Animal Dreams
Page 86
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"I thought they were homebodies."
Loyd rubbed his hand thoughtfully over my palm. Finally he said, "The important thing isn't the house. It's the ability to make it. You carry that in your brain and in your hands, wherever you go. Anglos are like turtles, if they go someplace they have to carry the whole house along in their damn Winnesotas."
I smiled. "Winnebagos. They're named after an Indian tribe." It occurred to me too late that Loyd already knew both these things. For months, I think, I'd been missing his jokes. Empress of the Universe, instructing the heathen.
"We're like coyotes," he said. "Get to a good place, turn around three times in the grass, and you're home. Once you know how, you can always do that, no matter what. You won't forget."
I thought of Inez's copious knickknacks and suspected Loyd was idealizing a bit. But I liked the ideal. The thought of Hallie's last letter still stung me but I tried to think abstractly about what she wanted to tell me: about keeping on the road because you know how to drive. That morality is not a large, constructed thing you have or have not, but simply a capacity. Something you carry with you in your brain and in your hands.
I'd come on this trip knowing I still had to leave Loyd in June, that Grace wouldn't keep me, but maybe I was just keeping to the road. I felt guilt slip out of me like a stone. "It's a nice thought," I told him. "I guess I'll probably carry something away with me when I leave Grace."
He looked at me carefully, started to speak, then stopped. And then did speak. "It's one thing to carry your life wherever you go. Another thing to always go looking for it somewhere else."
I didn't respond to that. I blinked hard and tried to look unconcerned, but the guilt nudged back along with the sharp glass edge of my own rationalization, recognized for what it was. I wasn't keeping to any road, I was running, forgetting what lay behind and always looking ahead for the perfect home, where trains never wrecked and hearts never broke, where no one you loved ever died. Loyd was a trap I could still walk out of.
I listened to the sad geese in their pen, and realized the crowd was quiet. The snowy plaza was marked with a single line of tracks: in the center of the white square stood a tall young woman in a black dress that hung from one shoulder. Her other shoulder was bare. Her waist, her upper arms and wrists, and her buckskin moccasins were all decorated with garlands of colored yarn, fur, and sleigh bells; at the crest of her head was a tuft of white eagle down. The sun shone purposefully on her hair. It was cut like Inez's, but hung loose to her waist, swaying as she moved slightly from one leg to the other, her feet barely leaving the ground. She looked graceful and cold.
The sound of drums and then the drummers themselves emerged from the kiva. The four old men took their position at the edge of the plaza and propped their huge drums on their knees without missing a beat. They began a soft chant. A second line of men with blankets draped over their shoulders climbed down from the kiva, also singing, and took their places behind the old drummers.
Then deer arrived, from everywhere. They were men and boys with black shirts and leggings, white kilts, and deer antlers. Their human features disappeared behind a horizontal band of black paint across the eyes. They moved like deer. They held long sticks in front of them, imitating the deer's cautious, long-legged grace, and they moved their heads anxiously to the side: listening, listening. Sniffing the wind. The woman in black stepped forward shaking her gourd rattle, and they followed her. They became deer. They looked exactly as deer would look if you surprised them in a secret rite in the forest, moving in unison, following the irresistible hiss of a maiden's gourd rattle.
I was entranced. More people climbed down out of the kiva. Some were dressed and armed as bow hunters who stalked the deer with patience. One man, who didn't seem to have any realistic function in the drama, was nearly naked and bizarrely painted. His body was ringed with black and white horizontal stripes, he had black rings painted around his eyes and mouth, and his hair was pulled up into a pair of corn-tassel horns. He bounced around like a hysteric, possibly in the interest of keeping warm.
"Who's the striped guy?" I asked Loyd.
"Koshari," he said. "A kachina. He has to do with fertility. His home's in the East."
This struck me as humorous. "The East, as in New York? Area Code 212?"
"The East as in where the sun rises."
"That's all part of his job description?"
"All the kachinas have whole histories and families and live in one of the important places."
Loyd rubbed his hand thoughtfully over my palm. Finally he said, "The important thing isn't the house. It's the ability to make it. You carry that in your brain and in your hands, wherever you go. Anglos are like turtles, if they go someplace they have to carry the whole house along in their damn Winnesotas."
I smiled. "Winnebagos. They're named after an Indian tribe." It occurred to me too late that Loyd already knew both these things. For months, I think, I'd been missing his jokes. Empress of the Universe, instructing the heathen.
"We're like coyotes," he said. "Get to a good place, turn around three times in the grass, and you're home. Once you know how, you can always do that, no matter what. You won't forget."
I thought of Inez's copious knickknacks and suspected Loyd was idealizing a bit. But I liked the ideal. The thought of Hallie's last letter still stung me but I tried to think abstractly about what she wanted to tell me: about keeping on the road because you know how to drive. That morality is not a large, constructed thing you have or have not, but simply a capacity. Something you carry with you in your brain and in your hands.
I'd come on this trip knowing I still had to leave Loyd in June, that Grace wouldn't keep me, but maybe I was just keeping to the road. I felt guilt slip out of me like a stone. "It's a nice thought," I told him. "I guess I'll probably carry something away with me when I leave Grace."
He looked at me carefully, started to speak, then stopped. And then did speak. "It's one thing to carry your life wherever you go. Another thing to always go looking for it somewhere else."
I didn't respond to that. I blinked hard and tried to look unconcerned, but the guilt nudged back along with the sharp glass edge of my own rationalization, recognized for what it was. I wasn't keeping to any road, I was running, forgetting what lay behind and always looking ahead for the perfect home, where trains never wrecked and hearts never broke, where no one you loved ever died. Loyd was a trap I could still walk out of.
I listened to the sad geese in their pen, and realized the crowd was quiet. The snowy plaza was marked with a single line of tracks: in the center of the white square stood a tall young woman in a black dress that hung from one shoulder. Her other shoulder was bare. Her waist, her upper arms and wrists, and her buckskin moccasins were all decorated with garlands of colored yarn, fur, and sleigh bells; at the crest of her head was a tuft of white eagle down. The sun shone purposefully on her hair. It was cut like Inez's, but hung loose to her waist, swaying as she moved slightly from one leg to the other, her feet barely leaving the ground. She looked graceful and cold.
The sound of drums and then the drummers themselves emerged from the kiva. The four old men took their position at the edge of the plaza and propped their huge drums on their knees without missing a beat. They began a soft chant. A second line of men with blankets draped over their shoulders climbed down from the kiva, also singing, and took their places behind the old drummers.
Then deer arrived, from everywhere. They were men and boys with black shirts and leggings, white kilts, and deer antlers. Their human features disappeared behind a horizontal band of black paint across the eyes. They moved like deer. They held long sticks in front of them, imitating the deer's cautious, long-legged grace, and they moved their heads anxiously to the side: listening, listening. Sniffing the wind. The woman in black stepped forward shaking her gourd rattle, and they followed her. They became deer. They looked exactly as deer would look if you surprised them in a secret rite in the forest, moving in unison, following the irresistible hiss of a maiden's gourd rattle.
I was entranced. More people climbed down out of the kiva. Some were dressed and armed as bow hunters who stalked the deer with patience. One man, who didn't seem to have any realistic function in the drama, was nearly naked and bizarrely painted. His body was ringed with black and white horizontal stripes, he had black rings painted around his eyes and mouth, and his hair was pulled up into a pair of corn-tassel horns. He bounced around like a hysteric, possibly in the interest of keeping warm.
"Who's the striped guy?" I asked Loyd.
"Koshari," he said. "A kachina. He has to do with fertility. His home's in the East."
This struck me as humorous. "The East, as in New York? Area Code 212?"
"The East as in where the sun rises."
"That's all part of his job description?"
"All the kachinas have whole histories and families and live in one of the important places."
