Labor Day Writing on Nature from Charli Mills

No doubt many of you have escaped the city this Labor Day weekend for inspiring vistas, the lull of waves or wind in the pines, the rejuvenating and grounding powers of Nature. If you haven’t (poor Jeanne has only her back yard for solace), or if you just love beautiful writing, you’ll be transported by this lyrical and evocative post on nature and saying goodbye from writer and blogger Charli Mills with two superb flashes to follow. Click on the link for the full post. You won’t be sorry.

And best wishes for a great break from your labors!

There’s a place on earth where cedar wax-wings dip low enough to know air and water amalgamate. High overhead the sky is blue as only sky can be; no jewel can rob its glory. Osprey fish the river and eagles hunt from higher above, sometimes stealing from the osprey. It’s as if this place can boast of paradise, whisper of dreams, vanquish the veil between those who sought shelter then and now. Animals, birds, humans in a circle of life, a beating heart of beauty. And I dared to name her parts.

Source: August 31: Flash Fiction Challenge « Carrot Ranch Communications

7 Great Books on Writing Memoir

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With my client’s medical memoir gone to press, I’ve been reflecting on the four-year journey that took us from our first meeting in 2013, to the completion of a full-length personal history/life story in 2014, and to the transformation of that life story into a medical memoir set for publication in December of 2016. Below are 7 books on the craft of memoir writing that got me started and still serve as valuable resources.
Writing the Memoir: A practical guide to the craft, the personal challenges, and ethical dilemmas of writing your true stories by Judith Barrington: The first guide I ever picked up on memoir writing and one of the most practical, addressing issues of craft, ethics, structure, with writing suggestions following each chapter. Take a look at the chapter headings for quick look-see at the helpful topics covered.

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Old Friend from Far Away: The Practice of Writing Memoir by Natalie Goldberg: “Through timed, associative, and meditative exercises, Old Friend from Far Away guides you to the attentive state of thought in which you discover and open forgotten doors of memory.” Writers are invited to respond to varied and creative prompts, from writing about relentless dreams, to radishes and salmon, to everything you know about ice cream. With excerpts from established memoir writers.

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Stephen King on Writing: a Memoir of the Craft by Stephen King: The master story-teller chronicles, in the first half of this book, how he became a writer, illustrating how memoir can work even without masses of details (think of the descriptions Mary Karr can summon from the deep past). The second half is a delightfully succinct guide to the craft, enhanced by a markup of the author’s own early manuscript.

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Legacy: A Step-by-Step Guide to Writing Personal History  by Linda Spence: A practical guide to capturing long-ago events with questions to help in unlocking the memories that make up a life. Aimed at writers wishing to create a legacy for family rather than a commercial memoir, but helpful in beginning the process of remembering.
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Inventing the Truth: The Art and Craft of Memoir  by William Zinsser: Authors Russell Baker, Jill Kerr Conway, Annie Dillard, Frank McCourt, Toni Morrison, and Zinsser “explore the craft of memoir, defined here as a portion of a life, narrower in scope than autobiography.” Great insights into the process of structuring vastly different memoirs from family history to coming-of-age stories and more.

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Writing About Your Life: A Journey into the Past by William Zinsser: My favorite guide of all, in which the author takes the reader “on a memoir of his own” recalling “dramatic, amusing, and often surprising moments in his long and varied life as a writer, editor, teacher, and traveler.” A master teacher as well as celebrated writer, Zinsser uses his own experience to explain technical decisions such as selection, condensation, focus, attitude, voice, and tone.

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Modern American Memoirs, an anthology edited by Annie Dillard and Cort Conley: Samples from 35 of the finest memoirs written in this century, including contributions by such diverse writers as Margaret Mead, Malcolm X, Maxine Hong Kingston, Loren Eisely, and Zora Neale Hurston.

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Of course one of the best ways to learn how to write memoir is reading deeply in that genre. I’ll share some of my favorite memoirs in another post. For now, I leave you with a question: What are your favorite books on the craft of memoir writing?

Forging Flash Fiction from a Medical Memoir

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Model of the cervical spine with a cervical anterior plate.

If you are reading this post, you probably know where I disappeared to from May to August. Yes, it was that mythical book I’ve been working on for my retired neurosurgeon client. Well, the good news is that, after pumping out the last ten chapters in those three months, the manuscript flew off to the publisher ten days ago. Now I wait on the old tenterhooks for the verdict: Is it engaging? Is it good? Is it well written or screamingly pedestrian? Am I really done with the thing? We shall find out soon!

I’ve written elsewhere on this blog and on my old blog, Memoir Crafter, about my experience as a ghostwriter for the above mentioned surgeon. What an amazing journey it has been. I am not a religious person—I leave that to my twin sister, Sister Sara Marie Belisle—but I can’t help but marvel at my good fortune. Four years ago I wondered how I could ever leave my day job to write. Then, out of the blue, a completely unforeseen opportunity. Now, I have two complete 90,000–word manuscripts under my belt, the first a version of the book as life story, and the second a more commercial medical memoir.

I have missed my practice of flash fiction, however, and having had the pleasure of stopping in at Carrot Ranch again after months “on the trail,” I want to use this week’s challenge to flash a scene from the book. From the Carrot Ranch Flash Fiction Challenge page:

August 17, 2016 prompt: In 99 words (no more, no less) write a story that features a fossil or uses the word in its variant forms (fossilize, dino bones, petrification, gastroliths, ichnofossils, etc.). Dig into your imagination and go where the fossil record leads you.

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My first urge was to create a fresh flash about real fossils or petrified wood or bones, but then it occurred to me to lift a line I was particularly fond of from a draft of my client’s story.

Here’s the back story: My client is a world-renown spinal neurosurgeon recognized not only for his many contributions to spinal neurosurgery—including patents on wiring, plates and other instrumentation that he was “instrumental” in designing—but also for his leading role in the fight to have spinal neurosurgery recognized as a sub-specialty in its own right. That latter achievement, many people say, was his primary contribution. Because up until the 1980s, aside from cervical trauma cases, spinal surgery remained largely the domain of orthopedic surgeons, not neurosurgeons. In the late 1980s, however, with technical advances emerging, a turf war broke out between the two medical communities: the bone docs and the brain docs.

A confrontation between an orthopedic surgeon and my client, the pioneering neurosurgeon,  became the impetus for a chapter in the new version of the book. I wish I could reproduce that scene here to show you how I whittled it down to a flash. (You can see it when the book comes out near the end of the year.) I think it well illustrates how flash can be used as an editing tool. Suffice it to say that this section was originally 438 words.

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A Half-Excavated Fossil

The whine of the drill got the orthopedist’s attention. He was chiseling a shard of bone from the patient’s hip while I worked at the neck where the dislocation was.

“What are you doing?” he said.

“I’m putting plates in.”

He stepped up, peered into the cavity where the spine rose from the tissue like a half-excavated fossil. “Why?” he said. “Wires work perfect for the fusion.”

“The plates will work better.”

He pivoted away, ripping off his gloves.

“Take me off the op note,” he said, striding towards the door. “I want nothing to do with this case.”

The Book Proposal as Guide: Pinpointing Purpose and Readership

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Book proposals are usually submitted in lieu of an entire manuscript for non-fiction books rather than novels or memoirs. But they can also be used effectively in restructuring an original manuscript or directing a disorganized first attempt at a narrative.

In my last post, From Life Story to Memoir, I described the first steps of transforming a life story/autobiography into a focused memoir. These steps—preliminary to the book proposal— included: identification (and if necessary a complete rethinking) of the major themes of the narrative; identification of the bedrock scenes—in my client’s book, both medical and personal—that would carry the revised story; alternating those scenes/chapters to create tension between high points and low; and repeated tinkering with the table of contents (TOC) of the original manuscript. The final step at that point was to identify a new starting point, one that would show the main character in the middle of an important (but not the most important) event.

Now, what to do with the new starting point and the evolving TOC?  Our agent Claire was already moving towards the idea of doing the book proposal, but I still struggled (with little success) to wrest the original manuscript into a significantly different book. The new plan added two elements of the book proposal:

  • Do a knock-out sample chapter (preferably chapter one)  that shows the main character at a critical moment, revealing a major conflict or theme (in our case, this meant showing the doctor at the top of his game and confronting an adversary in the OR);
  • Create an overview of the book, snagging the editor with a description of a dramatic scene and summarizing the main events and themes.

One last last point Claire emphasized was to focus on the editor not the imagined reader. Make each sentence crystal clear. Use powerful language that reflects the book’s uniqueness and appeal (in our case, “high-stakes”; “groundbreaking”; “game changer”; “pioneering”) and which in turn signals the main theme(s).

That new starting point, coupled with a new Chapter 1, was an important breakthrough, because, again, throughout the early process it had been very difficult to break away from the original chronology and structure of the work. See below two different versions of the book’s TOC and opening chapter. Note how chapter one in the restructured version starts in the middle of an important event.

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Original TOC in Scrivener, starting at the beginning in a straightforward chronological account of a life.

 

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The revised TOC; the new first chapter opens with a dramatic moment near the height of the author/protagonist’s career.

The Book Proposal as Guide to a Rewrite

With those steps out of the way and a rough idea of the new direction, Claire now suggested we carry on with a formal book proposal that she could submit to publishers.

So that you understand how the book proposal can serve as an outline/guide for a rewrite, I should mention its important elements here. There are many sources for writing a book proposal. (I love the example at the back of Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents. Or check out his Write the Perfect Book Proposal with Deborah Levine.) All of them include the following:

  • Title Page: Make that title sing.
  • Overview: Grab the editor’s attention with 3-4 succinct pages of your story/concept.
  • Author Bio: Why are you ideal to write this book?
  • Marketing Section: Who will buy this book?
  • Competition Section: Half a dozen titles of books similar to yours and why yours is unique.
  • Promotion Section: Which outlets/platforms will be appropriate to publicize this book?
  • Chapter Outline: The meat of the proposal, tentatively titled and clearly abstracted.
  • Sample Chapter(s): Yes, the editor will see that you can really write and tell a story.

The book proposal turned out to be the key to restructuring the book. It forced me to know— and hew to—the genre of the book much more strictly; to hone the message and theme of the book and carry them through the entire story;  and to identify and then write for a much more defined readership. Not that it all came together like clockwork. It was sometimes a scattershot process, moving back and forth between sections.

Whether you want to attempt a formal book proposal or not, working through the points below as you revise (or write) your book will help you know where you are going with it.

The First Chapter

The new first chapter set the process in motion. Following Claire’s advice to start with a major event, I tackled a scene over halfway through the original manuscript, one that had originally been a paragraph long. It was a surgery during which another surgeon walked out. The scene represented a major turning point for my client. I had interviewed the doctor extensively the first time around; now I interviewed him again. I interviewed the fellow (as in fellowship) who had assisted him. I researched the pioneering spinal surgery technique they had used and made sure I understood it. I delved into the details of the surgery and OR environment—my genre was now the medical memoir, mind you, and I needed to really beef up the specifics.

Just as importantly, I changed exposition to dialogue (a separate post coming on this! Hugely important.) This new chapter was significantly different in tone, style, and pace from the original manuscript. This chapter firmly belonged to a medical memoir. I began to see the enormity of my task.

The Overview

With a sample chapter under my belt and progress made on the TOC, I tackled the overview. This was not to be a straightforward task. My starting point was the event in the sample chapter I had written. When Claire decided the overview (and thus the book) should start with another surgery—the one that had catapulted my client to superstar status—I wrote out that chapter as well. At times Claire would like one aspect of the original manuscript and ask me to bring it forward. At other times, she would decide it was not very important and suggest I drop it. After three or four months, she deemed the overview still “a little dry.” We needed more drama. We needed “to build excitement.” The first two pages had to be “seamless” and “dramatic.” Through my exasperation, I came to realize that this was all part of the process. All part of a deep fashioning of the story through thinking and rethinking its most dramatic and meaningful themes, scenes, and total arc.

The Competition

All during this time I was working on other sections, among the most important the competition section. There is no way around knowing what other books like yours have been published. There is no way around reading some of them. I read five or six medical memoirs (taking note of how and to what extent the authors worked in their backstories). I read reviews of these books and others. Claire thought some of the books I had chosen to summarize were too old and had me research newer titles—it’s best to see what is current in your genre. For each title I had to determine what set it apart and more importantly how my client’s book was unique. By the time Claire gave me the thumbs up on it, I had a much stronger idea of the genre and the readership we were trying to attract.

The Chapter Outline

At last, the most daunting task of all. Above, I wrote about using Scrivener to begin the restructuring process. I had created tentative chapter folders for the new version based on the revised TOC.  I had two new chapters for the new beginning of the book—these formed the new “present” of the narrative, from which I could move the main narrative forward in time and flash back to earlier important scenes. I had an idea of the scenes I wanted to keep from the original manuscript and scenes I needed to build from existing anecdotes, and I began to populate my chapter folders with these scenes.

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Populating the chapter folders with scenes. This allowed me to create chapter outlines for the book proposal, a task very difficult to do without a finished manuscript.

Creating the chapter outline without an existing manuscript was messy. The order and content of the chapters would change once the rewriting began in earnest. But through this process the narrative arc emerged. So did capsules of the main events. All that remained was to write two to three succinct paragraphs about each chapter—no mean feat. (My first drafts had whole pages or more for each chapter. Happily, what I cut from the chapter summaries in the book proposal came in handy in helping me build the scenes for the rewrite in Scrivener.)

The Rewrite

The rewrite was certainly not the simple reshuffling of chapters and scenes that I had originally imagined. The rewrite was indeed a REWRITE. But the process of preparing for and writing the book proposal, which took the better part of 2015, had laid all the groundwork. In January, 2016 I began writing out the next chapters. Mid February Claire submitted the proposal to an Indie publisher. Mid March my client had a contract—and I had a deadline of August. I wrote chapters. I axed chapters. I moved chapters around. I anguished over integrating flashbacks. I went down multiple wrong paths. But I had to stick to the TOC and the chapter outline we had sent in. In the end, I finished writing roughly twenty chapters of an essentially different book between March and August.

What about you? Have you been stuck with the direction your story is taking? With where to start or what to include? Are you rewriting your story? How have you approached this task? I would love to hear!

 

From Life Story to Memoir: The Rewrite

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A year and a half ago, I had completed my client’s story. It had started out with aspirations to being a memoir, turned down the highway toward autobiography, and ended up as life story. He was satisfied. We had a publisher. Soon, I thought, the project would be over. Ha!

I’ve relayed this story several times. Here I reference it to address the topic of rewriting a book. Not just revising. Rewriting. And it occurred to me this morning that what I had spent these last 16 months doing to my manuscript bore much resemblance to grappling with an unfinished manuscript, or even with a work in the germination phase. You’ve got dozens of gripping anecdotes. You’ve got a unique and workable angle and a clear theme(s). You might even have whole scenes and chapters written out. But how to organize it all? How to get at the point of it all? How to set the story soaring?

A recent post on fellow blogger Lisa Reiter’s Sharing the Story provided the impetus for me to finally write this post. Close to having a completed manuscript, she still struggles with key questions:

. . . ‘purpose’ is the biggest issue I feel I am grappling with. What is the purpose of my book? Who is my intended reader? And therefore where am I trying to end up? Answering these questions would help me jettison anything that is just background noise because writing this sort of memoir – one where the story is never quite over so long as I’m still living – could mean the writer makes the mistake of including everything that happened since survival.

This point in the road is precisely the juncture at which I found myself in February 2015. Like Lisa, I had a big theme; where her story is one of surviving cancer, my client’s is one of surviving early adversities to make it in the high-stakes world of neurosurgery. The problem was—as Lisa suggests in that last sentence above—that in the original manuscript I had included everything that had happened to my client over more than sixty years. Sure it was a hell of a story, but one that appealed at best to a handful of readers who knew or knew of my client. The key events were there, but they commanded no more page space than much smaller events. And what was the purpose? Indeed, what was the genre? Immigrant story? A tale of rags to riches? A life in medicine?

From Life Story to Memoir

I had had an inkling of the problem at the outset when my good friend, author, and grammarian Kathy Papajohn posed the question to me: Who is going to read this book? There are circles she explained to me, from intimate friends and family to readers interested in autobiography and memoir to those who look for a good story across genres. What is this book? WHY is this book? Who is your target market?

I was ill equipped to answer those questions in the beginning. I thought they would take care of themselves once I had 80,000 words. Indeed, I thought I could worry about overall structure during the revision phase. I didn’t know how else to tell the story but to get it all down. Such an encompassing process proved to be invaluable, but it also greatly extended the time it has taken for my client to get his story told.

Which brings me to late 2014. I was doing last revisions on the existing manuscript, and working towards eliminating unnecessary scenes and lines—what Lisa referred to as “background noise.” (I blogged about this process on my old site, Memoir Crafter.)  Soon after, everything changed when my client and I began working with an established agent/editor named Claire Gerus. After encouraging us to “stop the presses” with the first publisher, Claire immediately honed in on certain elements of the manuscript. Great medical anecdotes, she said. Engaging formative episodes in his youth. Fascinating stuff on his German roots. But his time coaching his kids in soccer? Boring. His first day of high school? Who cares? Then she told me the kind of book she saw in the manuscript, one that she felt she could represent: a medical memoir with brief but telling flashbacks to those important formative events.

How to Attack a Rewrite

It was almost harder to rewrite the manuscript than it would have been to start afresh. For starters, how to identify the key scenes? How to decide on a new starting point? Claire provided me with a couple of helpful exercises.

  • THE FIRST was to review the story and identify the important events:
    • What were the turning points?
    • Where did the protagonist experience a revelation or epiphany?
    • What dramatic moments moved the story forward?
    • What scenes showed the protagonist working through the important themes?
    • Which ones included key characters that served as friends or adversaries?
  • Then, Claire told me to break this list down into two columns: one showing the positive events that had supported my client’s journey toward self realization, and one listing the negative events or moments that had blocked the attainment of his goals or wishes.
  • Equipped with this list, I was now to block out a timeline where I interspersed these high/low events. This would create drama and tension in the narrative.
  • THE SECOND EXERCISE took my existing table of contents as a starting point. Using the list of positive and negative events, rethink the table of contents. Build the TOC from the combined list of high/supporting events and low/obstructing events.
  • Finally, identify a new starting point, not at “the beginning” but with a significant event, a major surgery for example.
    • Move forward from that point, using flashback as needed to fill in the narrative gaps and reveal and/or reflect on the formative experiences.

The high/low exercise encouraged me. I can do this, I thought. Just identify the events, slot them into roughly chronological order, and insert sections of the original manuscript. Bingo. The rewrite.

Then I attempted the second TOC exercise. My efforts fell flat. I could not get away from my original chronological sequence. I ended up at least five or six chapter titles in before I got to a medical event, and that was only med school.

At the same time I was using Scrivener to rethink the structure and order of chapters. I moved the entire manuscript back into Scrivener, divided by chapter and scene. I experimented with moving the chapters around. I axed scenes I judged to be irrelevant. Most times I felt more muddled than ever. What I was doing was avoiding the real REWRITE. I hoped to slide by with a little shuffling and sleight of hand.

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Using Mary Carroll Moore’s “W” structure with the high low points of the story. The bottom diagram shows the chapters inserted into the “W.”

Book Proposal as Guide to the Rewrite

In February Claire suggested a new approach. I didn’t have to have a completed manuscript, she said. The story was solid. Hold off on rewriting the manuscript. We could sell the idea to a publisher with a book proposal. Focus on a few crucial things, Claire said:

  • Rework, yet again, that new TOC with compelling chapter titles;
  • Do a knock-out sample chapter that shows the doctor at the top of his game;
  • Come up with a succinct title and subtitle that will grab attention and signal what the book is about;
  • Create an overview of the book, snagging the editor with a description of a dramatic scene and summarizing the main events and themes;
  • Throughout, focus on the editor not the imagined reader. Make each sentence crystal clear. Use powerful language that reflects the book’s uniqueness and appeal (“high-stakes”; “groundbreaking”; “game changer”; “pioneering”) and which in turn signals the main theme(s).
    • Remember, Claire said, editors want to see hard-hitting specific content that readers can get excited about.

So, that was the beginning. Those first sections of a traditional book proposal—overview, TOC, and sample chapter—set me on a track that over an entire year led me to the skeleton of my rewrite.

I will expand on this topic in my next post: The Book Proposal: Pinpointing Purpose and Readership, and show how for me, the proposal pulled me up from pantsing mode to outline mode—and gave me the structure I needed to make real headway.

What about you? How have you dealt with the task of organizing your manuscript? Of deciding which elements to include and which to leave out? What tools have you used to gain more control over the process?

 

 

So You Want to Live in the Desert?

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Our last house lay cradled in the foothills of the McDowell Mountains. The neighborhood terraced up the slope behind our property, ending three blocks away at the edge of the McDowell Sonoran Preserve. From the path that emerged from our end of the development—marked by a dead, two-armed Saguaro that traced fat black ink strokes against the sunset—trails traced their way up into the desert: Lost Dog Wash; the Anasazi Spur and the Sunrise Trailhead; the Ringtail and Old Jeep Trails; Tom Thumb’s Trailhead and the Marcus Landslide Trail. A short hike over a low rise and the city disappeared behind us. Before us a sea of ironwood cholla, saguaros, barrelhead cactus, ocotillos and creosote crested like waves.

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Sea of ironwood cholla with a storm heading in, one form of the notorious “jumping cactus.”

I loved the idea of living so close to the desert. We’d been a ten-minute drive from the preserve in the previous house, and though we’d had our share of javelinas and coyotes wandering down into the neighborhood, the mountain seemed removed. We could not feel its pulse. So when circumstances dictated a change anyway, we went with our gut desire to live in the desert, not just near it. On a March day in 2007, we rumbled up the long slope of a road called Via Linda—Pretty Way—to our new home.

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Looking east from our front yard. The foundation of a pretty yard here is gravel and river rock.

It was magnificent. We hiked the trails. We collected pieces of quartz from the upper elevations—the rocks spilled down one side of the mountain from a white waterfall of an outcropping two hours up the trail. At night, we ambled up the long, dark avenue bisecting the neighborhood until we reached the end of the pavement. We crossed over into the desert and paused, listening to the silence undergirding the night sounds. From our patio, we watched the hawks circling overhead, and reeled at the panorama of stars undiminished by the brighter lights below.

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Yours Truly with North Scottsdale and Phoenix in the distance from the McDowell Mountains

 

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The professor heading out on the Anasazi Spur just past a magnificent ocotillo

We had wildlife adventures. Coming round a corner before Halloween one year, we surprised a herd of javelina nibbling on pumpkins in a neighbor’s yard. We froze. They bolted. Stampeding towards us, they parted at the last moment and disappeared into the brush on the other side of the road.

Another time, heading up the avenue in the dark, we saw a parked car ahead with its lights on full beam. “Assholes,” I said to my husband. “What the hell are they doing?” The next moment the profile of a deer split the glare in two. It bounded into the brush at the side of the road and emerged with its young before hightailing it back into the dark mountains. The people in the car had been trying to locate the fawn, they explained when we reached them.

All this beauty so near. Geckos and hummingbirds and coyotes howling at the moon.

And treacherous creatures of a more insidious nature.

One night as I snuggled up to my husband in our bed, I felt a thin whisper on my leg. I had just enough time to wonder if I had felt it or not, when the hypodermic jab of a needle in my upper arm jolted me upright. “Fuck,” I wailed. I’ve been stung! I’ve been stung!

“What?” My husband hollered, still sleep drunk. “What happened?”

“There’s a scorpion in the bed,” I said, throwing off the covers and bounding out of bed.

“Hold on,” he said. “Are you sure? Maybe it was a needle from the cactus. We were re-potting those plants today. It could have gotten on you .”

“No!” I said. “That was no cactus needle. I’m sure of it.” Still brushing myself off and shaking my hair out, I danced around wondering if the fucker was on the floor now.”

My husband jumped up and circled around the bed. “There it is,” he said. “Get a shoe, quick.” It lay motionless at the foot of the mattress, primeval, repellent,  oblivious to its own danger. A whack and it was no more.

The scorpions sabotaged my desert mountain experience. I was later stung in a chair while convalescing from the flu. My daughter was stung in her bed and had to be taken to the emergency room. One of them crawled out of a pot my husband had held close to his chest a moment before. I could never relax when coming into the house or getting up in the night time, when slipping my foot into a shoe or opening a cupboard. I once found a dead one in the dishwasher and another in my china cabinet. The specter of the evil things haunted the house. I sensed them seething behind the walls. The “Scorpion Slayer” we hired (his business name) could only marginally keep them at bay. We moved after five years. I still worry about the young family that snapped up the house in a short sale in 2012.

On a footnote…if you happen to be thinking of moving to Arizona someday, read this NY Times article on the reality of sharing space with these truly creepy critters.

This reverie was stimulated by Charli Mills’s latest flash fiction challenge:

May 4, 2016 prompt: In 99 words (no more, no less) include insects in a story. Periwinkles, bees laden with pollen, ants building hills. What can insects add to a story? Do they foreshadow, set a tone, provide a scientific point of interest or a mystical element? Let you inner periwinkles fly!

So, here’s my flash.

The Sting

Cleaning day in the new house. The feel of fine grit in the bathtub. She scrubbed, like a woman she’d seen in Oaxaca grinding corn on a stone metate.

Then, Ow! What the hell? A sliver of glass? She turned to the sink and threw her rag down. Inspected the finger. No blood. Only a suffusion under the skin, as if the tip were blushing.

She did other chores. The finger grew numb. Still she didn’t realize. Returning, she picked the rag up. The evil thing lay in the bowl, flat, segmented, pincered, its barbed tail ready to strike.

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Ugghhh. I can hardly bear to look at a picture of it.

 

 

 

Of Libraries, Books, and Freedom

Marian the Librarian

One of the few compensations of being a four-eyed girl was the knee-jerk assumption on the part of others that I was bookish. And I was. By the time I got glasses at the age of eight—when a compulsory eye exam at school revealed to my overworked parents that I was nearsighted as a bat—I had been devouring books for three years. No wonder I loved libraries from the get-go.

Not that we didn’t have a few resources at home. One of the very few valuable items my parents invested in when I was a young child was a set of encyclopedias. Diving randomly into a volume was, for me, as engrossing as surfing the Internet on an iPad is to a child today. The only other place one could get access to so many fascinating words and stories was through the periodic delivery of cheap but entertaining Scholastic Books at school, or . . . the library.

When I think of libraries, the first one to come to mind is the two-story converted house on dusty Eva Street in Sunnyslope Arizona in the early 1960s. It was probably a much smaller house than I remember, but walking up the front curved staircase to the second floor made me feel I was a guest at a country manor with rooms of hidden delights. Indeed, the stacks where I hunkered down pulling books from the crammed shelves were just that: vast chambers where my imagination took flight. On Eva Street I discovered my first Arabian Knights, endless books about ballet, early historical fiction—one I remember is The Oregon Trail—stories from different lands, and biographies for youngsters. It never mattered to me that I’d have to trudge home balancing my load of six or seven or eight books. That one could take as many books as one could carry—and for free!—was more license than a child could hope for.

Other libraries came and went. By high school the public ones were cleaner but rather institutional brick-and-mortar buildings. By then I was mixing more serious fiction (the English and American classics) with Gothic Romance: Victoria Holt’s Mistress of Mellyn (the classic governess-falls-for-the-master-of-the-house tale) was one I reread a dozen times. To balance that frivolity, I remember checking out Mario Puzo’s The Godfather, Truman Capote’s In Cold Blood, and Helter Skelter by Vincent Bugliosi and Curt Gentry. Libraries are nothing if not pluralistic.

Then there was the vast Carl Hayden Library at Arizona State University in the late 1970s, where I struggled with the Dewey Decimal system to find texts on Spanish literary greats and Latin American politics. And the narrow, secluded stacks in the back of the building on the top floor of the campus library at Beppu Daigaku (University) a decade later, where I had no competition checking out the works in English of one Japanese master after another: Mishima Yukio’s heartrendingly simple tale, The Sound of Waves; Kawabata Yasunari ‘s Snow Country and The Old Capital; Oliver Statler’s delightful history, Japanese Inn.

I still love libraries today. For a decade or so, Borders and Barnes and Noble stole me away, but before long both chains betrayed their original promise, revealing their insensible, market-driven hearts of mud. Navigating paths through Star Wars toys and shelves of YA Hunger Games knock-offs does not, for this reader, make for a positive book-browsing experience. And though I turn to Amazon from time to time, it’s the library that calls me, with its quiet shelves of books, its diversity, its knowledgeable and universally helpful staff, and it noble mission to advance literacy and thinking in the nation’s people, no matter what our origins or means.

Today I am fortunate in that I inhabit a fairly decent library of my own, thanks largely to “the professor” (aka Tom, my husband.) Tom was so devastated at having been forced to sell his Encyclopedia Britannia during a particularly bad stretch of “down-and-out” back in 1978 that he has never parted with a book since.

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One wall of Tom’s Science Fiction Room. The magazines on the left are a recent addition: 350 issues of Galaxy Magazine going back to the first one in 1950.

 

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The professor in his study (previously known as the front room.)

 

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A “Room of My Own”…the reading corner in my study. I have since added another large bookshelf to the left of the one present.

 

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And the blogger’s desk. A larger bookcase has replaced the small one here.

This post was inspired by Charli Mills’s flash fiction challenge over at Carrot Ranch: March 2, 2016 prompt: In 99 words (no more, no less) write a story that includes a library. You can honor the libraries in your own experience, dream about libraries of the future or explore a community without one.

I’ve chosen for mine, a particular kind of community…

A Free Man

The Protective Custody yard wasn’t quite solitary confinement. He could hear inmates in the other cells. Could call out to them. One hour a day he stretched in the barren exercise yard. The rest of the time, it was the eight-by-ten cell. Time seemed to stop.

Except when the book cart rattled by. Beats me, he thought, how a prison can have such a great library. The Brothers Karamazov, One Flew Over the Cuckoo’s Nest. Vonnegut. Joseph Conrad. It was the only thing keeping him sane. The only thing reminding him he was, where it counted, a free man.

 

 

 

 

 

Nature: A Saving Grace

IMG_0106I was doing my fifth circuit of the small city park when I spotted the woman with the snow-white hair. She was holding a small child up to one of the hardy desert pine trees that punctuate the perimeter. As I power-walked by, the wild-haired little thing gave a cry of delighted wonder. She slapped the bark of the tree and kicked the trunk with her small, ineffectual foot. I left the two of them looking up in wonder through the needled branches.

I was happy to think of the myriad pleasures and lessons from Nature that the child would, like all of us, go on to experience. And I delved into the depths of my own memory to recall the time in my youth when I first confronted Nature as a wondrous, awe-inspiring force.

I was five when my parents piled my four siblings and me into their pink and white, jet-ship of a Dodge and relocated us from Minnesota to Phoenix Arizona. It was July of 1961. Of that trip, I mostly remember being condemned for three endless days to the middle of the back seat between my two brothers and older sister. Yet, my first intimations of the power of Nature date to that first remembered journey: my mother pointing to the sky on a midnight rural highway in North Dakota, calling us to “Look!” as shimmering curtains of emerald and gold rippled across the heavens; my brother Jack at age ten standing dangerously close to the edge of a precipice in the Rockies, below which sheer walls of pine-encrusted rock cascaded down and down and down to a winding thread of river; a sea of buffalo and choreographies of antelope under immense skies, clouds sailing above like voluminous ships.

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From the left bottom: Jeanne, Peggy, Patty. From the left top: Danny and Jack. 1961.

Over the next decade and a half, we made the round trip from Arizona to my parents’ home towns in North Dakota three or four times. Eventually it was just my twin and me in the back seat, equipped with Almond Joys and Paydays, Juicy Fruit and Spearmint gum, Planters peanuts and playing cards. Up and back on different routes, passing from Arizona into Utah or New Mexico, on to Colorado, through Nebraska or Wyoming, and then into South Dakota. For three days we journeyed, straight as an arrow over flat eternities of desert; skirting towering rock formations and deep, layered, chromatic terraces; climbing vertiginous, pine-ridged Colorado peaks and plunging precipitously into cool, deep valleys. After the mountains and meadows of South Dakota, the fecund farmland of North Dakota finally welcomed us into her ample arms, her prairies rippling to the horizon like the gentle swells of an infinite sea.

I will be thankful always to my parents for giving those experiences to me. I am sure no one needed to educate them on the importance of taking their children out into nature.

I had a chance to revisit those vast, dramatic landscapes last August, when my North Dakota cousin Tommy invited me along to ride shotgun in a car he’d bought in Arizona and wanted to drive back up north. Tommy is a  talented photographer, so I’ll retrace that trip photographically with you here. Note that there are no cute and furry creatures—I dislike anthropomorphizing animals. (Though I admit to taking multiple shots of a pair of mountain goats in the Black Hills the year before on a trip with my sisters.)

The famous red rock formations of Monument Valley in northern Arizona. Many classic westerns, such as John Ford's Stagecoach, were filmed here.
The famous red rock formations of Monument Valley in northern Arizona. Many classic westerns, such as John Ford’s Stagecoach, were filmed here.

 

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The photographer and his “horse-powered coach’ outside Moab Utah.

 

The phenomenal Canyonlands National Park in Utah.
The phenomenal Canyonlands National Park in Utah.

 

An amazingly beautiful and pristine stream in the Black HIlls of South Dakota.
An enchantingly placid and pristine stream in the Black Hills of South Dakota.

 

The blogger drining in the beauty and looking like a startled deer.
The blogger drinking in the beauty and looking like a startled deer in a meadow near the stream.

 

Darn! They snuck in. Moutain goats near Mount Rushmore.
Darn! They snuck in. Mountain goats near Mount Rushmore.

 

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North Dakota: infinite horizons and the subtle music of wheat waving in the wind.

This short tour of the West and the flash that follows were inspired by this week’s prompt from Carrot Ranch: In 99 words (no more, no less) write a story about wild spaces. Is it a wilderness or a patch of weeds in a vacant lot that attract songbirds. What is vital to the human psyche about wild spaces? Bonus points for inducing something cute and furry.

The post and flash were also triggered by the ache in my heart for those separated from the beauty of nature. The shells and tiny mouse skull in that very top photo were collected by my son, now serving time in a minimum security prison on a drug-related charge. On trips we took to the coast years ago, he was always the one to find unbroken anemones or sand dollars, buffed and scoured sea glass, even a melon-sized moon snail in Washington that, much to the consternation of the park ranger, he began to dig up before he realized the shell was still occupied. Always an avid naturalist by instinct, his world has shrunk to a stark space devoid of all natural grace except wind, flat land stretching to the horizon, and sunlight. Even the stars at night are drowned in the glare of megawatt lights.

But not for long…

Here’s a flash on nature…

Absolution

He didn’t look back. Not as he walked to the car. Not as we circled back onto the highway. Behind us the towers melted into the horizon.

The road steepened. Pines appeared, grew thick, drank the sunlight. Outside a mountain town we stopped.

Resin and rain keened the air. Wind soughed in the high branches.

I waited while he walked into a clearing. He tilted his head. Palmed the rough bark. Drank the sweet air. When he returned, needles fell from his hair.

“Any place you want to stop?” I said.

“Nah,” he said, looking straight ahead. “I’m fine.”

 

 

 

 

 

 

 

Power: Getting It, Losing It, Regaining It

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We’d seen the lights from the prison complex the night before, long before the actual buildings appeared just outside Winslow on Highway 87. Night had fallen black and featureless, and they shone over the horizon like the glow of a distant city, dwarfing the illumination of the town itself. When we came abreast of the starkly lit compound, the barbed wire fences and long squat buildings suggested more than anything an emptiness. A waiting. Then the darkness swallowed us up again.

Winslow. The Winslow of “Standing on a corner in Winslow Arizona.” I’d long thought it would be fun to stop at the actual corner that the song celebrates. After all, the Eagles had provided the soundtrack to my college years. When, this last weekend, I found myself but a couple of blocks away, my mental energy was elsewhere.

I was in Winslow to see my son. My beautiful son. My son who is addicted to heroin. I could say he is an addict, but I dislike ascribing an identity to him in that way. As a friend pointed out, his addiction does not define him. Yet it has defined his life over the last half a decade. And that life went its predictable way since he started using heavily. He lost his job. Became homeless. He was in and out of jail for a year and a half. In and out of rehab, though never seriously in. Last September, he did himself the favor of not avoiding the police when he returned to an apartment he’d been staying at to find two officers responding to an unrelated theft. He was questioned, patted down, arrested. This time he got prison, not jail.

It was my first visit to the Arizona State Prison Complex, though my son has been there since November. A visit is of course not a slap-dash, spontaneous kind of event. There is the enormous task of figuring out the bureaucracy, paying fees for background checks, learning how to set up prepaid calls, and applying for visitation rights. I was approved before Christmas. Both my husband and my sister, for reasons I won’t go into, were denied. Finally I could wait no longer. I would go alone.

Even before Charli Mills put out the prompt on power last week, I had been thinking about the theme. I had been pondering it in relation to my son. In particular, I had been thinking about the lack of power, about throwing away one’s power. That led me to reflect on just how we get power, on what power I had, on what power remained to my son in his present circumstances.

I talked to my husband about it. I was thinking of power as force, but he pointed out how power is influence, the ability to effect an outcome. He noted Alvin Toffler’s book Power Shift in which the author identified three distinct kinds of power: the physical, the financial, and knowledge. So, I surveyed my own power or influence, checking my examples against Toffler’s basic formula but also including others. I have the power of knowledge, afforded by a curious mind and a decent education; some financial power in the form of a regular income and good credit; the physical power of a healthy (as of yet) body (and still functioning mind); the social power I might exert through my network of family, friends, and associates; the political power of my vote (I still think that is worth something); the power afforded by my autonomy and relative freedom; the power afforded to me by the rights I enjoy as an American citizen; and the power to influence my own circumstances through discipline, self-regulation, and self responsibility.

It’s not a great deal of power, but I was satisfied for the time being to know I had at least a modicum of the precious stuff.

In contrast, my son has been rendered almost powerless. I was reminded of just how powerless when we drove up to the stark, isolated complex on Saturday. It was a cold, bright morning. A guard checked our IDs at the gate and waved me in as my husband turned the car around to leave. The guard then instructed me to stand behind a portable trifold fence while a leashed German shepherd made a few sniffing passes on the other side. Satisfied that I was not carrying any drugs on my person, he then directed me to a nondescript building at the end of a short road. Once inside, I filled out the requisite form, removed my shoes and sweater for inspection, handed over my baggie of coins (up to $30.00 permitted for vending machines) and the one unopened pack of Marlboro reds I had bought for my son. I was told to open and empty the contents of the pack into another baggie. Then I passed through the security booth, gathered up my items, and entered the visitation room.

Inside three or four families of visitors had preceded me. They sat on cheap plastic chairs around battered square tables visiting with their orange-clad inmates. Around the perimeter various vending machines offered the usual chips, sodas, water, and weak coffee. I wavered for a moment surveying the choices of table. “You can sit anywhere,” a woman called jovially to me. She clearly knew the routine. An armed guard sat behind a folding table on the far side of the room, next to a locker that I later found contained board games and playing cards. He rose and asked me my inmate’s name. Then he moved to a locked door leading out into the yard and called it out. A moment later I heard it amplified by loud speakers. I was happy it was his name and not his number.

I chose a table within sight of the door leading to the yard. Periodically the guard stepped through it to see if any inmates had lined up outside to be admitted. I eagerly peered through each time he opened it, anxious to see that familiar form. I felt the keen anticipation one has when waiting in an arrival lounge at the airport.

At last he came through. At 6 feet 2 inches, my son has towered over me for the last five years, and the old pride of having to rise up to hug him returned. (The simple maternal pride of having produced this man.) He has a high-bridged prominent nose, dark, thick eyebrows and eyes the color of strong tea. These features were as familiar as always. But his strong, thick arms and shoulders were something new. As were the orange sweatshirt, pants, and slippers. I had not hugged him since last May. I had not seen him since then, except for the two times in court last November. Both times his wrists and ankles had been shackled.

We spent the next four hours talking, playing checkers (as we had so often done when he was a boy), and going out to a separate yard where he could smoke. He spoke of his arrest, of feeling like the moment had come to get out of the life he’d been living, of knowing there would be no other way he could stop using. He spoke of events in his recent past, some painful for me to hear. He spoke of his future, of what he wants and hopes for. And we spoke of power. Of being empowered.

And that is what I hope for him. That of the qualities on the list I made for myself above, my son achieves the last three while he is still incarcerated: the power to influence his future through discipline, self-regulation, and self responsibility. Those three strengths are the basis of all power to come. And those three qualities, if externally enforced now, can be bolstered internally.

Here is my flash on the theme of power. Thanks to Charli Mills for another provocative prompt. February 3, 2016 prompt: In 99 words (no more, no less) write a story that explores the question, “What good is power?” Is it a story of empowerment, or a story of a dictator? Poke around power and go where the force takes you this week.

The Power Remaining

He’d learned the unwritten rules in the first weeks. How he had to back up his own kind. Step into a fight between a white inmate and the blacks or Hispanics. Take another inmate with him anytime he talked to a guard, insurance against a false report on either side. And how to look out when someone got high on contraband dope.

The dope. He’d been offered it. Had fought the memory of the pleasure of it in his veins, the release, the purest happiness there could be.

But he’d resisted. It was the one power remaining to him.

 

 

Won’t You Be My Neighbor?

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A neighborhood in northwest Phoenix (Glendale) Arizona, from the slopes of Thunderbird Mountain.

I noticed the neighbor girl at the same moment Danny, another neighbor, did. She was huddled on a big rock in her front yard with her head in her hands, sobbing uncontrollably. Danny and I looked at one another, and moved in from opposite sides of the street.

I’ll call the girl Kim. Though at 23, she’s more woman than girl, at least physically. She has milky white skin, pale blue eyes, and a mass of thick chestnut hair that falls in natural ringlets about her shoulders. She is what today we call special needs, and her manner slides on a scale between sweet and child-like on one end and anxious and fearful on the other.

I’ve known Kim and her parents, Karen and Joe,  since my husband Tom and I moved in down the street on New Year’s Eve three years ago. When we emerged from unpacking to go in search of dinner, theirs was the first house we noted; music was blaring, a bonfire was crackling, and revelers were awaiting the countdown to midnight. The following year we joined the party, in what we learned was an annual event Karen and Joe hosted in the neighborhood.

Last autumn Joe was in a freak motorcycle accident around the corner from home. He was driving 30 mph when he lost control of the Harley. He skidded and crashed, fracturing his skull and severing his spine. Karen was forced to get a job, something she had never done since her daughter developed a brain aneurysm at the age of 11 months. Now, as Kim will tell you each time you chat with her, she has to take care of her dad while her mother is at work. She has to take care of her dad while her mother is at work. She has to take care of her dad while her mother is at work.

The day I found her on the rock, I think the stress of these changes had simply overwhelmed her.

This episode made me think, as I often do these days, of neighbors and communities. We’ve been pulled deeper into this neighborhood since we landed here three years ago, intending to rent for a while, to recover from our own personal housing disaster and somehow thrive without taking root. But the threads of that illusion spun themselves out even before yesterday evening. They fly like tattered flags over our house, in face of the kindness of our neighbors and the stories we have come to know about them.

Take Dave and Cristine across the street. We hardly talked to them at all before this last Christmas, except to chat briefly on Halloween as we stood outside our houses surveying the number of trick-or-treaters. Then Cristine came bearing her annual gift of homemade Yuletide tamales. When we locked ourselves out of our house on a chilly night three weeks ago (without even a cell phone), Dave and Cristine stepped up like old buddies. They plied us with beers, found a locksmith, and urged us to wait it out in comfort at their house.

We know so many stories now about our formerly anonymous neighbors: smart, efficient Jennifer next door who lost her father this last year; Lewis the communications consultant on our east side whose brother died of a drug overdose long ago, and who leaves weekly shopping bags bursting with oranges on our doorstep every February; German Ilse down the street who photographs dogs and lost both her mother and her beloved black Lab at Christmastime; Lewis’s wife Liz who is crazy about crafts and scrapbooking and runs an annual holiday cookie exchange; Sharon, whose 22-year-old daughter was killed in a car accident the year before we moved in; and Karen, Kim’s mom, who was about to divorce her husband Joe at the time of his accident and now cares for him as he recovers and adjusts to life without the use of his legs.

Someday, if we ever want to own a house again, Tom and I will have to move from here. But my neighbors are going to make it very difficult to pack up and leave. I have never lived in a neighborhood so caring and embracing. A neighborhood where a dozen people will show up at your door with complete dinners should you experience some tragedy, as happened when Joe had the accident. And yet, it is just the kind of neighborhood I used to disdain. Just another safe and boring suburban enclave cut out of the desert, I thought, one house barely distinguishable from another, manicured lawns, cars duly backing out of garages each morning and returning each evening. But now, I’ve come to see the community behind the houses. And I regret that my days here are likely numbered.

Back to Kim. The night she broke down, I walked with her up and down the street. The other neighbor, Danny, and my husband Tom came to check every ten minutes and offer advice. Mostly they stood there, impotent, as I was. Each time Kim and I stopped walking, the tears and shudders would start again. Dark fell. Kim texted her mother. She had forgotten that this one night Karen was out for a brief respite: a couple of hours with a friend at a Mexican restaurant. Kim oscillated between anger and weeping. At last, her father, who had been knocked out on meds all afternoon, woke to find a ruckus in his carport. He bumped over the threshold in his wheelchair, rolled down a ramp they’d installed after the accident, and stopped before Kim. “Come on in Kimmy,” he said weakly. “Everything’s going to be all right.” Danny, Tom and I chimed in, imploring Kim to go inside and watch a favorite television program. She finally followed her father into the house, her shoulders sagging. She did not look back as she punched the garage door button.

A few days later I walked down the street again to the mailboxes. Kim was ambling around outside her house at the end of the block. “Hi Jeanne!” she called.

“Hi Kim,” I said. “Everything’s okay now, huh. Did you watch your shows the other night?”

“Yes,” she said, smiling at me. “Thank you for helping me. I really appreciate it.”

What Kim didn’t realize was that somehow she had given much more to me than I had given to her. She had pulled me one step further into community.

This post is a response to the latest flash fiction challenge from Carrot Ranch: January 27, 2016 prompt: In 99 words (no more, no less) write a story about how a community reaches out. Who, or what cause, is touched by a community “spoke”? Do you think communities can impact change and move a “wheel”? Why or why not? Explore the idea of a community hub in a flash fiction.

While Charli’s challenge prompted the above thoughts, a different thread was also going through my mind after reading accounts of the settlers on the American plains in the 1870s. The flash that follows owes its inspiration to that bit of history. And I think it speaks to the crux of what community is.

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A Community of Two

Mrs. James McClure. Lucy McClure. Is that who I am? I hardly know. Look at me! Living in a dirt house. My only music the godforsaken wind. The space outside my door maddening in its infinitude. I wish I’d never heard of Kansas! But they say there’s another woman on these plains. I’ve walked hours to see if it’s true. And Lord above, it is! We look at each other across the mean, trodden yard. We daren’t breathe. Then we break. Fall into each others’ arms. Laughter and sobs leap from our throats. Oh, neighbor, how sweet the name!