Cloven Hooves

Down into the basement, rattling down the steep old stairs. Down here it is like a den, beds here, walls there, more beds, more walls. A veritable maze of nesting places for children, stacked bunk beds, green metal army surplus bunks, a menagerie of dressers, every horizontal surface festooned with laundry both clean and dirty, with papers, books, and a scattering of toys. I change clothes, pulling on layer upon layer upon layer of worn-out jeans and corduroy pants and T-shirts and shirts and sweaters and a surplus US Air Force parka. Put on my socks, my brothers’ socks, and my father’s socks and a pair of canvas military surplus mukluks. And up the stairs and out the door with Rinky at my heels. Disappear into the night of the forest. Run silently down the rabbit paths, bent almost double to keep from disturbing the snow that rests so delicately upon each twig and swooping branch. Rinky ranges ahead and beside and beyond and behind, but is always there whenever I pause and crouch down in the snow. He grabs the sleeve of my old parka, leaving teeth marks in the fabric. Sooner or later, all my clothes bear the mark of his teeth. I do not mind. He tugs at me until I rise, and then we range together, he and I, following the paths we have created and keep packed, looking to see what is different from the last time we passed this way. Here is the blood-speckled trampling of the snow that marks a fox’s kill. Here something has gnawed the bark from a fallen branch, and there something large and heavy has crossed our path. This trail and its faint musk fills me with excitement. Moose. Moose in our woods. The time will be soon.

I never need to tell my mother when I have found signs of moose. She knows. Perhaps she is a witch, the way she knows. I will find the knives sharpened on the counter, I will see a new roll of butcher paper. Days ahead of time. Then, one evening, it will happen. All six of us will be clustered around her table, our heads bent over our books. One cannot move an elbow lest one obscure a sibling’s math book, shuffle the pages of someone’s report. Pencils scratch, the dogs snore beneath the table, someone mutters over a stubborn calculation. It is unnaturally quiet for a house inhabited by eight people. My sisters have their hair in curlers, there is the muted chink-chink of my father’s pipe against the ashtray.

Then it happens.

“Evelyn. Turn off the lights.”

My mother is standing close to the cold blackness of a window. I rise and turn off all the lights, flicking switches until the darkness outside flows in from the windows, oozes out from under the couch, and fills up the room. No one moves, save my father. As I stand by the light switch in the darkness, I hear his heavy tread as he crosses the room to stand beside my mother. They peer out the window and speak softly to each other.

If I am silent and unobtrusive, I can slip to a parallel window and likewise peer forth. They will be in the garden, pawing the snow away from what remains of the cabbage patch, churning to the surface a scatter of frozen leaves, a half-rotted head, a tough green stalk now frozen solid. They remind me of ships, tall sailing ships, I cannot say why. This time of year their racks have fallen, leaving their heads misshapen and knobby. Their noses are long and seem saggy, like stuffed animals without enough stuffing. Their huge Mickey Mouse ears swivel in the darkness like antennae, but they are not really alert. Their attention is all for the paltry leaves of cabbage, the frozen broccoli stalks, the forgotten head of cauliflower they have churned to the surface. They are unaware of the darkened house and the silent watchers marking one of them for death.

There are four this time. There is a game I play, predicting which one we will take down. I play it now. Not the cow. Never shoot the goose that lays the golden eggs. Leave the cow. Not the old bull. Why he is with them now, at this time of year, I will never understand. But there he is, and his meat is sure to be tough. That leaves two, the young calf, born this spring by the look of him, and the older calf from the spring before. It will be him, the older calf, I am sure. But of this I say nothing aloud. The chain of command does not appreciate such speculations.

“Let’s get ready,” says my father. And it is all he needs to say. My younger sister and my two little brothers are already gathering their books and heading for the basement. They are all still too small to be anything but a nuisance out there tonight. I hear them go down the darkened stairs, and in a moment a light clicks on in the basement. Yellow light wells up from the stairs, bleeds into the darkness around me, lending vague shapes to the hulking darkness of the furniture. Sissy and Candy, my two elder sisters, drift toward the basement and down the stairs to find suitable clothing. It will be hard for them. They own very little that can tolerate blood spatters and possible rips, very little that will keep out the deep cold as we crouch to our bloody work. I am already by the door, pulling on the garments I frequently leave heaped there, much to my sisters’ disdain. By the time my father has pulled on his parka and chambered a round into the 30.06, I am ready.

He jerks the door open, letting cold spill into the warm room. The icy air condenses as it flows into the room, making great ghost fogs that venture a short way into the house before disintegrating. He shuts the door quickly behind him but not before I have slipped out. He does not notice me, or he ignores me; it doesn’t matter which, it amounts to the same thing. I shadow him as he steps from the porch.

With night has come a greater cold. It is a cold that freezes the tiny hairs inside my nose, that makes my eyelashes stick together for a fraction of an instant when I blink my eyes. I push my muffler up over my nose and mouth to shelter my lungs from the icy air, and try to resist the temptation to lick my dry lips. All moisture has been frozen from the air, and the snow is a dry dust that creaks under my father’s weight as he makes his way across the yard. We move slowly, drifting in the night like bodiless shadows, not stalking the moose, but moving easily and quietly in the darkness.

The old bull lifts his head. A frozen cabbage leaf dangles from his pendulous lips. He alone watches us, his ears cupping toward us like petitioning hands. He gives no sign of alarm, issues no warning snort. He only watches. I wonder if he knows what is to come.

My father stops and I halt behind him. We stand silently. He doesn’t turn to look at me, but proffers the six-cell flashlight he has been carrying. “Put the spot right behind his ear,” he says. I nod as I take the flashlight, but he doesn’t see me.

He doesn’t need to turn and watch me nod to know I will obey. He is my father. He rules this night. He is the one who knows where to send the bullet to drop the moose. On other nights, he has stood in this yard and shown me the constellations. He has shown me Sputnik winking by, and told me that if I want it badly enough, I can go to the moon someday. He believes this of me, that I can do anything I want, if I want to do it badly enough. It is both terrifying and uplifting to have someone believe in you so. I point the flashlight at the young bull we have chosen. I watch my father lift his rifle to his shoulder. When he is ready, he makes a tiny move that is less than a nod. I push the button on the flashlight.

The light explodes, bursting the moose into reality. The shadowy shape leaps into detail, frosted whiskers drooping from his muzzle, shaggy hair on his neck, a great fringed ear, a single lambent eye capturing my light. In less than a breath, the rifle explodes beside me, and the moose falls, dropping from my circle of light into death and darkness.

It is done.

I click off the light. We stand in the darkness together, my father and I, looking at the thing we have done.

Animals are put together so neatly, almost as if they were intended to be taken apart. Interior organs packed together like a Chinese wood puzzle, awaiting the human hand, bared to winter but warm with fresh blood as it snakes in to lift the liver up, free it with a swipe of the knife. I put the liver in the bowl that is nestled in the snow, and surreptitiously take a lick from the knife. Electric. Fresh blood is electric on the tongue, like sparks snapping inside my mouth. It warms me, almost. An hour has passed since the shot, and I have not been inside. My toes are wooden inside my mukluks. I should have worn more socks.

My father’s flashlight finds me. “Did you get the heart and liver?” he asks, and I nod briefly toward the heavy bowl. He tosses the tongue he has just freed, and I catch it deftly in the bowl. I rise with it and start toward the house. “Take the knives,” my father tells me. “They need sharpening again.” They lie in a row on the packed snow beside the body, and I stoop awkwardly to gather them. Their metal blades are cold, and one sticks painfully to my bared fingers.

I am halfway to the house when Sissy reaches me. She comes from the warmth and light, and I can tell she still has her hair curlers in under the woolen knit cap she wears. “I’ll take them,” she tells me eagerly, and I let her. She would rather take the gut meat into the house, rather sit by the table with the oil and stone and put the edges back on the knives, than crouch in the darkness by the fallen moose, rendering it into meat. I do not understand her.

I think about it as my father and I work to break the moose up into smaller pieces. Some of it is hatchet and ax work, some of it is for the meat saw. Head off, front quarters, hindquarters, backstrap, neck. My sisters are sickened by this work. They flee the great darks and the heavy cold of the night, they shun the bright blood and the musky smell of just downed meat. Even my father does this work grudgingly, thinking of getting up at six tomorrow to go to work, wondering if we will be caught poaching, cursing when the heavy head refuses to come free of the neck section. None of them feel it the way I do.

They can no more understand what I feel than I can comprehend their feelings. I know what they think. They feel debased by this confrontation. Meat from the store in cardboard trays wrapped in plastic, meat with tidy price stickers and labels, that meat is food, is flank steak, chuck roast, ground round. None of it is labeled, “Cut from the shoulder of a large dead animal in a snowy field at night.” There is nothing to remind them that the hide was pulled away from the flesh while it was still warm, and the steam rose into the night to the greedy waiting stars. They do not want to remember they are predators, carnivores. They’d rather eat the flabby muscles of an animal raised hock-deep in its own shit, castrated and injected and inspected, a smack in the head to fell it, a large white room to chill it, humming machines to cut it into neat slices. De-animalized meat. The thought disgusts me, as they are disgusted when they think of their sister putting her knife to the dead flesh of an animal, kneeling on it as she pushes the blade into the dead flesh. Once the guts are out of the way, the hindquarters are separated from the rest of the animal at the place where the ribs stop and only the spine connects. We hurry, hacking at it with knives and saw and hatchet, trying to ruin as little steak as possible. Then the hindquarters are spread, to reveal the inner side of the backbone, and we work down it with a hatchet, and then knives, cleaving it into the separate legs.

“You done?” my father asks, and when I nod he takes a grip on one hindquarter and heaves it up. I help, guiding more than lifting, and the leg is dumped onto a piece of polyethylene sheeting. I am obscurely shamed that I could not lift the moose quarter by myself, and so I am determined that I will at least ferry it to the garage on my own. There my father will tie a piece of yellow nylon rope to it, piercing through the leg between the bone and the long tendon, and hoist it up to the rafters and let it sullenly drip blood for four or five days. Bleeding the meat, this is called, and it is important, for otherwise the meat will be tough and taste gamey. But for now my father has turned back to his butchering, is using the hatchet to chop through the vertebrae. A tiny fragment of splintered bone flies up to sting my cheek. It reminds me of what I am supposed to be doing.

The piece of black polyethylene is the size of a bed sheet. I turn my back to it, grip two corners of it, and bring the corners up over my shoulders like a harness. The moose leg is heavy, but the polyethylene is slick against the snow. Once I have it moving, it glides along over the snow behind me. When we reach the packed snow of the driveway, it moves even more easily. I roll the leg off the sheeting onto clean snow by the garage, and run back for another load.

Before midnight, all the meat is hung. My father and I contemplate it. It swings slowly, eerily, with gentle creakings. The garage is unheated, but it leeches enough heat from the house that it stays just above freezing. The slow patterning of blood drips will continue to speckle the concrete floor. We nod in satisfaction, and my father slowly tamps tobacco into his pipe. He lights it, sucks it noisily to life, and then turns away from the moose. I pull the string that turns out the light. We step out of the garage into the night, and he reaches up to pull the heavy door down. We are in the blackness of night again.

My father’s streamer of pipe smoke rises up, like the steam from the moose’s exposed entrails. He has shoveled snow over the gut sack to hide it. By morning it will have frozen solid. The dogs will dig down to it, and spend weeks nibbling and licking at the frozen delight until it is gone. There remains only the head. We both know that.

“Get rid of the head,” my father says simply, and turns toward the house. I watch him go. The windows of the house are warm and yellow. I know that by now my brothers and younger sisters are in bed, probably my older sisters as well. The skin of my face is so cold, it feels like a stiff cardboard mask. I can move my toes, pressing them down hard against my mukluk soles, and awaken them to pain. The moisture of my breath has frozen into a solid cake of frost on the muffler over my mouth. I want to go in.

But there is the head.

The door thuds behind my father and I am alone in the dark. I dare not even go in to fetch Rinky for company, for he would be too interested in the head and guts. He’d only make the task harder. I snatch up the black polyethylene sheeting and start off toward the garden.

A head is not as big as a hindquarter, but it is an awkward shape, and heavier than you might think. The best way to lift one is to grip it by the bases of both ears, keeping the hacked-off neck turned away. The nose is pressed to my chest, the empty jaws gape tonguelessly. Even in the frigid air, the smell of moose and blood is strong. I turn quickly, letting go of the ears so that the momentum of my turn flings the head neatly onto the polyethylene sheet. I diaper the head up in the sheet, leaving myself one corner to use as a handle.

The night is clear and cold. I turn my back to the house with its warm yellow windows, and I pull. The head rides along at my heels as I leave the yard and the tire-packed snow of the driveway and enter the woods. I have already decided where I am going.

I follow one of my favorite trails. The trees are cottonwood and birch, alder and diamond willow. My path winds among them. Smaller bushes claw briefly at my burden, but don’t manage to rip the plastic. I drag it on, leaving a peculiar wrinkled trail, like the path of a giant worm. The head pulls easily, the polyethylene gliding over the snow. I am able to walk at a normal pace, and fifteen minutes later I am where I wish to be.

Here there are spruce trees, sudden groves of them in the deciduous forest. For some reason, they grow in irregular huddles, in groups of ten and fourteen and nine. But almost always in the center of each huddle is a tiny clear space where no trees grow. I get down on my knees and crawl beneath the outer swoop of branches, past a trunk, and here the snow is shallower, for the upper branches have caught most of it. Then out again, through deeper snow, and I am suddenly inside the grove. A moat of snow and a wall of needled branches surround me. Looking straight up, I can see the black sky and the Dipper hung on it. Unceremoniously, I dump the head here and leave it. I wad the black plastic up under my arm and crawl out again. The walk home seems longer than the walk here. The woods seem lonelier and darker, and I am shivering before the lights of the house crack through the trees to beckon me on.

My father is in the bathtub, my mother is reading in bed when I come in. No one calls out or questions me. No one save Rinky greets me, and he greets me with a wriggle of delight, his hackles rising excitedly at my blood smell. I shed my outer clothing by the door, and do not turn on the light as I go down the stairs. Everyone down here is asleep, vague blanketed shapes like furniture in storage. I am still shivering when I strip in the darkened basement and climb into bed. Rinky is snorting and rooting through my bloodied clothing as I fall asleep, my head cradled on arms and hands that still smell of sweet, sticky blood. I dream of bright white sunlight on the snow, and a faun gouging the frosted brown eyes from a moose skull and slipping them into his mouth. It is a good dream, and I smile in my sleep.

FIVE (#u4a6bf522-82d9-5d2a-b2e2-dab0ce50d7b3)

Tacoma

The Farm

June 1976

Ten or fifteen years ago, the farm was a dairy farm. And the room that I stand in now was genteelly referred to as the milking parlor. Now it is a living room, and is part of what Mother Maurie calls “the little house” as opposed to her own “big house.” When she speaks of it to company, she calls it “the guest cottage,” but to her own family she calls it “the little house.” I find this an interesting dichotomy. Lately I find interesting dichotomies in many things Mother Maurie says.

It is like a cancer, growing in me, a constant hidden nastiness I can no longer control. A little secret anger, like red eyes in the dark. When I first came down to visit, and was shown the many ways in which the Potter women were vastly superior to me, I was willing to concede to them. It was the easiest path. It was also hard to argue. I cannot shop, I do not color coordinate, I have never ordered from the Avon Lady or hostessed a Tupperware party. I was willing to be unschooled and unsophisticated, the country mouse come down from her little Alaskan cabin to be overawed by the style and gaiety of the life in the Lower Forty-Eight. A week, a month, or even two, I could sustain the proper humility. But now it is all wearing thin. I am becoming defensive about my inferiority, protective of it. I will be as I am. I am also beginning to suspect their veneer may be only contac paper. The Avon fragrances are beginning to smell suspiciously like air freshener. My anger is a simmering acid thing, eating me from the inside out, whetting my tongue, putting cruel edges on my every thought.

But that is my problem, not Mother Maurie’s. And this living room is also my problem. We have been guests here since March. It is a bright and cheerful little place, cuter than the cottage of the Seven Dwarfs. There are big windows with wispy white curtains that let the bright sun spill in onto the white tiled floors. The furniture is white wicker and yellow cushions. There is a little glass-topped table, too unbearably cute to be useful, homey little rugs scattered everywhere, and two kerosene lamps with colored water in them instead of kerosene.

The kitchen is even better. There is a tiny white range, with a little red ceramic kettle sitting on it. The kettle is a masterpiece of Woolworth’s engineering, flawlessly useless, with a spout that dribbles and a body that holds less than three cups of water. Next to it, centered on the range, is a spoon holder shaped like a yellow ducky. The tiny kitchen table has a red-checkered oilcloth on it. There are plaques on the wall that say things about the Number One Cook, and For This I Went to College, and No Matter Where I Serve My Guests, They Seem to Like My Kitchen Best. There is a cookie jar shaped like a fat pink piggy. The dishes in the cupboards are sturdy plastic with jolly red roosters on every plate.

The bedroom is okay. The patchwork quilt came from Sears, and the patches are only a pattern, but I can forgive that. I can even forgive the lampshades with the covered bridges painted on them, and the bases of the lamps that are shaped like old-fashioned pumps.

What I cannot forgive is the bathroom. The theme seems to be that defecating children are cute. On a plaque over the toilet, a curly-haired cherub squats on a potty. There is also an adorable little statuette of a small boy with his bib coveralls around his ankles and a look of concentration on his pink-cheeked face as he sits on his little ceramic toilet. Even the toilet has theme clothing. The tank sweater and lid hat match, both depicting a little boy, his innocent bare butt toward us as he “waters mother’s flowers.” There is even an ashtray shaped like a toilet, with the motto “put your dead butts here” on it. The final touch is a tall book that hangs on a chain by the toilet. The cover proclaims it as Poems for the John. Few things are more excruciating than to be trying to make breakfast in a cutesy kitchen, and to have one’s spouse holler from the john, “Hey, honey, listen to this one.” Lately, Tom has begun to subject me to this.

It is a trap I have fallen into, all unawares. Even as we carried our suitcases in, Mother Maurie painstakingly pointed out to me that the furniture was “practically new, not a scratch on it.” She walked me through the guest house, showing me all its marvels, and requiring me to chuckle appreciatively as she giggled over the “naughty but cute” bathroom things. Steffie did the decorating, she told me. Steffie may someday take some classes in interior decorating, she seems to have such a flair for it. Some of the ideas, she confided, Steffie got from magazines, but most of it came right out of her own head. And isn’t that amazing?

And of course Mother Maurie knows she can trust me to keep it neat as a pin, and to make sure “that terrible Tom” takes his boots off before he comes in, and don’t let “that rascal Teddy” roughhouse all over the furniture, it would just break Steffie’s heart if anything happened to this place, all the work she put into it to make it just as cute as a doll’s house … And I nodded and blithely agreed, for such an agreement seems easy when you are only planning to stay a month and may not even unpack your suitcase all the way.

But that was March and it is June. Useless to whimper for my sturdy little house in the woods near Ace Lake on the Old Nenana Road. Foolish to think of a place with painted plywood floors, and a boot-scraper driven into the ground outside the door. I miss my sagging couch with its ratty afghan that all three of us can cuddle under while Teddy hears his good-night tale from Just So Stories. I miss the high bunk that Tom built for Teddy, with all the shelves under it for toys and books. I miss my wood stove, and the sound of pinecones falling onto the corrugated tin roof at night. I want to go home.

But we can’t. Not just yet, but soon, Tom tells me. As soon as Bix is better. Bix, Ellie’s husband, is a very slow healer. Ellie is the eldest daughter in the Potter household, seldom spoken of, but there, nonetheless. And Bix is her sturdy hired-hand husband, as practical as a strike-anywhere kitchen match. A good son-in-law, none too bright, but handy around the place. Until he broke his collarbone. It’s hard to run a tractor with a broken collarbone, and the fields have to be tilled and planted. The farm has to look prosperous and well run, for in front of the farm, less than an acre away, is the farm equipment dealership that fronts onto the highway. Tom’s father owns it and runs it, with Mother Maurie and Steffie to do the bookwork and order parts and dust the shelves. Tom’s older sister, Ellie, keeps the big house in order for them all. And Ellie’s husband, as big and good-natured and farmy as she is, does his best to help out anywhere he can. But he’s not the same as a real son, Tom has confided ingenuously to me, not to his dad. Dick Potter likes to know that the crucial work of the farm is in family hands. It’s just like that fool Bix to have broken his collarbone in spring, the busiest time of the year. And so Tom must stay, just a little longer, to get the fields tilled and planted, to move the irrigation pipe that waters the tender young plants, to mechanic on the equipment that does the work, and to be Dick’s son. It is his family. Family is important. I understand.

Sometimes.

Sometimes I am sweetly reasonable. Sometimes I understand all that Tom tells me, about how important his family is, and that they expect and need his loyalty. There is something all-American about the concept of the extended family and the old family farm, and pulling together to get through the hard times. Sometimes it is a thing I want Teddy to learn, and sometimes I want him to grow up remembering early mornings on the farm, feeding the chickens, riding the tractor behind Bix or Tom, going to town in Grandpa’s red truck, sitting by Grandma’s feet and watching television in the evening.

And sometimes I want them back, all to myself, my Tom, my Teddy. I don’t want to be Tom’s wife. I want to be Evelyn, in the cabin Tom and I built, in a place more forest than farm. I want to go home to my own house, to my own furniture, to my books and garden and woods. I don’t want to be careful of the rattan furniture and the bright cushions that show every smear of dirt. I want to flop down on my own couch and sigh heavily, and let all the tension out. I want to be home.