Animal Dreams
Page 39
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"Dam up the river," Viola said. "That's all they have to do to meet with the EPA laws. Dam it up and send it out Tortoise Canyon instead of down through here. The EPA just says they can't put it down here where people live."
"But then there would be no water for the orchards. That would be worse than the way it is now."
"That's right. But it's okey-dokey with the EPA. The men all had a town meeting about it yesterday, with this hot-shot guy from Phoenix. They sat and talked for about nine or ten hours and finally what he told them is if Black Mountain dams up the river, it's out of the jurisdiction of the Environmental Protection Agency." Viola reeled out the long words scornfully, as if she were glad to get them out of her mouth.
"That's impossible," I said. "There are water rights."
"Nobody around here's got water rights. All these families sold the water rights to the company in 1939, for twenty-five cents an acre. We all thought we were getting money for nothing. We had us a fiesta."
I stared at her. "So do you know for sure that's what they're going to do? Divert the river?"
She shrugged. "Who knows what anybody is going to do for sure? We could all die tomorrow. Only the Lord knows."
I wanted to shake her. I wished she would look me in the eye. "But this is what you've heard is going to happen?"
She nodded once, never taking her eyes off the snap beans that flew through her hands and rang freshly broken into the aluminum bowl.
I still couldn't believe it. "How could they do that?"
"With bulldozers," Viola said.
Loyd and I made another date for Whiteriver, this time on a Sunday in October. The evening before, I went with Emelina to hear Chicken Scratch music at the outdoor restaurant run by Dona Althea's four daughters. The same traveling Waila bands had been coming over from the Papago reservation for decades, substituting sons for fathers so gradually that the music never changed. Emelina's normal taste ran to Country-Merle Haggard and Dolly Parton; but Waila was something special, she said, she was crazy about it. Her boys, enlightened by MTV, rolled their eyes. She took Mason and the baby with us because, as Emelina put it, they were too little to have a choice.
The restaurant was outdoors, in a walled courtyard that was a larger, more baroque version of Emelina's. Flowers bloomed everywhere out of pots shaped like pigs and squatty roosters, some of which had lost body parts, and two enormous old olive trees sparkled with tiny Christmas lights that evidently knew no season. Carved out here and there in the thick adobe wall were rounded niches that were home to weather-worn saints the size of a G.I. Joe; some, in fact, looked suspiciously like dolls in saints' clothing. In a corner, near where the band was setting up, stood a four-foot-tall, almost comically thin St. Francis of Assisi. He looked venerable and tired (also hungry), and was surrounded by a postmodern assortment of glazed ceramic and plastic birds.
The tables and chairs were of every imaginable type, following the same theme, and the flatware too-like snowflakes, no two alike. The effect was completely festive, in spite of Dona Althea's daughters. All four of them (who each had Althea lodged somewhere in her name) were over sixty, as thin as St. Francis but without his animal magnetism. They moved through the crowd with efficient scowls, taking orders and bringing out heavenly food from the little kitchen, all the while acting as though they couldn't quite understand why they'd agreed to go to all this trouble. You would think they'd have figured it out by now. It had been the most popular restaurant in town for half a century.
With tender, paternal attention the Alvaro Brothers unwrapped their musical instruments, which traveled in comfort, nestled in bright-blocked quilts. The men appeared to be three generations, rather than actual brothers. The elder Alvaro, dressed in cowboy boots and a formal Western shirt, cradled a gunmetal saxophone that reminded me of World War II planes. A middle-aged Alvaro with shoulder-length hair played accordion, and two boys in T-shirts played bass guitar and drums. The old sax player stepped up to the microphone. "We are the Alvaro Brothers," he said. "If we make too much noise, let us know."
It was the last time any of them smiled. From the instant they began to play, they stood motionless with their mouths turned down in concentration. Everybody else was dancing in their seats. Chicken Scratch music is Mexican-spiced Native American polka. It sounds like a wild, very happy, and slightly drunken wedding party, and it moves you up and down; you can't keep still. A line of older women in dark skirts and blouses, possibly Alvaro Sisters or Alvaro Wives, stood near the kitchen, swaying a little and tapping their feet. Several couples began to dance, and I could tell Emelina was itching to join them, but she held herself back. Mason showed no such restraint. He was out of his seat in no time, front and center, jumping in circles and running into people's legs. The younger people moved aside when the Papago women moved out from the wall and began to do the traditional six-step dance. They moved in a loose line, slightly bent over, shuffling over the gravel and sounding-if not looking-exactly like the scratching hens that give the music its name.
"But then there would be no water for the orchards. That would be worse than the way it is now."
"That's right. But it's okey-dokey with the EPA. The men all had a town meeting about it yesterday, with this hot-shot guy from Phoenix. They sat and talked for about nine or ten hours and finally what he told them is if Black Mountain dams up the river, it's out of the jurisdiction of the Environmental Protection Agency." Viola reeled out the long words scornfully, as if she were glad to get them out of her mouth.
"That's impossible," I said. "There are water rights."
"Nobody around here's got water rights. All these families sold the water rights to the company in 1939, for twenty-five cents an acre. We all thought we were getting money for nothing. We had us a fiesta."
I stared at her. "So do you know for sure that's what they're going to do? Divert the river?"
She shrugged. "Who knows what anybody is going to do for sure? We could all die tomorrow. Only the Lord knows."
I wanted to shake her. I wished she would look me in the eye. "But this is what you've heard is going to happen?"
She nodded once, never taking her eyes off the snap beans that flew through her hands and rang freshly broken into the aluminum bowl.
I still couldn't believe it. "How could they do that?"
"With bulldozers," Viola said.
Loyd and I made another date for Whiteriver, this time on a Sunday in October. The evening before, I went with Emelina to hear Chicken Scratch music at the outdoor restaurant run by Dona Althea's four daughters. The same traveling Waila bands had been coming over from the Papago reservation for decades, substituting sons for fathers so gradually that the music never changed. Emelina's normal taste ran to Country-Merle Haggard and Dolly Parton; but Waila was something special, she said, she was crazy about it. Her boys, enlightened by MTV, rolled their eyes. She took Mason and the baby with us because, as Emelina put it, they were too little to have a choice.
The restaurant was outdoors, in a walled courtyard that was a larger, more baroque version of Emelina's. Flowers bloomed everywhere out of pots shaped like pigs and squatty roosters, some of which had lost body parts, and two enormous old olive trees sparkled with tiny Christmas lights that evidently knew no season. Carved out here and there in the thick adobe wall were rounded niches that were home to weather-worn saints the size of a G.I. Joe; some, in fact, looked suspiciously like dolls in saints' clothing. In a corner, near where the band was setting up, stood a four-foot-tall, almost comically thin St. Francis of Assisi. He looked venerable and tired (also hungry), and was surrounded by a postmodern assortment of glazed ceramic and plastic birds.
The tables and chairs were of every imaginable type, following the same theme, and the flatware too-like snowflakes, no two alike. The effect was completely festive, in spite of Dona Althea's daughters. All four of them (who each had Althea lodged somewhere in her name) were over sixty, as thin as St. Francis but without his animal magnetism. They moved through the crowd with efficient scowls, taking orders and bringing out heavenly food from the little kitchen, all the while acting as though they couldn't quite understand why they'd agreed to go to all this trouble. You would think they'd have figured it out by now. It had been the most popular restaurant in town for half a century.
With tender, paternal attention the Alvaro Brothers unwrapped their musical instruments, which traveled in comfort, nestled in bright-blocked quilts. The men appeared to be three generations, rather than actual brothers. The elder Alvaro, dressed in cowboy boots and a formal Western shirt, cradled a gunmetal saxophone that reminded me of World War II planes. A middle-aged Alvaro with shoulder-length hair played accordion, and two boys in T-shirts played bass guitar and drums. The old sax player stepped up to the microphone. "We are the Alvaro Brothers," he said. "If we make too much noise, let us know."
It was the last time any of them smiled. From the instant they began to play, they stood motionless with their mouths turned down in concentration. Everybody else was dancing in their seats. Chicken Scratch music is Mexican-spiced Native American polka. It sounds like a wild, very happy, and slightly drunken wedding party, and it moves you up and down; you can't keep still. A line of older women in dark skirts and blouses, possibly Alvaro Sisters or Alvaro Wives, stood near the kitchen, swaying a little and tapping their feet. Several couples began to dance, and I could tell Emelina was itching to join them, but she held herself back. Mason showed no such restraint. He was out of his seat in no time, front and center, jumping in circles and running into people's legs. The younger people moved aside when the Papago women moved out from the wall and began to do the traditional six-step dance. They moved in a loose line, slightly bent over, shuffling over the gravel and sounding-if not looking-exactly like the scratching hens that give the music its name.
