 | in Tears, 1998, gouache, ink and collage on p[...] |
 | for You, 1999, gouache, ink and collage on pap[...] |
 | the Autumn Deepens, 2002, gouache, ink and col[...] |
 | [...]all 2008 328 Patricia Forsberg, Long Lines of Dancing Letters, 1999, gouache, ink and co[...] |
 | [...]s—Fall 2008 329 Patricia Forsberg, Heart of One Who Feeds the Fire, 2000, gouache, ink and collage on pa[...] |
 | [...]Fall 2008 330 Patricia Forsberg, Listening to the Rustle of Bamboo Leaves, 2000, gouache, ink and coll[...] |
 | [...]2008 333 Patricia Forsberg, Tears Taken for White Beads, 2000, gouache, ink and[...] |
 | to Wait For, 1999, gouache, ink and collage on paper,[...] |
 | [...]—Fall 2008 335 Patricia Forsberg, Flower of the Evening Faces, 2008, gouache, ink and coll[...] |
 | [...]Patricia Forsberg, Color of the Night, 2008, gouache and[...] |
 | of Silence, 2006, gouache, ink and collage on[...] |
 | [...]that such needs will ultimately come to naught. The reader is likely to feel both amused and uncomfortable Alfred A. Knop[...]ages. $24. witnessing these occasions of defeat, for of course, we’re implicated in the action—we share these characters’ Reviewed by[...]ce, a exquisite. He has an eye and ear for the classical line, a reformation, a reconstruction, a transformation. Through genius for epigrammatic phrasing. He’s able to summon measures desperate and modest, they attempt to an entire web of implications in pithy sentences: “The reimagine themselves one last time, to reconceive their air was so clear that [the clouds’] shadows appeared like status, their identity, their meaning. And time and again, birthmarks on the grass hillsides” (53). And in another those efforts are thwarted, especially when the characters self-referential moment, McGuane’s narrator remarks, journey to the Big Sky. Montana is the place where “Few facts came my way th[...]check, its limit, its defeat. (39). At times the writer allows himself a fuller riff, an McGuane has long been the poet of the absurd, opportunity to let the lyric potential of the English able to locate the reader in a perfectly plausible language override a concern for immediate sense- situation that somehow explodes in hilarious making. “The Refugee,” a longish sea tale that falls incongruity. He’s working the same vein in this short somewhere between Stephen Crane’s “The Open Boat” story collection, for as one character says to another, and Hemingway’s Old Man and the Sea in philosophy seemingly describing the writer himself, “You probably and style, provides an extended, mesmerizing account of get off watching people make mistakes” (49). But here the anti-hero’s riding out a Caribbean storm in a small McGuane’s narrators seem far kinder in representing yawl. At moments such as this McGuane hovers on the longing for change. Unlike, say, Nobody’s Angel, this the suggestion, the possibility that the brilliant human collection grants the hapless and haphazard characters voice, articulating the microprocesses of survival against a modicum of dignity in their defeats. The dominant the elements, can save us from our meager selves. But[...]alled “McGuane melancholia,” a the story’s ending (not to be given away) discourages recognition of the human need for self-respect and even that hope for our salved dignity. A surprising
|
 | [...]Drumlummon Views—Fall 2008 341 number of these stories insinuate a karmic justice, get something out of these beautiful surroundings” (55). punishment for acts of indifference or cruelty, though And that demand summarizes McGuane’s retribution seems more the work of writerly wit than take on Montana as a whole: while the landscape is cosmic law. spectacular, the culture is paltry. Make no mistake, At the same time, McGuane is a clever th[...]modern, media-driven culture. ventriloquist, able to inhabit diverse worlds and Characters repeatedly cast themselves in roles imagined idiosyncratic languages. If in “Cowboy” he takes on for them by popular culture, whether cowboy, crazed the voice of an aging con converted into a cowboy by killer, or aging Lothario. And the material artifacts an irascible brother and sister act, in the title story he comprise a repository of the cheap, cast-off toys of enters into the first-person perspective of a middle- American manufacture. Montana cannot provide a aged realtor who tries and fails to win a woman simple escape from the simulated life of mass culture. with a macho driving trick. We journey also into the McGuane’s sardonic view of this contemporary malaise creeping madness of a scion to a banking manager, the has taken on a global cast here, as a farmer’s market hapless romanticism of a retiree who leaves Boston for displays goods from around the world and John Briggs Montana (only to be bested by a paraplegic ex-son-in- participates in complex legal negotiations all over the law), and the rueful restlessness of a lawyer who retreats planet. Lurking latent in the text is a deep romanticism to Montana to heal from his bouts of global injustice. that McGuane will not quite allow to declare itself. If This last character—John Briggs—seems especially only we could turn to the land, enter into an original close to the writer, both in his canny sense of his relation outside the categories of selfhood inculcated own foibles and his deep connection to the Montana by television and the Internet, we might just realize landscape. In one of the few moments of intellectual joy. But the satirist conquers the romantic with his and spiritual epiphany, Briggs[...]sure, deadly accurate eye. We are often fools for love, pay attention to the wonder of a homesteader graveyard, of ourselves and others, and we cannot transcend the an original fragment of the Old West: “. . . please try to ludicrous means handed us by a dispiriti[...] |
 | [...]Drumlummon Views—Fall 2008 342 The Taos Truth Game or some combination of these three. Within Montana Earl Ganz literature, the attention paid to Brinig is primarily due to Earl Ganz. Ganz wrote the introduction to the University of New Mexico Press, Albuquerque, 2006. 326 reissue of Brinig’s novel, Wide Open Town (Farcountry page[...]writing, “The Truth Game,” appeared in Writing Reviewed by Rebecca Stanfel Montana: Literature Under the Big Sky (Montana Center for the Book, 1996).[...]looked precisely because he “Unless you explain in a preface who Myron Brinig eludes classification. Though raised in Butte, Montana, was, readers will think you made him up,” Earl Ganz during the hardscrabble mining town’s heyday, Brinig writes in the afterword of his novel, The Taos Truth Game. was hardly a prototypical Wes[...]rvant Jews, and his father a successful merchant. In of Brinig’s life—what he calls “a story of what may have fact, his first novel, Singermann, was one of the earliest happened or could have happened”—Brinig did certainly novels about the immigrant Jewish experience written exist, living to the venerable age of ninety-four and in English (and a source of inspiration for Henry publishing twenty-one novels.[...]t Sleep). But Brinig was eager Ganz wrote The Taos Truth Game partly to to leave behind the strictures of his family, religion, resurrect Brinig from literary obscurity. Although and hometown, to write his way out of Butte, as his once hailed by the London Times as one of the two fictional character explains to a friend in The Taos Truth best young writers in America (Thomas Wolfe was the Game. (91) Although Brinig has recently received some other), all but one of Brinig’s prodigious oeuvre is out attention as a gay writer, here too, even the long shadow of print. Even though many of Brinig’s books became of Brokeback Mountain isn’t enough to propel him to bestsellers, and one, The Sisters, was made into a 1938 hit posthumous fa[...]nn, Brinig’s perhaps because he sought to write not as a westerner, work is rarely included (or even mentioned) in the not as Jew, not as a homosexual, but as a mainstream— ubiquitous “best of ” anthologies that should contain and b[...]rs, Jewish writers, gay writers, But The Taos Truth Game is much more than a |
 | [...]nning Brinig’s sexuality, on the other hand, is ultimately down—of Brinig. Instead, the book is as multifaceted a source of shame. Even his first erotic experience, as as it[...]Wells, is tainted with incestuous innuendos, view of catty salon society, part humorous exposé of the and when he brings Wells to meet his mother in Butte, lives of the rich and talented, and part mournful glance “[h]e was afraid to show his family what he was.” at the process of dissolving into obscurity, the novel (190) Self-loathing accompanies most of his sexual makes Brinig and the world he inhabits come alive. The encounters. When awakening next to a man after a narrative begins in 1933, when a young Brinig arrives in one-night stand, Brinig is filled with disgust, imagining Taos, New Mexico, on his way from New York to Los “[a]nother man’s sweat and pollution soiling his pores.” Angeles. Already famous for two novels, which are still (112) Throughout The Taos Truth Game—and indeed regarded as his best work: Singermann (the 1929 semi- for his entire life—Brinig claimed to be “bisexual,” not autobiographical story of his Orthodox Jewish family gay. He tells the same “lie” (as he calls it) several times in Butte, Montana) and Wide Open Town (a 1931 novel in the novel: “It’s part of the writer’s job to experience about labor unrest in Butte’s mines), Brinig doesn’t plan everything. It helps my work too. Whenever I’m in a rut to stay in the desert. But he is looking for an escape— and can’t get going, I have an affair with someone of a from a failed relationship with a married man and a different sex from the one I’ve been with. It’s like space nearly in[...]es involved with painter Staying in the closet in the middle third of the Cady Wells, the wealthy scion of an East Coast twentieth century—even in the relative security of industrialist. Much of The Taos Truth Game explores artistic colon[...]again, off-again relationship with Wells, of sense. As Brinig mused, “No one would publish a man so different from Brinig that the Butte native a book with a homosexual hero living a homosexual thinks of Wells as a “Martian.” The gap between Brinig life. It was against the law. They’d sent Oscar Wilde and Wells isn’t about money or power, as much as to jail for it. For most people it was the same thing as Brinig’s character would like to reduce it to that. Rather, making love to a sheep.” (292) But Brinig keeps the Wells is comfortable with his identity as a gay m[...]what I am,” Wells tells Brinig, steps into the present in its foreword and afterword early in their doomed affair. (33) and Myron continues to deny his homosexuality with
|
 | [...]4 an almost Biblical repetition, lacking only the crowing Jeffers and his possessive wife, Una, Gertrude Stein of roosters as a background. Whatever the cause of and Alice Toklas, Thomas Wolfe, and[...]obliquely suggests that among others. Many of these celebrity sightings are it contributed to his literary decline. Like Brinig’s life, delightful, including a hilarious episode in which The Taos Truth Game is curiously lacking a compelling various claimants to Lawrence’s legacy (including narrative force. The book follows Brinig on the almost Luhan herself ) connive to gain possession of the dead meandering and random path his life takes. B[...]s very little; he drifts into Taos, and the great man’s ashes might have inadvertently been then drifts into another artistic community in Carmel, dumped into (and consumed in) a pot of chili. Brinig California, drifts back to Taos, and eventually lands finagles his way into the center of such situations, in New York. By not owning up to who he is, Ganz sipping scotch wit[...]routines, like Una Jeffers after she has tried to commit suicide, and the recurring bisexual−space travel line and a shtick negotiating peace (or attempting to do so) between where he proclaims, “You just shook the hand that Luhan and her rivals for the Lawrence legacy. shook the hand of Teddy Roosevelt.” The listlessness However, the celebrity parade—and its inside of the narrative can be tiring to read, but it works to look at the pettiness and cruelty of Luhan’s salon— convey a writer’s energies dwindling in the face of eventually get in the way of both Brinig and The Taos avoiding himself and his past. Truth Game. Several times throughout the novel, Brinig One thing that Brinig decidedly does not asks himself something to the effect of, “What am avoid, however, is celebrity. Soon after arriving in I doing with these people? Why am I pl[...]os, he becomes an integral part—and a recipient of stupid games?” (111) Moreover, the abrupt gear shifting patronage—of Mabel Dodge Luhan’s salon. Luhan,[...]nt as a character and his who drew D. H. Lawrence to Taos in the twenties by lurching among the rich and the famous, slows the giving him title to a ranch in exchange for a manuscript novel’s already leisurely pace. But perhaps this is Ganz’s copy of Sons and Lovers, surrounded herself with writers point, to reveal in the novel’s very structure how Brinig and artists, many of whom make cameo appearances runs from himself—and the truth about himself—to in The Taos Truth Game. Brinig encounters Frieda[...]binson Ironically, truth is at the centerpiece of Luhan’s |
 | [...]8 345 salon. On his first evening with her in Taos, she do justice to the material.” (289) With Florence Gresham, introduces the “truth game,” a fancified version of the though, he is able to write the truth (albeit of another), middle school slumber party horror, in which each “to get inside Mabel.” (296) But since the novel exposes person must tell the absolute “truth” to any question Luhan in ways that could lead to her downfall, Brinig posed. A few weeks later, Brinig refines the game into a doesn’t publish it. A jealous lover burns his copies years writing exercise, where for ten minutes everyone writes later, and the work is forever lost. something “wittily and truthfully” about another person Even without the triumphant publication in the room. The passages are cutting and, in the case of Florence Gresham, Brinig was nevertheless an of those about Brinig, true. He is described by anot[...]r. Perhaps Ganz’s writer as “[having] no form of his own to hold him portrait, which uses Brinig’s unpublished memoirs up and has never bothered to get one from Heaven or for inspiration, will generate interest in a unique make one for himself, being so busy writing books.” (59) writer—one who was forged in the tumult of Butte, Brinig ends up playing the highest-stakes version yet hated his childhood home; one who was gay, but of the truth game when he writes what is recognized by[...]resham, a portrait machine-like precision, only to withhold publication of of Mabel Dodge Luhan. He admits to another writer his best work to save a friend’s honor. that even in his acclaimed novel Singermann, “I didn’t |
 | [...]Drumlummon Views—Fall 2008 346 The Watershed Years caused to the wheat crop by a hail storm, the narrator, Russell Rowland Blake, says, Riverbend Publishing, Helena, MT, 2007. 253 pages. From the minute we were close enough to $12.95 softcover.[...]every row, a casserole of icy pellets and grain Reviewed by Jodi Schmitz littered the ground. The stalks that weren’t[...]with only an occasional When writing a book about the West as it was in stubborn grain clinging by a slender fiber. the days of sprawling ranches and endless miles of Many stalks were broken, bowing in apology. swaying prairie grass, it can be difficult to straddle the line between just the right amount of description and The word choice is beautiful, compelling the reader to downright rambling. The Watershed Years by Russell feel the intense sorrow of the situation almost as acutely Rowland is a prime example of an effective mix of as Blake does himself. dialogue and description. The reader is drawn in by On the other hand, a snag in this novel is the the portrait Rowland paints of ranch life, with all its amount of space devoted to character development. triumphs and hardships, while still feeling attached to Simply stated, there isn’t quite enough. One particularly the characters in the story. Rowland, also the author fascinating story line is the account of Blake’s brother of the novel In Open Spaces, is obviously familiar with Jack. During the Depression, Jack disappeared from ranching in eastern Montana, and this book successfully the ranch, leaving his wife and son behind, and didn’t chronicles the struggles that a ranching family can have turn up again until years later. Unfortunately, the even in times of arguably good fortune. For this family, reader isn’t given enough insight into Jack’s character, the Arbuckles, sometimes not even an end to a long aside from the obvious dislike that Blake has for him, drought and an unexpected series of better-than-usual to understand the motives behind Jack’s mysterious harvests can bring peace to their lives. departure. Jack is depicted solely as an exceedingly The passages of description in this novel are selfish and greedy man by[...]o powerful and effective, nearly always conveying the is also Jack’s ex-wife), and the reader is forced to believe intended emotions. In one passage about the damage this version of him simply because there is no other |
 | [...]n available. the very first page. One of the ways he creates such There also isn’t enough of a conclusion to wrap up interest is by turning a seemingly commonplace some of the questions about Jack that Rowland brings subject into something much more. According to Guy up over the course of the novel. Allusions are made to Vanderhaeghe, author of The Last Crossing, “Russell his possible participation in the drowning death of his Rowland’s compelling Montanans show us the brother George, but nothing is definitively cleared up extraordinary that lurks in ordinary lives.” Indeed, this by the end. He seems to be a bad guy, but no evidence is book tells us a story about regular Montana people given to prove this.[...]ecrets Another minor character weakness is the way if we saw them just from the outside. The Arbuckles Blake and Rita’s relationship is port[...]are easily recognizable characters; they could be the that the happy couple is bordering on just a little bit ranching family down the road from any one of us. too happy tothe stresses inherent in story that’s fascinating and powerful. He gives us a peek the first year of marriage, the difficulties of being a inside the lives of people dealing with pressures well ranching family, and the tension mounting in the rest beyond the norm, and makes it feel intensely real. of the family, one would think that Blake and Rita Even the title is surprisingly indicative of how the would have moments when their love wasn’t quite so story will unfold. In the very first pages of the book, the perfect and all-encompassing. In fact, when Rita finds word “watershed” is defined as either “a ridge of high out that Blake has lied to her about a promise he made land dividing tw[...]y different that could leave their family without the home they’ve river systems,” or “a cri[...]s a division always had, she is only mildly angry for a very short or a change of course; a turning point.” By the end of time. Any other woman would have had a lot more to the book, the reader realizes that the events that have say on the subject. taken place are indeed a turning point for the Arbuckle Aside from these small difficulties in the flow family, and we’re left wondering what will happen next of the novel, The Watershed Years is superbly written to this captivating Montana family. and Rowland’s talent for storytelling is evident from
|
 | [...]008 348 Montana Women Writers: A Geography of literary magazine than some stuffy academic text. By the Heart[...]roline Patterson genres, the anthology provides, as Sue Hart puts it Introduction by Sue Hart in her introduction, “the experience of Montana.” In a matter of pages, we move from Mary MacLane’s Farcountry P[...]ges. $24.95 hardcover; reflections on turn-of-the-century Butte to Frances $18.95 softcover. Kuffel’s tale of vigilante children to Frieda Fligelman’s[...]contemplation on keeping a harem of men. History, Reviewed by Hilary Hoffman[...]who live in the demystified West. Many anthologies end up as book[...]eviewing an exceptional anthology is much percent of the selections read and very little knowledge like attempting to describe dim sum to someone of the editor’s focus gained—but Montana Women who has never tried it. The choices are so varied, Writers: A Geography of the Heart deserves to be fully unique on their own, but together forming an read, each of the thirty-nine authors leading the reader enjoyable meal presented in a way that is unlike any to a better knowledge of Montana’s literary legacy other dining experience. You will only get a slight and promising publishing future. Caroline Patterson taste of the truly delicious morsels that await you has brought together a selection of short stories, in Montana Women Writers in this review, but that poems, and essays that represent the story of Montana. will have to do until you actually read the book. Relationships are tested, battles with the land are lost, And read the book you should, because other than death visits, and children become adults in an instant. William Kittredge and Annick Smith’s The Last Best Patterson notes in her preface that the Place: A Montana Anthology, this is the only book organization of the book into three types of places that has been brave enough to take on the varied (plains, mountains, and towns) came out of her desire writings of Montana authors. to allow “the different pieces to speak to one another, In A Geography of the Heart, the poets speak of regardless of time.” This organization bestows an the four elements, inspired by the Montana landscape “unanthologyness” to the book. The reader is treated to reflect on the power of wind, the unforgiving earth, to a collection that feels more like a well-respected the permanence of fire, and the weight of water. M. L. |
 | [...]lummon Views—Fall 2008 349 Smoker writes in “Borrowing Blue” of the wind that There is a hardness in woman like the hardness of howls across northeastern Montana: “How can I speak falling water of this wind, / how it has no color, no sense, / no[...]That repulses what it compels; her life is barred The fire provides safety from strangers in Bonnie To man by her moving purpose. Who has caught Buckley[...]Ranch, 1937”: “An auction sale / is no place for private Though she curve to him like a wave her strength things. / Tonight th[...]/ is hard. we leave tomorrow.” The earth provides a resting place for a dog in Tami Haaland’s “The Dog,” but only after Coates was writing in 1930s Martinsdale, Montana, but a fight, “We dug near the wild plums / to ground so with every line you see why her work was greeted with hard we had to beat / each piece with iron.”[...]ics who certainly didn’t expect anything The anthology includes three poems by Grace remarkable to come out of a place so far from the Stone Coates. Coates was a writer of many talents, supposed centers of culture. whose stories have been included in such prestigious The non-fiction pieces included in Montana anthologies as The Last Best Place and Best American Women Writers resonate with memories of harsh lessons. Short Stories of the Twentieth Century. The poems Judy Blunt’s “Salvage,” f[...]2 memoir Breaking that Patterson has chosen serve to whet the reader’s Clean, begins the collection with such brute force that appetite for Drumlummon Institute’s recently released[...]f Patterson chose this as a warning: Beware, Food of God and Starvelings: The Selected Poems of Grace this is not your grandma’s collection ofthe blizzard of 1964, but included in Montana Women Writers) is a wonderful the livestock that did not leave her with memories a complement to Coates’ poems. As for Coates’ view of community kept alive “until children grew into them. poetry, Rostad writes, “She maintained the purpose of They come down to me whole, stories of a blizzard all poetry is to give one a chance to say, in verse, what that took the measure of any man, that became the would otherwise be said with flowers—or kisses—or a measure of all storms to come.” Mary Clearman Blew’s rolling pin.” We sense the rolling pin in “The Hardness “Paranoia” recounts her early years in teaching at of Women”: Northern Montana College in Havre. A conversation[...]ith a colleague begins a scandal and teaches Blew the |
 | [...]has not only a teller, but McFadden now lives in the San Francisco area, and a listener, and every story contains not only what was in addition to her memoir, reprinted in 1998, she also told, but what was heard.” published The Serial: A Year in the Life of Marin County Great Falls native Cyra McFadden takes us which was made into a movie. back to deceptively simpler times as she traveled The fiction pieces are meticulously chosen and throughout the 1940s and 1950s rodeo circuit with her give the reader an amazing sample of some of the best father, a famous rodeo announcer, and her mother, writing to come out of Montana. B. M. Bower’s “Cold a former vaudeville dancer. The selection from Rain Spring Ranch” from h[...]de joining her husband on their and heartbreaking at the same time. For example, land out West, her head full of illusions about to be McFadden writes, “Children are taught to be stoic squashed by reality. The husband may be appropriately before they’re taught to feed themselves.” The world she named Manley, considering that “he seemed to feel saw from the backseat of that Packard has a bittersweet that his love-making had all been done by letter, and quality to it. McFadden describes an aspect of Montana that nothing now remained save the business of living.” that is essential to the experience of the West: the “Heavenly Creatures” by Melanie Rae Tho[...]into her forthcoming collection of stories. Thon’s main[...]character, a mother whose ways are fodder for town A bar should be cool and dark, a cave gossips, tries to make a decent living through mending. hollowed out of the heat, and it should have She learns that,[...]imes, as you sewed a frail woman boot heel, the better to settle in and ponder into her favorite lavender dress, as you stitched the life. . . . A decent bar will produce a napkin seams to fit close where she’d shrunken, you touched for a lady, one with cheerfully crass cartoons her skin and felt all the hands of all the people who had on it, possibly the only napkin in the place. ever loved her.” The cartoons will feature steatopygic women[...]min’ Around.” once. Earling teaches at the University of Montana, Missoula, and is a member of the Confederated Salish
|
 | [...]Views—Fall 2008 351 and Kootenai Tribes of the Flathead Reservation. Earling has p[...]l, Perma Red, which won “Bad Ways” is perhaps the pivotal piece of the entire the 2002 Mountains and Plains Booksellers Association anthology. We are transported to a time when the Award. Her haunting text provides an anchor for Indians were slowly being pushed aside while the white Montana Women Writers, since how can we envision the settlers took over the Montana landscape. The story is future of Montana without truly seeing the past? full of lessons we all still need to learn. In “Bad Ways,” a My only complaints with the anthology concern group of Indian men gamble with a white man and lose two drastically different writers and the amount of in such a monumental way that the smell of that loss space they garnered in the pages of A Geography of permeates the Flathead Reservation to this day. In the the Heart. Elizabeth B. Custer, the widow of George midst of the bet, the Indian men wait: Armstron[...]time. They looked towards Or Life in Dakota with General Custer are of historical the river and talked among themselves. They[...]e, her writing is so overwrought and wanted to feel the heavy coins in their hands. overdone that her voice seems out of place alongside One talked about the gold watch and how he such exceptional writers. In contrast, there could would smash the face to stop the white man’s have been more from the amazing Diane Smith. The time. They laughed at this, stopping time. selection from[...]short, and although clearly full of arresting language, it Of course, time does not stop and Earling offers a final does not play very well in such a limited space. warning:[...]Unfortunately, I was only able to touch on a few of the writers contained in A Geography of the A bad smell we should not ignore, like the Heart. Not discussing such talent as the poets Ripley musk smell of a deer that has died without Schemm[...]e Madeline DeFrees, or Patricia Goedicke, to name a many years, the power is still leaving us, few, feels like a crime. Or delving into the beautiful and we have to hook it, snag it like a great language of fiction writers like Mildred Walker, strugg[...]leaves this review short of properly shining light |
 | [...]Drumlummon Views—Fall 2008 352 on all of the stars within its pages. You miss the whole story of Montana without mention of Mary Ronan’s ruminations on the frontier style of tourism, or Ellen Baumler’s lively piece regard[...]far as I’m concerned, anyone who is interested in Montana will benefit from reading Montana Women Writers and spending some time with the work of some talented writers. |
 | [...]mlummon Views—Fall 2008 353 Poems Across The Big Sky: An Anthology of group of ten—Sandra Alcosser, Roger Dunsmore, Tami Monta[...]constitutes an impressive cross-section of Montana Many Voices Press (Flathead Valley Community College), poetry, and each of them selected between nine and Kalispell, MT, 200[...]according to the ten poets, and a photograph of Reviewed by O. Alan Weltzien each opens “their” section of the book. Ironically, the[...]ollowing it, one finds approximately thirty pages of by several anthologies—e.g., The New Montana Story, biographical notes[...]on acknowledgments, and edited by Rick Newby, and The Best of Montana’s Short a bibliography of published work by writers in the Fiction, edited by William Kittredge and Allen Morris anthology. Jones—in the past few years. Two thousand and six saw The “Editor’s Notes” chronicle the genesis of the the publication of Montana Women Writers: A Geography anthology, and Jaeger pays generous tribute to three of the Heart, which includes over forty writers within i[...]oems Moen, and Aunda Cole—who represent “the spirits from 122 poets in just over 200 pages. This strong new driving this project from the get-go.” Apparently, collection illustrates the pluralistic character signified by Jaeger found himself, more or less, in the role of literary the Press’s name. One of its chief delights comes in the executor, and wanted to give them voice: “It was their continuing discovery of strong, less known poetic voices idea. They wanted to join their words in a collection from many walks of life “across the Big Sky.” These poets of voices that reached out across the Big Sky, over take their place alongside well-known poets in its pages. the wide open spaces between us.” (6) I particularly Poems is the brainchild of longtime Flathead admire the poems of Nesbitt and Moen. “This collage Valley Community College instructor and poet, Lowell of voices” was intended to overcome the loneliness of Jaeger. Jaeger wisely gathered nine additional poets as the Montana poet, and it admirably succeeds in doing a “Board of Directors,” and invited each of them to so. I am particularly impressed with[...]mocratic invite and select poems from poets known to them. This vision: “this anthology opens space to the words of |
 | [...]g names already and broad survey of the riches that follow. In just three acclaimed. I am proud to present so many Native pages, she manages to allude to the majority of the American poets in these pages, including poems in anthology’s poets, and she ably places the anthology in several Native languages.” (8) the contemporary history of Big Sky literature. Painter The group of ten includes M. L. Smoker, a young Jennifer Fallein, also represented as a poet, painted the poet from the Fort Peck Reservation who is a graduate striking cover, which reflects her response to several of of Missoula’s prestigious MFA program. One of my the poems. favorite Native American poets, Richard Li[...]cludes his own English translation, line by line, of his are to be commended for this excellent project that Cheyenne poem, “We Are The Spirits of These Bones.” provides such a panoramic survey of Montana poetry. The scope of Poems unsurprisingly means As Kingsland points out in her Introduction, not that the work feels occasionally uneven, with some all Montana poets are included, but in anthologies, poets of less interest or quality than others. Yet its[...]y conceived or not, omissions come as wide angle, the presence of new voices on so many little surprise. Poems Across The Big Sky broadcasts the pages, more than compensates for the infrequent dense network of Montana’s community of poets and disappointment. Margaret Kingsland, a w[...]loneliness cited by Jaeger humanist and advocate of Montana letters, provides in his opening essay. It is only the most recent evidence in her Introduction, “All This Wild Beauty,” a gracious of the robust condition of literature in Big Sky country.
|
 | [...]Drumlummon Views—Fall 2008 355 Dancing to the Edge For the more I listened to Dancing to the Edge, the Ann Tappan/Kelly Roberti/MJ Williams (with more it yielded an equivalent of Bishop’s dialogue, one Brad Edwards) voice at home (Williams’ mainstream moorings), the other abroad (her exploratory treatments of standard Basin, MT, 2007. $15. material). Implicit in the title of Williams’ CD—and confirmed in her playing and that of colleagues Reviewed by Keith Raether[...]Brad Edwards)—is a sense of travel. The dancing is How, specifically, we come by the spontaneous, to something, namely, the edge. Though the recording enlivening recognitions and associations that a work of comprises nine very different songs, most of them art triggers, well ahead of any investigation of the linkage, familiar, all exhibit the same propensity, an instinct remains a riddle. Why MJ Williams’ latest recording that gets at the core of jazz: travel, stretch, exploration, project, Dancing to the Edge, stirred for me, immediately expansion. Just as Virginia Woolf took us to the and somewhat bittersweetly, Elizabeth Bishop’s signature lighthouse and Bishop to “imagined places,” so, too, poem, “Questions of Travel,” is mystifying. But no matter. Williams’ Dancing pulls us toward the margins, the A third of the way through my first cycle through the borders, to glimpse a territory as exotic as Ouro Preto music, on Jaco Pastorious’ “Three Views of a Secret” was for Bishop. with lyrics by Colleen O’Brien, it happened. Bishop’s It may be worth noting, in this context, that lines themselves seemed to wink at the unpredictable Williams is a founding member of the Montana Artists event: “To stare at some inexplicable old stonework, / Refuge, a residency program not only for musicians but inexplicable and impenetrable, / at any view, / instantly also writers and visual artists. That she has devoted the seen and always, always delightful?” past twenty-plus years to the art of interpreting lyrics is A delightful bolt it was, Williams’ singing and clear evidence of her attraction to the writer’s medium. its reminder of “Questions,” Bishop’s own prosodic That she has chosen for her new recording project song. (“—A pity not to have heard / the other, less three compositions without lyrics in their original form primitive music of the fat brown bird / who sings above (“Three Views,” Monk’s “Evidence,” Pat Metheny’s the broken gasoline pump / in a bamboo church of “Hermitage”) and has supplied her own lyrics to one of Jesuit baroque:” ) And not so out of the |
 | [...]place where Dancing resides—that junction of tradition Williams’ travel as an improvising ar[...]ill venture singers Sheila Jordan and Jay Clayton in the highest farther in a career that recognizes the improviser’s art regard. (Williams studied with both of them.) Her as a lifelong apprenticesh[...]is simple: Jordan and Clayton are “fearless,” in Williams was in New York on a Montana Arts Council her words. They approach the music with open ears and fellowship, auditing classes with Sheila Jordan at City exploratory sensibilities, especially where harmony and College of New York. The following year she produced timbre figure into the mix. a collection of jazz standards and performed in the New That said, the greatest influence on Williams’ York City Women in Jazz concert program. She has approach to singing remains her trombone playing, a worked with Roberti on and off for some twenty-five tradition passed down from her father. Learning the years. They have recorded five CDs toge[...]irst project, I Can Hear Your Heart, was released in her phrasing. She also brings to the playing field an in 1999.) Like Bill Evans’ trios, familiarity breeds abiding interest in the work of two avowed explorers adventure. in jazz: Henry Threadgill, one of the original members One element that Williams seems to have of the Association for the Advancement of Creative gleaned from all of her inspirations—Monk to Mingus Musicians and a leader of the groups Air, Sextett, Very to Murray—and has applied to Dancing is a decidedly Very Circus, and Zooid; and saxophonist David Murray, unsentimental approach to potentially sentimental whose myriad musical sett[...]ing (Cole Porter’s “I World Saxophone Quartet to the Fo Deuk Revue. Love You,” the Rodgers and Hart chestnut “Lover,” Just last year Williams worked with Murray in bassist Lennon and McCartney’s “For No One”), the character Roberti’s sextet, a group that also included Tappan and of the music on Williams’ new CD is anything but Edwar[...]cloying. Romantic, yes. Saccharine, hardly. One of the got a glimpse of some terrain that I suspected existed, pleasures of Dancing—and a rarity in recordings by but never saw so clearly before,”[...]scious She has clearly traveled a distance to arrive at the nor self-referential. Here again, I’m reminded of
|
 | [...]mon Views—Fall 2008 357 Bishop’s voice in putting forth the big questions in Views” are pleasant surprises in lyric form. There is “Questions”: “Is it right to be watching strangers in a a yearning quality in much of Metheny’s music, and play / in this strangest of theatres?” And: “Oh, must we Williams, Tappan, and Roberti all articulate it in their dream our dreams / and have them too?” solos, the latter with dead-on intonation and a tone that Dancing to the Edge is a recording that seems conveys lambent light. to reveal layers, not only with each listening but a[...]h its shifting meters, “Three Views” poses no in the single span of its nine selections. In “I Love small rhythmic challenge, and Tappan’s negotiation of You,” we’re given a good window into Williams’ tonal the labyrinth could be more relaxed. She acquits hers[...]and general sensibilities as well as nicely in “Lover,” a duet with Williams, supplying the quartet’s conception and articulation. Though their arresting harmonic feeds to the singer in a treatment voices are distinctly different, I’m reminded of the sadly that is as deliberate and tender as the “surrender to my unrecognized singer Irene Kral in Williams’ treatment heart” in Hart’s lyric. of the Porter chestnut that Bing Crosby popularized. “Evidence,” curiously, bespeaks its title in a There is in her approach something of Kral’s personal way for Williams. In it we find the strongest deliberateness, understated search, and impeccable taste sense of her exploratory nature and the clearest imprint in choice of material. Kral’s style was more delicate of her horn-playing on her singing. The quartet’s and kept to a narrower range, but there was a quality reading of Monk’s gem has an exploratory character and of purposefulness in every word and corresponding feel from the start. Similarly, the deliberate treatment musical value. For her part, Williams finds a gentle rain of Jobim’s “Waters of March” demonstrates the care (to purloin a Kral album title) in the upper register and Williams and her colleagues[...]ed sound when she swoops down and opens the affinity they have for one another’s ideas, and the out in the middle. Her scat singing is very horn-like, desire they share to live deep inside each composition. and like Kral,[...]ly, effectively. Like Bishop’s verse, the art Williams makes is The trio behind her works with an independence[...]Evans’ and Kenny Werner’s trios, on the musicality of each phrase. Listening to Dancing and Tappan’s comping comes with fresh harmonic to the Edge, one can’t help but sense a diligence in extensions. Williams’ work, an awareness that the artist is ever Metheny’s “Hermi[...] |
 | to time to gather and reflect before resuming the troubling and transporting creation of art. Put another way, there is always a distance to travel in the pursuit of truth. At the end of “Questions of Travel,” Bishop is left with just that: a question. “Is it lack of imagination that makes us come / to imagined places, not just stay at home? / Or could Pascal have been not entirely right / about just sitting quietly in one’s room?” For Williams, the matter of travel seems nearly an inversion of the question. To “stay at home,” as Bishop would have it, is not an option for the singer. Home for Williams is the very act of travel, the very essence of this thing called jazz.
|
 | In Memoriam
|
 | [...]hauled the sculptures, and climbed the[...]His hands hovered and fluttered over a story In Memoriam Arne Rudolf “Rudy” Autio[...]putting mere words in their place. Three Views[...]still, (Read at the Rudy Autio memorial, Montana Theatre, The never condescending. University of Montana, July 21,, 2007 in Missoula, MT)[...]s were simple hands, potters hands. They dug the dirt, kneaded the clay and stilled His hands penned letters to politicians, the wet earth. and wrote words of encouragement to aspiring artists. His hands loaded the kilns, flicked the match, mixed the glazes, lifted the bags of His hands were on the throttle of a scooter one bentonite,[...] |
 | [...]008 361 and accepting awards and accolades the next. These hands were the hands of an artist,[...]ds were giving hands, and worked, and worked for community His hands were giving hands, and bore the and never asked for anything. scars of hard work.[...]e hands , potters hands, they His hands rested on the shoulders of friend were Rudy’s hands.[...]ng artist, a revolutionary turned attention to the next sculpture, in the ceramic arts, and an inspiration to all for his holding dirt between his fingers and knowing lifelong pursuit of his vision. He made some of his its essence. finest work in the last decade of his life. But his warmth,[...]d individuals. Rudy was a good person worked for community and knew how to live his life with grace and generosity. and never asked for anything. I have always been[...]is hands controlled a mouse and refined the child and speak directly and kindly to him or her, computer drawings,[...]with humor and encouragement. Kids would open up to then handling a brush, a pencil, a trowel, he him, show him their artwork, want to share their crayons drew and painted and potted. with him. Rudy managed to keep up a tremendous outpouring of creative work in his ceramics and drawing, His hands playfully scratched through the frost and yet had the focus and energy to raise an incredible on window, family of wonderful children and grandchildren. He and embr[...]also maintained deep friendships with multitudes of artists and former students. He and Lela kept the door |
 | [...]ews—Fall 2008 362 open and chairs around the kitchen table ready for visit in 1980, shocked by my initial visual impression. co[...]And when I would bring up yet another “The Archie Bray Foundation? Jesus,” I thought, “This is batch of students to visit his studio, he always found a ghost town, a rubble heap, a dump!” It didn’t seem to insightful and uplifting words of encouragement to offer, live up to its reputation—I had been expecting a more leav[...]dignified facade. But it only took a half-hour of visiting think there are many people who can handle greatness the artists in their ramshackle studios to understand with such good will and generosity. Although Rudy has that this was indeed a place of incredible potential and passed away, his life and artwork will continue to be a great magic. Today, the Foundation continues to support focus for me in all my walks of life. He left us with so ceramic artists—young artists just out of art schools and many wonderful lessons.[...]rsities, as well as established ceramists seeking to No piece of writing about Rudy Autio would be expand their aesthetics and explore new directions—in complete without a bow to Lela, his wife and partner, a fertile and encouraging environment. And thanks to who completed him and balanced him, at the same time the dedication and support of many former resident embodying a different, equal[...]warm-hearted artists and arts supporters, the Foundation is now a bit spirit. We are lucky to have her, Arnie, Lars, Lisa and less of a ghost town—it has morphed into a wonderfully Chris Autio in our lives and communities. incongruous conglomeration of obsolete brick-strewn factory ruins and state of the art ceramic studios—with 3. Richard Notkin the addition of the new Shaner Resident Artist Studio. (Presented at the Rudy Autio memorial, July 29, 2007, Rudy was a lifetime supporter of the Bray. Archie Bray Foundation for the Ceramic Arts, Helena, So . . . It[...]gather here today to remember and pay tribute to Rudy[...]re that Rudy and his lifelong friend I would like to begin by thanking the Archie Bray and colleague, Pete Voulkos, were invited by Archie Foundation for hosting this celebration of Rudy Autio’s Bray to work at the Western Clay Manufacturing life, and Lela and the Autio family for choosing the Company as the first two artists-in-residence. Were it Bray as a place that was quite dear to Rudy. Like many not for Archie’s prescient choice of these two young of the artists who have passed through this cherished[...]d most influential ceramic artists—I doubt that the |
 | [...]iews—Fall 2008 363 Bray would have grown to become the world’s premier a difficult task on a[...]ceramic arts residency program. I probably speak for requiring strong personal commitment. He inspired us the many artists gathered here today when I observe[...]plary life, and further inspired us that very few of us would have ever come to Montana, with his words and wisdom, in person and in the form much less settled here, were it not for these auspicious of letters and e-mails. He recognized the transformative beginnings of the Bray. Rudy and Pete truly set the power of art and the innate human spirit of creativity, standard that all of us have tried, in our myriad ways, and he celebrated these in his life, his work and his to uphold. For this, I thank you Archie, Pete, and Rudy. re[...]eagues. As an Your spirits live on, and touch all of us, through this artist, he knew that in our innermost soul, each of us place. struggles with our creative passions, that in our most Rudy was, perhaps, our last direct link to the private, honest moments, we are deeply critical and presence of Archie and his family, the last resident artist often unsatisfied with our work. Rudy understood the who remembered Archie’s constant presence in every artist’s constant efforts to expand his or her parameters, aspect of the brickworks and the fledgling foundation. I both technically and aesthetically, and the inherent never heard Rudy refer to this place as the Archie Bray internal pressures for growth and evolution. Rudy Foundation, or even “The Bray,” as current and former knew that to make art was never easy, that there was resident artists fondly call this amazing place. For Rudy, always so much more to learn, that the true artist was it was always “the Brays,” as in, “I’m going over to the always a student. I think that this was the basis for Brays.” his constant encouragement of all of the artists whom But what impresses me most a[...]ts, friends, colleagues or peers. Rudy compassion for everyone he knew, from the youngest made everyone a peer, and we all felt comfortable and aspiring ceramics student to the most revered icons welcome in his presence. of the art world. Rudy treated everyone as equals, The Autio home is a haven of warmth and recognizing that each person had a story to tell and hospitality, and everyone who ever visited the Autios a spirit worth encouraging. By his actions[...]cherishes their time there. On a crisp fall day at the words—and in the ever-probing inquisitiveness in his end of the last millennium, I drove Louanna Lackey own art—Rudy recognized that the making of art was over MacDonald Pass to Missoula, where she would be |
 | the final touches on her Rudy remained encouraging and altruistic to the biography of Rudy. We got there in the late morning, very end, and his kind words will forever resonate in my and, after visiting a few moments, were invited to share mind and in my heart. in a pot of stew that Lela had simmering on the stove. It will be said, a great many times, that Rudy The two masons setting stone on a new wall being was a man of gentle spirit, always kind and gracious, built along Duncan Avenue were invited in. Soon we that he never said a negative w[...]is mostly true, but if you have ever delved into the a couple more family members, and Hugh, Rudy’s realm of contemporary politics, particularly regarding longtime assistant. It seemed that everyone gravitated the course of our nation’s current government, Rudy to this loving home and Rudy and Lela’s generosity[...]agitated and quite outspoken, and I was beginning to think of the famously crowded and rightfully so. Rudy was not one to shy away from steamship cabin in the Marx Brothers film, A Night expressing his concerns for our country and our planet, at the Opera, in which everyone who knocked on the either in private discussion or in the public forum door was invited in until the inevitable explosion of letters to the editor. Over the years, he and I have resulting from critical huma[...]s sharing our social and political bottomless pot of stew was quite tasty. Thank you, Lela. views, and his references to our current leaders have The day before he passed away, Rudy sent out been less than kind—again, rightfully so. At the core of e-mails to many of his fellow artists and friends. In his all of Rudy’s remarks was a deep compassion for people, usual understated, gently ironic and subtly humorous for peace, for the creative spirit, but he also believed manner, Rudy said: in being aware, and being active. In a recent e-mail, he referred to the necessity for “anger with courage where I send my love and have decided not to do it is needed.” In a culture which seems inexplicably any more workshops! I feel grateful for all loathe to discuss politics and our current predicaments,[...]dire, Rudy had deep and committed views me for so many years. Thanks for the good on peace and justice. I was glad to have shared these company. Prosper in your work. Keep your discussions wit[...]have and will observe about the life of Rudy Autio.
|
 | [...]Rudy will always be an inspiration and a presence in the lives of all whom he touched, through his art, his teachin[...]and poetically expressed—his genuine compassion for people, our nation and planet, and his deep unconditional love for family and friends. I offer my condolences and love to the many members of Rudy’s wonderful family, whose kind and gentle spirits reflect that of this remarkable man. We will all miss Rudy greatly, but we also rejoice that he was in our lives, that his incredible spirit has touched our lives deeply, in significant and lasting ways. This is a gi[...] |
 | [...]Drumlummon Views—Fall 2008 366 In Memoriam Anne Elisabeth Jane “Liz” Claiborne[...]d on June 26, 2007, and it is not an exaggeration to say that the news was felt around the globe. In a world riven by war and despair, people paid tribute to an extraordinary woman—brilliant, kind, generous, and beautiful. The basic outline of what Liz Claiborne accomplished as a fashion designer is well-known. In 1976, she and her husband, Art Ortenberg, invested all they had in a new business that would design clothes for woman like Liz—hard-working women with limited funds, women challenging the glass ceiling of male hierarchy. Liz Claiborne, Inc. was a phenomenal business success, but it was also more: The New York Times obituary had it exactly right when[...]mmercial label truly inspirational? But it was— to millions of women. Liz Claiborne became an inspiration and everyone had waited for her. When she entered the celebrity not because of glitz, but because of substance. room the applause was deafening. She later said that The substance of her designs and the substance of her she realized for the first time what it was like to be a character. She traveled widely to meet her customer, to star. “It was a great feeling, but it was a feeling also of listen to her. Once, a flight was delayed and she arrived[...]u have women reacting that way several hours late for a dinner show. She went anyway, and depending on you.” assuming the event would be over, only to discover that That sense of responsibility, and its intrinsic |
 | [...]008 367 humility, were essential qualities of Liz Claiborne. When French designer Claude Montana sued a Liz and Art retired in 1989, devoting themselves Billings-based knitting company over use of the word fully to the work of the Liz Claiborne Art Ortenberg “Montana,”[...]y hired a lawyer Foundation. Like their business, the Foundation was a to defend the small firm, and won. Their Montana pioneer, ignor[...]ropic fads. Far before it was Heritage Project in public schools was unique, bridging broadly accep[...]erations, and changing children’s understanding of conservation of the natural world depended on support their place in the world. Unlike many from other places, from local people. People and nature, together. The they were accepted fully as members of the Montana Foundation has pursued that vision world-wide, with community. the same vision, discipline, and modesty with which There were perhaps fifty people at Liz Claiborne’s Liz Claiborne had worked in the fashion world. Their 75th[...]And one by one people stood and work has spanned the globe, from elephants in Kenya spoke. They had known her as family, friend, business and tigers in Russia’s Amur region, to Brazilian rain associate, boss, conservation[...]ey all forests and Montana ranchlands, preserving the natural said the same thing: She was truly extraordinary. As world, and improving peoples’ lives. They founded the a woman, and as a human being. They spoke of their Bolle Center for People and Forests at The University deep admiration and respect, and yes, their love. They of Montana; they sponsored the Red Lodge Workshop spoke of the joy of knowing her. They spoke of her calm in 2001, bringing together people from all over the courage, her unflagging personal dignity, her personal West to discuss ways to make collaboration work on the beauty and beauty of spirit, her clear-eyed judgment, ground. Out of it grew the Red Lodge Clearinghouse, impeccable sense of taste, her rich, beautiful voice, her a web-based support site for collaborative groups intuitive sense of fairness, her terrific smile! committed to resolving natural resource use conflicts in With these things she did much. It is fully true the interior West. to say that she changed the world—made it a better Liz and Art adopted Montana. They bought a world—first for women, then for wild creatures, and place in the Swan Valley, and one near Helena. They over time, for all, together. gave quietly, to many causes: Condon’s Quick Response It is fully true to say that because of these things, Unit, a local fire house, fire engines in Canyon Creek, and because of who she was, she was beloved. land conserv[...] |
 | [...]Drumlummon Views—Fall 2008 368 In Memoriam Senator Ann Kennedy “Pat” that I first remember the subject of my running for the Regan (1923–2007)[...]by many calls of encouragement from Dorothy Eck[...]iscovering that someone was out continued to be there to advise and support me. She ahead of me to break the cross-country ski trail. It makes encouraged me to apply to serve on the Finance and my trek so much easier and more enjoy[...]ttee because she believed we needed When I entered the Montana Senate in 1990, more women where the action was. Also, because of my my path of service was made much easier because work in Human Services, she encouraged me to apply Pat Regan had blazed the trail and cut through the my expertise in that area. Thus began a twelve-year obstacles before I arrived. I have heard many stories period of advocacy for those who could not advocate for of the discrimination and roadblocks that Pat had to themselves. Again, this was a role that Pat had filled for endure. I am not sure I would have had the courage to years and I was honored to continue her work. face down the detractors like Pat did. But then, Pat was Later, when Pat Williams retired from the never known as someone who would shy away from a United States House of Representatives, Pat was one of fight, if the cause warranted it. the first people to encourage me to run for his seat. She Although I never served with[...]I was humbled Dorothy Eck were very instrumental in my deciding to that she thought I was qualified. Although I did not run for the Montana Senate in 1990. Pat and her family win that race, it[...]l experience that was and friends had always told the story of how she was made even richer because of the opportunity to share talked into running for the legislature by friends as they the Regans’ hospitality at the Pat and Tom Bed and encouraged her with a pitcher of martinis, if I recall the Breakfast. The chance to laugh and share their insights story correctly. So I should have been suspicious as she was a highlight of that campaign. and Tom had Ron and me over to Joe and Margaret I don’t remember Pat ever dressing me down Gans’ house “to visit.” It was there over a glass of wine for doing something she didn’t approve of, and I |
 | [...]uld remember such an event! However, The stories of Pat’s fearlessness are legendary. But let I do remember the calls and notes of support and me tell you—being the object of her fearlessness wasn’t encouragement as I stru[...]young child, I was the legislative staffer for a committee The path that Pat blazed for the women of Pat was chairing. It was a contentious hearing, the room Montana left very deep tracks that have and will was packed, and the meeting went on and on. Suddenly, continue to make the election and service of women in in ringing tones Pat announced a recess in the meeting the Montana Legislature much easier. It was an honor because “Mrs. Cohea needs to go nurse her baby.” It was to know her. a toss-up who was more embarrassed—me or the older male legislators in the room! 2. Teresa Cohea If it was sometimes uncomfortable to be the object of her fearlessness, it was always fun to be in the Fearless is the word that I associate with Pat Regan. audience. It was instructive to watch Pat the legislator —She wasn’t afraid to raise her voice for important become the Pat the teacher and reduce an obstreperous causes.[...]legislative opponent to an abject eighth-grader hanging —She wasn’t afraid to ruffle feathers and challenge his head and sayi[...]ed her quick wit and —She wasn’t afraid to take bold—and sometimes outspokenness to belittle other people. She had the unorthodox—action. wonderful gift of caring passionately about ideas and[...]forgetting that it is individual people And best of all she was a fearless leader. For a whole that are at the root of any cause. She was unstintingly generation of women in Helena and throughout the generous in helping anyone she felt had been wronged. state, Pat showed us the power of speaking out: I’ll always remember the appreciation a long-time —Of using our authentic voices to work for causes, Montana Power lobbyist expressed for Pat. As you to seek better jobs, to break the glass ceiling. can imagine, Pat and the lobbyist were polar opposites —Of challenging conventional wisdom to find the on almost every issue but as chair of the Business and real truth, the real answer. Industry Committee Pat felt that the Public Service Pat made a profound impact on us. Commission was not listening to a valid issue Montana
|
 | [...]Power Company was raising. Through sheer force of personality, she held Commission members and Montana Power representatives in a meeting room until agreement was reached. For me the ultimate example of Pat’s fearlessness was shown last Friday night. I was lucky enough to spend a wonderful, magical evening with her, husb[...]ut one more time Pat was fearless—she was ready for the next chapter in her remarkable life. As we talked legislative sto[...]ent politics, Pat would pause and say with a look of great peace, “All is well.” One more time, Pat taught me an important lesson—death is not to be feared. One more time, Pat was right—because of Pat, because of what she did for women and for all the people of Montana, All that Pat touched is Well. Thank you, Pat, for everything.
|
 | [...]umlummon Views—Fall 2008 372 Chris Autio of Missoula, Montana, has been a John Clayton (www.johnclaytonbooks.com) is the commercial photographer for fifteen years. He has author of The Cowboy Girl: The Life of Caroline Lockhart also produced and directed six documentary films, (University of Nebraska Press, 2007), a finalist for the including Glass Blowing, Weavers of Oaxaca, and Potters High Plains Book Award. An independent journalist of Oaxaca, as well as The Odyssey, on the Archie Bray and essayist, he lives in Red Lodge, Montana. Foundation for the Ceramic Arts, and Snake River System, on an insta[...]r Patrick Phil Cohea worked under Richard Hugo at The Zentz. University of Montana in 1972–74. He moved to Helena, Montana, in 1975 where he co-founded with Robert Baker, associate professor of English at Rick Newby and Lowell Uda a small literary magazine The University of Montana, is the author of The called Scratchgravel Hills, which ran from 1978 to 80 Extravagant: Crossings of Modern Poetry and Modern and produced three annual issues. After publishing a Philosophy (University of Notre Dame Press, 2005). handful of poems, Phil entered into a hiatus of twenty[...]produced Richard Buswell’s photographs are held in the an album of songs, Lone Western Stranger. In 1996 he permanent collections of many museums, including returned to writing poetry at the age of forty-eight the Smithsonian American Art Museum, the and is assembling his first book of poems, Last Drink Corcoran Gallery of Art, the National Galleries of with Sir Walter Raleigh. Phil has also rec[...]ntitled Wide Open Art Museum, Rhode Island School of Design, the and is working on a young adult novel, Company of Berkeley Art Museum, the Montana Museum of Art Demons. and Culture, and the Northwest Museum of Arts and Culture. He has published two previous books Teresa Cohea is a vice-president of D. A. Davidson of photographs, Silent Frontier and Echoes: A Visual & Co. Terry spent eighteen years in state government, Reflection. where she served as the legislative fiscal analyst and a bureau chief in the Department of Revenue. She was Montana’s first female chief of staff to a governor, working for Gov. Ted Schwinden. She serves on |
 | [...]Drumlummon Views—Fall 2008 373 the Prickly Pear Land Trust Board, the state Board the University College of Wales, Aberystwyth, in 1990, of Investments, and as co-president of the board of and a Bachelor of Arts degree in art history from the directors of the Holter Museum. Cohea has bachelor’s University of Manchester, England, in 1987. and master’s degrees in history from The University of Montana. She was the state’s first recipient of the Ken Egan, Jr., recently accepted the position as new Marshall Scholar Award. executive director of Humanities Montana. For many years a professor of English at Rocky Mountain Michele Corriel is a poet and freelance writer living College, Billings, Montana, Egan is the author of and working in the Gallatin Valley. Her work is as Hope and Dread in Montana Literature (University of varied as the life she’s led, from the rock/art venues Nevada Press, 2003). of New York City to the rural backroads of Montana. Published regionally and nationally, Michele has Karen Fisher has lived in the West as a teacher, received a number of awards for her nonfiction as well wrangler, farmer, and ca[...]her husband and three children on an island in Puget Sound. She is the author of the acclaimed historical Julian Cox was appointed as the new Curator novel, A Sudden Country (Random House, 2006). ofPhotography at the High Museum of Art, Atlanta, Georgia, in April 2005. Cox came to the High from A longtime resident of Missoula, Montana, Patricia the J. Paul Getty Museum in Los Angeles where Forsberg studied at the Corcoran School of Art in he served as associate curator in the department Washington, DC, and received her MFA in Painting of photographs. He is a co-author of the critically at The University of Montana in 1981. She has received acclaimed publication, Jul[...]ontana Arts Council Individual Artist Fellowship, The Complete Photographs (2003), the first catalogue and over the past two decades, her work has been raisonné of her work. He has also worked at the exhibited at Phillips Gallery, Salt Lake City; Botanica National Museum of Photography, Film & Television Fine Art, Bozeman, Montana; Dana Gallery, Missoula; in Bradford, England, and the National Library and various other galleries throughout the West. of Wales, Aberystwyth. He received a Master of Patricia has spent considerable time in Italy Philosophy degree in the history of photography from studying Italian lang[...] |
 | [...]008 374 recently, she has immersed herself in Japanese language, and an M.F.A. in creative writing, poetry emphasis, literature, and art at The University of Montana, from the University of Washington in Seattle. For the followed by a teaching residence in Japan. Patricia is a past seven years, she has worked for environmental and serious student of the violin and plays in the Missoula engineering consulting companies as a[...]and marketing assistant. She serves on the steering committee for the Helena Festival of the Book. Her Jennifer A. Gately, who recently resigned as the first poems have appeared in The Oregonian and The Seattle Harold and Arlene Schnitzer Curator of Northwest Review. Art at the Portland (OR) Art Museum, previously served as visual arts director at Idaho’s Sun Valley Brian Kahn is host of the interview program, Home Center for the Arts. Groun[...]oach, Stephen Glueckert read “Rudy’s Hands” at the Rudy attorney, President of the California Fish and Game Autio memorial at Montana Theatre at The University Commission, Director of the Montana Nature of Montana on Saturday, July 21, 2007, in Missoula. Conservancy, author, journalist, and documentary Glueckert is the curator of the Missoula Art Museum filmmaker. Home Ground was named by the Montana and one of the many friends of Rudy and Lela Autio Broadcasters Association as the state’s Outstanding[...]am. Brian’s most recent Scott Hibbard, a native of Helena, is a ranch manager, book, co-written with his Labrador retriever, Tess of ranch management consultant, and ranch laborer. He Helena, is Training People: How to Bring Out the Best in studied creative writing under Richard Hugo and Bill Your Human (Chronicle Books, 2007). Kittredge at The University of Montana.[...]Greg Keeler has published six collections of A fourth-generation Montanan, Hilary Hoffman was[...]st, Almost Happy, was released by born and raised in Helena. Her great-grandparents Limberlost Press in ’08. Three of his poems have been founded Bowman’s Corners. She lived in Washington read by Garrison Keillor on three segments of Writers’ state for many years, obtaining a bachelor’s degree in Almanac; his song, “WD-40 Polka,” has been featured English literature from Whitworth College in Spokane on NPR’s Car Talk; he has[...] |
 | [...]io; he has been a museums throughout the United States and Germany. cartoonist for Canada’s national magazine, The Walrus; He currently lives with his three chil[...]n, and he has written and co-written six musicals for the and Isaac, near Missoula, Montana. Vigilante Players, the latest of which is Neon Dream, which he co-wrote with Greg[...]Rick Newby is co-editor, with Lee Rostad, of Food of Waltzing With the Captain: Remembering Richard Gods & Starvelings: The Selected Poems of Grace Stone Brautigan was published in ’04 by Limberlost Press. Coates (2007) and, with Alexandra Swaney, of Notes for His next memoir, Trash Fish, is forthcoming from a Novel: The Selected Poems of Frieda Fligelman (2008), Counterpoint Press this fall. In ’01, he received the both from Drumlummon Institute. His latest collection Montana Governor’s Award in the Humanities for his of poems is Sketches Begun in My Studio on a Sunday satire and social commentary. Afternoon and Completed the Following Day Near the Noon Hour on the Lower Slopes of the Rocky Mountains Beth Lo is professor of art at The University of (Editions Koch, 2008). Newby’s recent exhibition Montana, having taken over the position held by Rudy catalog essays include “Wrested from the Earth: The Autio upon Rudy’s retirement. She is the two-time Recombinant Poetics of Stephen De Staebler,” (Zolla/ recipient of the UM School of Fine Arts Distinguished Lieberman Gallery, 20[...]ard. Beth’s work has been exhibited widely The Paintings of Dale Livezey” (Stremmel Gallery, and has been featured in American Craft, ArtWeek, 2007); and “How Many Worlds? The Ceramic Art of Ceramics Monthly, and the New York Times. Stephen Braun” ( John Natsoulas Press, 2007).Born in 1960 in Tucson, Arizona, Wes Mills spent Chris Nicholson grew up in Billings and Helena, his childhood in Kimberly, Oregon, before his family Montana. He currently lives in Paris, working for relocated to Great Falls, Montana, when he was the International Herald Tribune. His work has been fifteen. He studied art at Murray State University in published in paris/atlantic, The Guardian Unlimited Kentucky and in 1981 moved to New York City, where (online edition), and The New York Times. he abandoned art making entirely, only to return to it ten years later while living in Taos, New Mexico. Since Richard Notkin’s teap[...]er sculptures can be then, his work has been seen in numerous galleries and found in the collections of the Metropolitan Museum |
 | [...]Drumlummon Views—Fall 2008 376 of Art, New York; Los Angeles County Museum of Keith Raether works as a writer in administration at Art; Kunstindustrimuseet, Oslo; Shigaraki Ceramic Whitman College, Walla Walla, Washington. Keith Cultural Park, Japan; Stedelijk Museum, Amsterdam; studied English literature at Boston University and and Victoria and Albert Museum, London. His large- the University of California at Riverside, where he scale tile mural, The Gift,is owned by the Portland earned a bachelor’s degree. He worked at newspapers (Oregon) Art Museum, and the Crocker Art Museum, in Albuquerque, Denver, Seattle, and Oslo, Norway, S[...]ations Have and has written about jazz since the late 1970s. Their Moment of Foolishness. Richard and his work Keith recently received an M.F.A. in writing from were featured in PBS’s 2007 series, Craft in America, Bennington College. He and his wife, photographer and he was recently honored with the Archie Bray Teresa Tamura (who until recently taught Foundation’s Meloy Stevenson Award of Distinction. photojournalism at The University of Montana), are Richard lives in Helena with his wife, the painter currently collaborating on a book, Made in Minidoka, Phoebe Toland. about the internment in Idaho of Japanese and[...]icans during World War II. Paul S. Piper was born in Chicago, lived for extensive periods in Montana and Hawaii, and is currently Russell Rowland was born and raised in Montana a librarian at Western Washington University in and now lives in Billings. His first novel, In Open Bellingham. He spends more time than he should Spaces, made the San Francisco Chronicle’s bestseller list writi[...]m Luis Borges. His work and was named among the Best of the West by the has appeared in various literary journals including The Salt Lake City Tribune. Russ has a Master of Arts in Bellingham Review, Manoa, Sulfur, and CutBank. He[...]on University and earned has published four books of poetry, the most recent a MacDowell Fellowship in 2005. He teaches writing being Winter Apples by Bird Dog Press. His work workshops online; for more information, visit www. has been included in the books The New Montana russellrowland.com Story, Tribute to Orpheus, and America Zen. Paul also co-edited the books Father Nature and X-Stories: The Michael Schechtman is Executive Director of Big Personal Side of Fragile X Syndrome. Visit his blog at: Sky Institute for the Advancement of Nonprofits pipergates.blogspot.com[...] |
 | [...]2008 377 Jodi Schmitz is a recent graduate of Carroll College chronic illness called sarcoidosis. A Helena-based who grew up in Helena, Montana. She studied fre[...], Chronic Town English writing and plans a career in publishing. In (www.rs.4030.com), as a way “to catalogue what life is spring 2008 she participated in a publishing internship like at the intersection of sickness and motherhood.” for Drumlummon Institute, hoping to learn all the things they don’t teach you in school. In addition to Gilles Stockton is a rancher, poet, fictio[...]ys essayist who divides his time between the family ranch anything that gives her an excuse to be outdoors, at Grass Range, Montana, and Africa, where he works[...]consulting agronomist. Chris Staley is Professor of the Ceramic Arts at Penn Melanie Rae Thon’s most recent book is the novel State University. He received his MFA from Alfred Sweet Hearts. She is also the author of Meteors in University and was a special student at the Kansas City August and Iona Moon, and the story collections Art Institute. He has traveled extensively as a visiting First, Body and Girls in the Grass. Her work has artist, from Bezalel Academy in Israel to Haystack been included in Best American Short Stories (1995, Mountain School of Crafts in Maine. He has received 1996), three Pushcart Prize Anthologies (2003, 2006, two National Endowment of the Arts grants and two 2008), and The O. Henry Prize Stories (2006). She is Pennsylvania Council of the Arts grants. His work is in also a recipient of a Whiting Writer’s Award, two many collections, including the Smithsonian Institution’s fellowships from the National Endowment for the Renwick Gallery of the National Museum of Art and Arts, and a Writer’s Residency from the Lannan the Victoria and Albert Museum in London as well as Foundation. Her new fiction appears in Five Points; friends’ cupboards . For nine years he served on the board Pushcart Prize XXXII; The Best Stories of the American of directors at the Archie Bray Foundation in Helena, West, edited by Marc Jaffe; Montana Women Writers: A Montana, and he is currently serving on the board of Geography of the Heart, edited by Caroline Patterson; directors at The Haystack Mountain School of Crafts. Virginia Quarterly; Agni; Conjunc[...]Originally from Montana, she now lives in migration In 2004, just a few months after she gave birth to her between the Pacific Northwest and Salt Lake City, first child[...]was diagnosed with a rare where she teaches at the University of Utah. |
 | [...]8 378 Stephenie Ambrose Tubbs is co-author of The Lewis the Montana Office of the Commissioner of Higher and Clark Companion: An Encyclopedic Guide to the Education, visiting professor of Native American Voyage of Discovery. She lectures nationally about her Studies at The University of Montana, and proprietor experiences and observations on the Lewis and Clark of Northern Plains Folklife Resources. Vrooman Trail, which she first followed in 1976 with her father, created the Indian Traditional Arts Residency and bestselling[...]works with Master/Apprenticeship Programs for the North conservation and citizens groups to preserve and Dakota Council on the Arts and the Montana protect the trail and adjoining wilderness areas. Arts Council. Through the 1980s and 1990s, he Stephenie holds two degrees in history from was intimately involved in the development of the The University of Montana and currently writes local Northern Plains Indian Art Market. history and serves on the boards of the Lewis and Nicholas served as consultant to the Clark Interpretive Center Foundation, the Lewis and Smithsonian National Museum of the American Clark Trail Heritage Foundation, Friends of Montana Indian, the Festival of American Folklife on the PBS, and the American Prairie Foundation. Her book Mall, the Métis National Council of Canada, and of essays on Lewis and Clark has been published by the National Folk Festival. He’s worked with tribal the University of Nebraska Press in the fall of 2008. peoples throughout the American and Canadian West Stephenie and her husband John live in Lewis and to produce sound recordings, documentary films, Clar[...]Currently he serves as Executive Director of the Nicholas CP Vrooman has been working as a[...]nonprofit comprehensive cultural specialist since the 1970s. He was the first urban Indian center, continuing his involvement with State Folklorist of North Dakota, the Dakota issues of American Indian cultural resiliency. Field Representative for ArtsMidwest (a regional consortium of state arts agencies), second State Mignon Waterman served in the Montana Senate Folklorist for Montana, Nevada State Folklorist from 1991 until 2002 and has been the Democratic for Indian Traditional Arts, Program Director of candidate for Montana’s sole seat in the U.S. House of Educational Talent Search in Indian Country for Representatives. |
 | [...]all 2008 379 O. Alan Weltzien is Professor of English at The University of Montana Western. He is currently working on an article on forgotten Montana novelist, Thomas Savage, for Montana The Magazine of Western History and is seeking to re-publish some of Savage’s titles, the first of which, The Pass, will be reissued in early 2009 by Drumlummon Institute in collaboration with Riverbend Publishing. Alan’s newest books include a memoir, A Father[...]ken, which will be published by Lewis-Clark Press in 2008; and The Norman Maclean Reader (editor), which the University of Chicago Press will publish in November 2008. Alan still likes to climb mountains in and out of Montana. |
 | [...]Relies on Your Generous Support! To make a donation Levels Of Giving in support of[...]$1,000–$4,999 & Drumlummon Stout-Of-Heart Drumlummon Views, $250–$999 The Online Journal of Montana Arts & Culture[...]mon Stalwarts Please Make Your Check Payable to $25–$249 Drumlummon Institute & Thank You for Your Support mail to Drumlummon Institute 4[...] |
MD |
Drumlummon Views (DV) is published three times a year by Drumlummon Institute, an educational and literary Montana nonprofit corporation that seeks to foster a deeper understanding of the rich culture(s) of Montana and the broader American West. |
Publications and Ephemera from the Montana Historical Society |
To order a reproduction, contact Montana Hist[...] |
Publications and Ephemera from the Montana Historical Society |