Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (2025)

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Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (1)DRUMLUMMON

THE ONLINE JOURNAL OF MONTANA ARTS 8L CULTURE

HELENA, MONTAN[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (2)[...]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 views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (3)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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (4)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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (5)[...]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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (6)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[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (7)[...]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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (8)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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (9)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.”

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (11)[...]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

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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

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (14)[...]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

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (16)The women echoed Amen and resumed quilting.
Isabella started to hum, then softly sang a hymn and the

sewing 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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (17)[...]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[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (18)[...]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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (19)[...]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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (20)[...]r said they were there, patient as Indians,
ready to kill guards and stampede the transport
power of the Army ofUtah. Through a mitten he

felt 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.”

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (21)[...]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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (22)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/[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (23)[...]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[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (24)[...]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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (25)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: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (26)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;[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (27)[...]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[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (28)[...]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.[...]

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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

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (31)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,

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (33)[...]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[...]

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (34)[...]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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (35)[...]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

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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[...]

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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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (39)[...]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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (41)[...][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

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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

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (45)[...]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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (47)[...]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 appeared

as 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[...]

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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.

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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

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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

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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

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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?”[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (53)[...]“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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (54)[...]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?

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (55)[...]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[...]

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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

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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

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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.

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (60)[...]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.

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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.

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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (64)[...]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

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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

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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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (67)[...]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 to

have “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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (69)[...]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

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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

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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

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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.

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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[...]

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“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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (75)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (76)[...], 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.”

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (77)[...]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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (79)[...]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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (81)[...]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. Those

oilers 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

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (84)[...]. 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.

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (87)[...]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, seemed

like 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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (88)[...]’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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (89)[...]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 the

house 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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (91)[...]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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (93)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (94)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (95)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (96)[...]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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (97)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (98)[...]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.

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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.

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (101)[...]Five Poemx
Paul S. Piper

Her 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (102)[...]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

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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

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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (106)[...]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.

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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.

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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.

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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,

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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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (112)[...]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, her

weary 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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (114)[...]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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (116)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (117)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (118)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (119)[...]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 inthe 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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (120)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (121)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (122)[...]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 inthe
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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (123)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (124)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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (125)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (126)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (127)[...]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.

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (129)[...]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[...]

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (131)[...]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 in

various 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 views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (132)DRUMLUMMON

FROM THE ARCHIVES

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (133)of a Montana
Ranch
Installment Three

Ada 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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (134)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (135)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (136)[...]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!”

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (137)[...]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—

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (138)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (139)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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (140)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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (141)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (142)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (143)[...]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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (145)[...]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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (148)[...]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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (150)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 surprised

to 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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (151)[...]: 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[...]

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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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (154)[...]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 was

the 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (155)[...]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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (157)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (158)[...]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 first

time, 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

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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

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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

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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

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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[...]

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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.

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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[...]

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (167)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (168)[...]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?”3

In 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

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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 ofthe 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[...]

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (171)[...]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 the

ideal 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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (172)[...]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).

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (173)[...]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,[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (174)[...]Bert Hamen: Mantamm
Stephenie Ambrose Tubbs

When 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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (175)[...]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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (178)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—with

the 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.”

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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

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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.”

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (181)[...]. Maurice Foss Lokensgard, “Bert
Hansen’s Use of the Historical Pageant
as a Form of Persuasion.” Unpublished
dissertation, Southern[...]ixxame, 55

8. 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[...]

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“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

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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

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“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

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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, forthe 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 inThe 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 ofthe unimpeded and

the interpenetrating” that Roethke voices inThe

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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

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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,

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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

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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

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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

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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

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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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (195)[...]y and a hundredfold. [. . .] Let
anyone with ears to hear listen!” His puzzled disciples
ask him what this means. He does spell it out for

them 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

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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,[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (197)[...]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.”23

I 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

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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.”

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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

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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[...]

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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)-

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (202)[...]draw here also on Heschel,
Re Propbeix, 119—20. According to
the prophets, Heschel says, “our basic

malady 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

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (205)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (206)[...]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[...]

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“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

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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

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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

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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

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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.

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (213)[...]ix ‘flefiwHolter
A Serendipitoux Life:An Exxay in Biography
Rick Newby

Introduction
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

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frfiHolter at work in tbe Holter Rexearel; Foundation
laboratory[...]

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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:

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (217)[...]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 Navy

teams 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

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (220)[...]Bill Glaxxcock, jeflHolteri" clyief collaborator at tlye Holter
Rexearcly Foundation, textx a Holter Heart Monitor on

tlye 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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (222)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (223)[...]rigbt) gatlyer witly tbez'r extended fizmz‘ly at tbez'r Helena borne, September 1905. Plyot[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (224)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (225)[...]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

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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."[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (227)[...]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
at iron from the bottom of the pool at the Y.
. . . And go into the forest with a rusty razor

blade and come[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (228)[...]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. . . .”[...]

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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,[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (230)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (231)[...]F lorence jfirix Holter (mentor), on
a vixit to Atlantic City, Newjerxey,
in xearcly of relief from lyer rlyeumar
toia' art/yritix[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (232)[...]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

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'h.

Emil Starz at 1in borne on Nint/a Avenue, Helena, 1942. Plyo[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (234)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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (236)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (237)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (238)[...]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

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (241)[...]—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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (242)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (243)[...]“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 and

science. 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-ofthe-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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (244)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (245)[...]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[...]

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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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (247)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (248)[...]verage person watches more than four hours a day.
According to the national average, those of us who

live 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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (249)[...]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

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (252)[...]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

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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—[...]

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (256)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (257)[...]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.

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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)[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (260)[...]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.

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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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (262)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (263)[...]200], xtoneware, 34 x 3] x
2] inc/m". Collection of tbe
arlixt. Plyotogmply by Kurt
Keller
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (264)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (265)[...]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.“2

More 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,[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (266)[...]tra, 1993,

xtoneware, 3 x 28 inelyex. Collection
of [lye artixt. Plyotogmply h;
Kurt Keller.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (267)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (268)RudyAutio, The Chase, 1997, xnzgrapb, 38 x 52 inelyex. Colleetz'on of [lye Halter Muxeum ofArt. Gift of Miriam Sample.
Plyotograply by Kurt Keller.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (269)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (270)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (271)[...]rse with skulls and doves.“
Whether Rudy refers in his titles to classical

myths (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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (272)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (273)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (274)[...]1995, stoneware, 32 x 26
x 19 inches. Collection of

the artist. Photograph by
Kurt Keller.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (275)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (276)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (277)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (278)[...]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—

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (279)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (280)[...]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 with

Buswell’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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (281)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (282)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

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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[...]

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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[...]

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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 theat
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

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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[...]

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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

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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?

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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[...]

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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

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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[...]

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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[...]

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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[...]

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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[...]

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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).

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (297)[...]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 which

she 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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (298)in Tears, 1998, gouache, ink and collage onpa[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (299)[...]LL 2008 327

Pairitia Forxberg, Alone as the Autumn Deepens, 2002, gouatbe, ink and col[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (300)[...]2008

328

Patricia Forsherg, Long Lines of Dancing Letters, 1999, gouache, ink and co[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (301)[...]S—FALL 2008 329

Pairitia Forxberg, Heart of One Who Feeds the Fire, 2000, gouatbe, ink and collage onpap[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (302)[...]008 33c

Patricia Forxberg, Listening to the Rustle of Bamboo Leaves, 2000, gouatbe, ink and coll[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (303)for
White Beads, 2000, gouatbe, ink and
collag[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (304)[...]Patricia Forxberg, Tonight, with
No One to Wait For, 1999,
gouatbe, ink and collage onpaper, 1[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (305)[...]—FALL 2008 335

Patricia Forxberg, Flower of the Evening Faces, 2008, gouatbe, ink and coll[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (306)[...]IEWS—FALL 2008 337

Pairitia Forxberg,
Color of the Night,
2008, gouache and
collage onpaper,[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (307)[...]ALL 2008 338

Patricia Forxberg, A Slice of Silence, 2006, gouatbe, ink and collage on[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (308)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (309)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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (310)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (311)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (312)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (313)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (314)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (315)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (316)[...]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—ofthe—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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (317)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 inThe 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (318)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

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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

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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.

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (322)[...]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.

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (324)[...]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

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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[...]

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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.

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IN MEMORIAM

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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

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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

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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

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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (333)[...]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 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 g[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (335)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (336)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (337)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (338)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (339)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (340)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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (341)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (342)[...]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 his

satire 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (343)[...]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/) .

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (344)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (345)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (346)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. Alan

still likes to climb mountains in and out of Montana.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (347)[...]INSTITUTE

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Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (348)The online journal of Montana arts & culture

Helena, Montana[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (349)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (350) 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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (351)Drumlummon Views
Vol. 2, No. 1, Fall 2008

From 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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (352)[...]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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (354)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (355)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (356)[...]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.”

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (358)[...]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.[...]
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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 atFor 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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (361)[...]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[...]
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (363)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (364)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (365)[...]“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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (366)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (367)[...]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.”
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (368)[...]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
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (370)[...]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[...]
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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[...]

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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[...]

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (375)[...]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,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (376)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (377)[...]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

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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,

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (380)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (381)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (382)[...]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
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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[...]

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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[...]

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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

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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

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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

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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

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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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (392)[...]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
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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

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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,[...]

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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.

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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

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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

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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[...]

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (400)[...]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,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (401)[...]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?
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (402)[...]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 [...]
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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

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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (406)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (407)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,

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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.

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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (411)[...]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[...]
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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

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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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (414)[...]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.[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (415)[...]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.”[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (416)[...]. 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
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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

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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

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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.

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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.[...]

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“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

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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,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (423)[...], 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.”
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (424)[...]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
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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (426)[...]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
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (428)[...]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
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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

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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’[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (431)[...]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.
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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (434)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (435)[...]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,
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (436)[...]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
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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.[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (438)[...]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
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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (440)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (441)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (442)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (443)[...]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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (444)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (445)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (446)[...]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.

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (448)[...]oems
Paul S. Piper

Her 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (449)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (450)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (451)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (452)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (453)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (454)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (455)[...]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.

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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,

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (457)[...]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[...]

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (459)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (460)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (461)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (462)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (463)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (464)[...]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?”
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (465)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (466)[...]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 inthe 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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (467)[...]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
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (469)[...]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 inthe
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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (470)[...]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.

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (472)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (473)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (474)[...]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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (475)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (476)[...]No Title,
from the series
Shore Line,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (477)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (478)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (479)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (480)From the Archives
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (481)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (482)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (483)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (484)[...]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!”
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (485)[...]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—
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (486)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (487)[...]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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (490)[...]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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (491)[...]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[...]
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (493)[...]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
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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (496)[...]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
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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

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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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (499)[...]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[...]
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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[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (502)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (503)[...]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
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (505)[...]. 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—[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (506)[...]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
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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (509)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
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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[...]

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (513)[...]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
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (515)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (516)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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (517)[...]. 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 ofthe 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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (518)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,
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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.[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (521)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (522)[...]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,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (523)[...]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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (526)[...]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
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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

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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.”

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (529)[...]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[...]
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“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

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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

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“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

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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, forthe 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 inThe 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 ofthe unimpeded and
in part as guesses guided by sound, shaped by the lively the interpenetrating” that Roethke voices inThe

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (535)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,
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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

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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

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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

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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

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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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (543)[...]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
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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (545)[...]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
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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

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (549)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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (550)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (551)[...]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.
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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[...]

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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[...]

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—. 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

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“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

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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

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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 theIn 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 nationalIn New Hampshire, a consortium of in-state

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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

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (561)[...]“Jeff ” Holter
A Serendipitous Life: An Essay in Biography
Rick Newby

Introduction
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

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Jeff Holter at work in the Holter Research Foundation
laboratory, Helena, Montana, no date. Photographer un-
known. Collection of Joan Treacy Holter.

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (565)[...]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
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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (568)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (569)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (570)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (571)[...]ter (far right) gather with their extended family at their Helena home, September 1905. Photogr[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (572)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (573)[...]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).[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (574)[...]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’[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (575)[...]  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. .

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (576)[...]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. . . .”[...]

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (578)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (579)[...]Florence Jefferis Holter (center), on
a visit to Atlantic City, New Jersey,
in search of relief from her rheuma-
toid arthritis,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (580)[...]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

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Emil Starz at his home on Ninth Avenue, Helena, 1942. Ph[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (582)[...]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[...]

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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[...]

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (586)[...]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.42

Jeff 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

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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

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (590)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (591)[...]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[...]
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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (593)[...]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[...]
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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (596)[...]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,
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (597)[...]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
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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (600)[...]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
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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[...]

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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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (604)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (605)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (606)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (607)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (608)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (609)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (610)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (611)[...]oneware, 34 x 31 x
21 inches. Collection of the
artist. Photograph by Kurt[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (612)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (613)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (614)[...]ectra, 1993,
stoneware, 3 x 28 inches. Collection
of the artist. Photograph by
Kurt Keller.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (615)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (616)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (617)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (618)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (619)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (620)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (621)[...]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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (622)[...]neware, 32 x 26
x 19 inches. Collection of
the artist. Photograph by
Kurt Keller.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (623)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (624)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (625)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (626)[...]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—
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (627)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (628)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (629)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (630)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (631)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (632)[...]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).[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (634)[...]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.[...]
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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

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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?

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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!

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (639)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (640)[...]  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[...]

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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

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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (643)[...]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).
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (644)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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (645)[...]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[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (646)in Tears, 1998, gouache, ink and collage on p[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (647)for You, 1999, gouache, ink and collage on pap[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (648)the Autumn Deepens, 2002, gouache, ink and col[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (649)[...]all 2008  328

Patricia Forsberg, Long Lines of Dancing Letters, 1999, gouache, ink and co[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (650)[...]s—Fall 2008  329

Patricia Forsberg, Heart of One Who Feeds the Fire, 2000, gouache, ink and collage on pa[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (651)[...]Fall 2008  330

Patricia Forsberg, Listening to the Rustle of Bamboo Leaves, 2000, gouache, ink and coll[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (652)[...]2008  333

Patricia Forsberg, Tears Taken for
White Beads, 2000, gouache, ink and[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (653)to Wait For, 1999,
gouache, ink and collage on paper,[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (654)[...]—Fall 2008  335

Patricia Forsberg, Flower of the Evening Faces, 2008, gouache, ink and coll[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (655)[...]Patricia Forsberg,
Color of the Night,
2008, gouache and[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (656)of Silence, 2006, gouache, ink and collage on[...]
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (657)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (658)[...]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[...]

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (660)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (661)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (662)[...]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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (664)[...]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
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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.

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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 inThe 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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (667)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (668)[...]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

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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.

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (671)[...]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.
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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (673)[...]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
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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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (675)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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (676)In Memoriam
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (677)[...]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,[...]
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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

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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

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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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (681)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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (682)[...]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[...]
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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

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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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (685)[...]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

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (686)[...]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
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (687)[...]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.
Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (688)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (689)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (690)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (691)[...]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: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (692)[...]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[...]

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (693)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (694)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (695)[...]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.

Drumlummon views: the online journal of Montana arts &amp; culture, volume 2, number 1 (Fall 2008) (696)[...]Relies on Your Generous Support!

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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

Drumlummon views: the online journal of Montana arts & culture, volume 2, number 1 (Fall 2008) (2008). Montana History Portal, accessed 22/03/2025, https://www.mtmemory.org/nodes/view/91843

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