Animal Dreams
Page 96
- Background:
- Text Font:
- Text Size:
- Line Height:
- Line Break Height:
- Frame:
"Probably not."
"Then why go to all the trouble?"
"What do you think we should do?"
She had him there; Malcolm Hunt looked stumped. He looked from Norma to the Dona and back to Norma. "Well," he said, "most people write their congressmen."
"No se. We don't write such good letters. I don't think we have any congressman out here anyway, do we? We have a mayor, Jimmy Soltovedas. But I don't think we have any congressman." She pronounced the word in English, making it stand out from the rest of her speech like a curse or a totally new concept. "Si hay," she went on, "If we do, I haven't seen him. Probably he doesn't give a shit. And also we don't know how to use dynamite. What we know how to do is make nice things out of paper. Flowers, pinatas, cascarones. And we sew things. That's what we ladies here do."
I smiled, thinking of Jack following old habits, turning around three times on the kitchen floor and lying down to dream of a nest in the grass.
"But why peacocks, what's the history?" Malcolm persisted, after hearing the fully translated explanation. "Tell me about the peacocks."
"What do you want to know about peacocks?" the Dona asked, giving him a blank look. The full Spanish name for peacock is pavo real, "royal turkey," but Mrs. Galvez let that one slip by.
"How did they get here?"
Dona Althea lifted her head, adjusted her shawl, leaned back and put her hands on her knees, which were spread wide apart under her black skirt. "Hace cien anos," she began. "More than one hundred years ago, my mother and her eight sisters came to this valley from Spain to bring light and happiness to the poor miners, who had no wives. They were the nine Gracela sisters: Althea, Renata, Hilaria, Carina, Julietta, Ursolina, Violetta, Camila, and Estrella."
She pronounced the names musically and slowly, drawing out the syllables and rolling the r's. They were the names of fairy princesses, but the story, in her high, sustained voice, was Biblical. It was the Genesis of Grace. And of Hallie and me. Our father's own grandmother-mother of Homero Nolina up in the graveyard-was one of those princesses: the red-haired, feisty one. I could picture her barefoot, her hair curly like Hallie's and coming loose from its knot. I saw her standing in the open front door of her house, shaking a soup spoon at her sisters' arrogant children who came to tease her own. Perhaps she was Ursolina, the little bear.
When Hallie and I were little I used to make up endless stories of where we came from, to lull her to sleep. She would steal into my bed after Doc Homer was asleep, and I would hold her, trying to protect her from the wind that blows on the heads of orphans and isolates them from the living, shouting children who have inherited the earth. "We came from Zanzibar," I would whisper with my mouth against her hair. "We came from Ireland. Our mother was a queen. The Queen of Potatoes."
I could never know the truth of my mother, but there was another story now. Another side. I closed my eyes and listened to Dona Althea with the joy of a child. I don't know what they heard on the CBS news. I heard a bedtime story thirty years late.
Chapter 22
22 Endangered Places
It rained and rained in Gracela Canyon. February passed behind a mask of clouds. It seemed like either the end of the world or the beginning.
The orchards, whose black branch tips had been inspected throughout the winter for latent signs of life, suddenly bloomed, all at once: pears, plums, apples, quince, their normal staggered cycle compressed by the odd weather into a single nuptial burst. Through my classroom window I watched drenched blossoms falling like wet snow.
Water, in Grace, is an all-or-nothing proposition, like happiness. When you have rain you have more than enough, just as when you're happy and in love and content with your life you can't remember how you ever could have felt cheated by fate. And vice versa. I knew, abstractly, that I'd been happy, but now that I was in pain again, that happiness was untouchable. It was a garish color picture of a place I had not been. Memory runs along deep, fixed channels in the brain, like electricity along its conduits; only a cataclysm can make the electrons rear up in shock and slide over into another channel. The human mind seems doomed to believe, as simply as a rooster believes, that where we are now is the only possibility.
But it isn't. In spite of the promise of plenty that dripped from the rooftops and gushed down Gracela Canyon's ravines throughout February, the winter rains would soon dry up. Then there would not be another drop until July. During those brittle months the taste and smell of rain would be lost to us, beyond the recollection even of children and the deepest root tips of trees. That is the way of the seasons in a desert place. Only the river ran continuously. The river was Grace's memory of water.
"Then why go to all the trouble?"
"What do you think we should do?"
She had him there; Malcolm Hunt looked stumped. He looked from Norma to the Dona and back to Norma. "Well," he said, "most people write their congressmen."
"No se. We don't write such good letters. I don't think we have any congressman out here anyway, do we? We have a mayor, Jimmy Soltovedas. But I don't think we have any congressman." She pronounced the word in English, making it stand out from the rest of her speech like a curse or a totally new concept. "Si hay," she went on, "If we do, I haven't seen him. Probably he doesn't give a shit. And also we don't know how to use dynamite. What we know how to do is make nice things out of paper. Flowers, pinatas, cascarones. And we sew things. That's what we ladies here do."
I smiled, thinking of Jack following old habits, turning around three times on the kitchen floor and lying down to dream of a nest in the grass.
"But why peacocks, what's the history?" Malcolm persisted, after hearing the fully translated explanation. "Tell me about the peacocks."
"What do you want to know about peacocks?" the Dona asked, giving him a blank look. The full Spanish name for peacock is pavo real, "royal turkey," but Mrs. Galvez let that one slip by.
"How did they get here?"
Dona Althea lifted her head, adjusted her shawl, leaned back and put her hands on her knees, which were spread wide apart under her black skirt. "Hace cien anos," she began. "More than one hundred years ago, my mother and her eight sisters came to this valley from Spain to bring light and happiness to the poor miners, who had no wives. They were the nine Gracela sisters: Althea, Renata, Hilaria, Carina, Julietta, Ursolina, Violetta, Camila, and Estrella."
She pronounced the names musically and slowly, drawing out the syllables and rolling the r's. They were the names of fairy princesses, but the story, in her high, sustained voice, was Biblical. It was the Genesis of Grace. And of Hallie and me. Our father's own grandmother-mother of Homero Nolina up in the graveyard-was one of those princesses: the red-haired, feisty one. I could picture her barefoot, her hair curly like Hallie's and coming loose from its knot. I saw her standing in the open front door of her house, shaking a soup spoon at her sisters' arrogant children who came to tease her own. Perhaps she was Ursolina, the little bear.
When Hallie and I were little I used to make up endless stories of where we came from, to lull her to sleep. She would steal into my bed after Doc Homer was asleep, and I would hold her, trying to protect her from the wind that blows on the heads of orphans and isolates them from the living, shouting children who have inherited the earth. "We came from Zanzibar," I would whisper with my mouth against her hair. "We came from Ireland. Our mother was a queen. The Queen of Potatoes."
I could never know the truth of my mother, but there was another story now. Another side. I closed my eyes and listened to Dona Althea with the joy of a child. I don't know what they heard on the CBS news. I heard a bedtime story thirty years late.
Chapter 22
22 Endangered Places
It rained and rained in Gracela Canyon. February passed behind a mask of clouds. It seemed like either the end of the world or the beginning.
The orchards, whose black branch tips had been inspected throughout the winter for latent signs of life, suddenly bloomed, all at once: pears, plums, apples, quince, their normal staggered cycle compressed by the odd weather into a single nuptial burst. Through my classroom window I watched drenched blossoms falling like wet snow.
Water, in Grace, is an all-or-nothing proposition, like happiness. When you have rain you have more than enough, just as when you're happy and in love and content with your life you can't remember how you ever could have felt cheated by fate. And vice versa. I knew, abstractly, that I'd been happy, but now that I was in pain again, that happiness was untouchable. It was a garish color picture of a place I had not been. Memory runs along deep, fixed channels in the brain, like electricity along its conduits; only a cataclysm can make the electrons rear up in shock and slide over into another channel. The human mind seems doomed to believe, as simply as a rooster believes, that where we are now is the only possibility.
But it isn't. In spite of the promise of plenty that dripped from the rooftops and gushed down Gracela Canyon's ravines throughout February, the winter rains would soon dry up. Then there would not be another drop until July. During those brittle months the taste and smell of rain would be lost to us, beyond the recollection even of children and the deepest root tips of trees. That is the way of the seasons in a desert place. Only the river ran continuously. The river was Grace's memory of water.
