Showing posts with label fiction. Show all posts
Showing posts with label fiction. Show all posts

Friday, December 4, 2015

Pretty in Print

Two recent publications that can’t be read online: the first in Gray’s Sporting Journal’s fortieth anniversary issue, the next in Songs of Ourselves, from Blue Heron Book Works.

If you can’t get to a newsstand, here’s what the opening spread of the Gray’s story looks like on an iPad.


The painting is by Alberto Rey and—in case you were hoping to add it to your collection—is already owned by the University of Virginia.

The story itself is set in Mexico and Montana. Although it’s absolutely fiction, the narrative roughly chronicles the puzzlement I feel both when stalking bonefish on the flats and trying to understand the so-called new economy. (Remember Touch America?)

My contribution to Songs of Ourselves, on the other hand, feels like a big departure from my usual work. Subtitled America’s Interior Landscape, the book wants to identify an idea that I’ve been searching for from Morocco to Mongolia: “the thing that makes us American.” As I was telling my sister today, my bit—which I called “The Journal of Infectious Diseases”—is “basically a memoir in the form of a collage.”
According to the Journal of Infectious Diseases, the most common reason for travel among tourists who contract cholera is—you guessed it—a visit with the relatives.




Monday, January 5, 2015

Happy Is the Man

For some odd reason, it’s often easier to be grateful in the first week of January than in the third week. Today I’m grateful that the Web is like the Yellowstone in summer flood, roiling with debris, reaching high into the willows to reclaim the previous year’s (or decade’s) parched husks.


I wrote “Happy Is the Man” in 2004, while we were living in the Paradise Valley, and modeled the title character after an angler I met on Western New York’s Oak Orchard Creek. You can read the story on Big Sky Journal’s site, with photos by Ken Takata and Barry and Cathy Beck.

Thursday, August 14, 2014

In Good Company: 2014 New Rivers Press Books

Am very proud (and not a little relieved) to report that the New Rivers Press Electronic Book Series did not perish under my influence. In fact, the number of titles has now tripled.

This year’s winners include Click, a novel by Rebecca Cook, and Up the Hill, a collection of stories by James Calvin Schaap. The opening of Click propels you into the story at astonishingly lyrical speed, with great lines like “a face just to the left of lovely.” Schaap’s stories, by contrast, proceed with the measured grace of a voice from beyond the veil. As one narrator notes, “we're fluid up here.”

 

Wednesday, May 14, 2014

What to Read When You're Absolutely Buried

Sometimes you feel like two vast and trunkless legs of stone standing in the desert, even if you actually make your home on a tropical island. In that state of mind, the thought of opening a full-length novel can seem like an invitation to despair.


Rather than submit to such hopelessness, I've been reading short books. On the nightstand for the past few months: The Invention of Morel by Adolfo Bioy Casares, John Steinbeck's The Red Pony, and The Guest Cat by Takashi Hiraide.

The Invention of Morel was first published in 1940, with a prologue by Jorge Luis Borges. Though Borges called it "perfect," I think that description misses part of the book's great charm. It's science fiction in the same sense that Kafka's "The Metamorphosis" is science fiction, and has inspired adaptations for screen or stage by many notables, from Alain Resnais and Alain Robbe-Grillet to Richard Colton and Jared Green.

One of my favorite passages occurs as the fugitive-narrator contemplates the possibility of an afterlife: "this island," he thinks, "may be the purgatory or the heaven . . . (the possibility of several heavens has already been suggested; if only one existed, and if everyone went there and found a happy marriage and literary meetings on Wednesdays, many of us would have stopped dying)."

The 2003 edition from New York Review Books includes the original illustrations by Borges' sister Norah.

The four so-called chapters in The Red Pony were written from 1933 to 1937 but did not surface in print together until 1945. Understanding this fact up front might help you to negotiate the expectations created by the title story. I was unaware of the book's publishing history and read it with a combination of awe and wonder: in awe of its power, and wondering how in the world it would end. In a line like "Jody liked the things he had to do as long as they weren't routine things," Steinbeck reveals great sympathy for human frailty but offers scant comfort.

The Guest Cat by Takashi Hiraide first appeared in 2001, although readers of English had to wait for New Directions to publish a translation in 2014. The book's rise to bestsellerdom has been attributed to a review by NPR's Juan Vidal, which might be true. On the surface, it's the story of a copy editor and his wife, living in the suburbs of Tokyo, hunting for a new apartment, making friends with a neighbor's cat. Perhaps I found it so affecting because all of those details once applied to me, personally, but the more likely source of its success are sentences like these: "They were the color of topaz, and several iridescent violet streaks ran down their backs. If you poured boiling water over them, the purple streaks turned to bronze." Or: "I'd read in a book that the male of the species is solitary and tends to stake out a fairly extensive territory, and prefers being near water."



Tuesday, November 5, 2013

South Florida Takes Notice of A Novel

Well, maybe notice is too optimistic a word, but the book did receive a little press while I was working in Mongolia. Pompano Today, a regional magazine (you can find the complete file here), published this interview:


And earlier in the summer, the Key West Citizen ran this bit:


Saturday, July 6, 2013

Where You'll Find Me

Look for "When You Must Go" in the May/June 2013 issue of Gray's Sporting Journal, and "A Different Sort of Ghost" in March/April, both available for the iPad.

"When You Must Go" is mostly set in Montana, but the first draft was written in Shanghai. "A Different Sort of Ghost" takes place in the Maldives, after the tsunami, and first found paper in Vermont.

On PhoneFiction,  you can locate "An Angel in the Juvenile Phase" and "Homesick." The stories on this site can be read on any device, even a phone (hence the name), and no apps are required. The catalog is organized by time commitment alone.

I wrote "Angel" while living in Missoula but thinking about the Keys, and "Homesick" while living in Missoula and remembering Los Angeles.

If there's a theme here, I'm blind to it. Maybe I just need a little distance . . .

Sunday, June 2, 2013

A First Novel after Fifty . . .

I've spent the past few decades proving that I'm no prodigy, with some success. My first short story did not appear in print until I was thirty-one, and that first article in the New York Times did not arrive until I reached forty.

John McPhee, by contrast, published at least fifteen books before age fifty. Very good books, written at what he considers a painstakingly slow pace.

Such comparisons are silly, of course, but if you read a lot, and spend many hours in bookstores, it's hard not to wonder at one's own insufficiencies.

Now that I've been lucky enough to pass fifty—and see my first novel available on Amazon—I discover that no less an authority than the BBC has declared that "fifty is the perfect age to write a novel."

It's a questionable pronouncement, based on this lone statistic: "the average age of writers who topped the hardback fiction section of the New York Times Bestseller List from 1955–2004 was 50.5 years." Which means, by my calculations, that the actual writing must have occurred when the author's average age was quite a bit less than fifty.

But the reason I bring all this up boils down to one word: hope. Anyone who knows me well will attest to the fact that I am easily distracted. This is not to say that I don't work very hard, only that my mind is quick to focus on the next item of interest, which is equally likely to be a poem or a paragraph, a bird or a fish.

So if I can do it, you can too . . .


 



Tuesday, February 26, 2013

Judging a Cover by Its Book

This just received from Ryan Christiansen at New Rivers Press: the cover art for my novel, sized for e-book sales at the unusual (to my eye) proportions of 1562 X 2500 pixels.




Seeing what was once a daydream made digitally concrete made me wonder how I should describe, in casual conversation, what the book is really about. When I was writing it, I used to say it was about a woman's search for sperm. That summary still holds, more or less, although it's not immediately apparent from this image.

Of course, many of us don't use the cover to choose what we read. The two books on the top of my pile at the moment are Clarice Lispector's The Hour of the Star and A. St. J. MacDonald's Circumventing the Mahseer and Other Sporting Fish in India and Burma.

Originally published in 1977, The Hour of the Star was translated from the Portuguese by Benjamin Moser in 2011. The book is very short and very fine. Some of the sentences are so odd that they defy memorization. Others, like this one, have a sort of fractured indelibility:


Because she needed to find herself and suffering a little is a way of finding.

MacDonald's book was first published in 1948 and contains many of the worst notions of empire-builders and so-called sportsmen, with no distinction made between catching and killing and little sense of either limit or proportion. Page 81 includes this advice:


There is no better way of meeting the local people than to talk to them in their own homes about sport and their crops. Play the gramophone to them, dress their sores, give the children a few sweets, and keep both ears open for local ideas. The primitive people, such as one usually meets on a fishing trip, are largely dependent on their wits for fish and flesh, and have experience handed down to them for generations. Exploit and adapt their suggestions and ideas, and with your own knowledge you can very soon arrive at a killing method.

Until today, I had never really wondered how readers discovered such books (other than by lucky chance), or how they might find mine. Another reason to be grateful for publishers . . .








Tuesday, January 22, 2013

In Praise of Small Triumphs (and Small Presses)


Like anyone who has suffered a passing acquaintance with rejection,  I enjoy stories of victory over long odds, tales of perseverance and pig-headedness that prove the value of a previously unknown or unloved work.

An early novel by one of my favorite contemporary authors, James Lee Burke, was rejected 111 times over nine years of submissions. When finally published by Louisiana State University Press, The Lost Get-Back Boogie was nominated for the Pulitzer Prize. Norman Maclean's A River Runs Through It also endured multiple rejections, including its famous mistreatment at Alfred A. Knopf, which prompted one of the great revenge letters of all time. Maclean's novella was eventually released by the University of Chicago Press and also received a Pulitzer nomination.

I don't mean to compare myself with these writers, except in our shared familiarity with rejection. In 1999, when my family was living in Tokyo, I finished a draft of a novel set in the Florida Keys, where I'd survived the Reagan years by working as a dockmaster, fishing guide, and tropical fish collector. (See my story about going back to the Keys in Fly Fisherman's Seasonable Angler anthology.)

Over the next decade, the manuscript was rejected by many, many agents and publishing houses, although there were a few tantalizingly close calls. During that time I revised the manuscript from beginning to end and found homes for some of my short stories in both literary magazines and outdoor publications, such as Gray's Sporting Journal.

By 2011, I'd given up on the Keys project and started a new novel, set in Shanghai. And then, on a whim, I submitted it to the 2012 New Rivers Press Electronic Book Series Competition. Yesterday, editor Ryan Christiansen e-mailed that it had won.


Thursday, August 25, 2011

"We could not calculate directions between Noord, Aruba and Dadal, Mongolia"

Headed for Mongolia tomorrow so that must mean the earth has traveled completely around the sun again. We've moved since last August, of course, but only a few miles, toward the northern tip of the island.

A few publications on the horizon: a story about marlin and Cabo San Lucas in the September Gray's Sporting Journal, another selected for an anthology from Fly Fisherman magazine, and a brand-new work, set in Shanghai, forthcoming in American Fiction, volume 12.


The anthologized piece is one of my contributions to "The Seasonable Angler," originally published in 2002. It's called "On the Flats," and is about the joys of not catching bonefish.


Tuesday, October 2, 2007

Home from Mongolia

Now that the taimen season has ended in Mongolia, I’m back in Vermont sifting through notes and photographs. After each long day on the river, I didn’t read as much as usual, but two books deserve your attention.



David Malouf’s novel, An Imaginary Life, offers the sort of sentences that you’ll quote to yourself in times of trouble, such as: “What is beautiful is the way one thing is fitted perfectly to another, and our ingenuity is also beautiful in finding the necessary correspondence between things. It is a kind of poetry, all this business with nets and hooks, these old analogies.”

The other book, Harry Middleton’s The Earth is Enough, was taken on loan from an old friend. It’s nominally about flyfishing but rather more concerned with family, and memory, and the escape from memory. I found it frustrating to read, almost maddeningly in need of a close edit, and peculiarly moving.

Wednesday, August 1, 2007

More about Yellowstone


Like almost every former Yellowstone employee, I think of the park as a shrine and a haven. I worked there as a fishing guide and a woodcutter many years ago, then returned in 1994 as the Moran artist-in-residence. The following story was a runner-up for the Robert Traver Award, and appeared in the September/October 1997 issue of Fly Rod & Reel.


Letter from Yellowstone

I remember Yellowstone in 1978 the way the snake remembers Eden: like a good dream shortchanged, heaven in flames, a paradise ruined through my own corruption. So you of all people should understand why I have to go back every year. You knew Laurie then, loved her too, I suppose, though we never spoke of it, never negotiated the right or honest approach to love. You stood beside me on the sun-warmed dock at Grant Village, in our Y. P. Company uniforms, and watched her dive into Yellowstone Lake to swim with the otters, the water barely fifty degrees in July. And you watched her bite the head off a wriggling twelve-inch cutthroat and casually spit the head into a bucket, the way an ordinary person might spit out a watermelon seed. And you watched her climb the last few hundred feet of Avalanche Peak in a lightning storm, then dare us to follow her by flying her shirt from one outstretched arm, like a signal flag. You might even have married her had I not been desperate enough to quit the best job of my life three weeks early to drive with her to New Jersey for her sister’s wedding. But after sixty-four hours in a borrowed Volkswagen, listening to her rave about the splendor of rugby and the sanctity of marriage and tarpon on a fly, I forgot all about friendship. When it was my turn to drive, I spent most of the time stealing sidelong glances at the passenger seat, admiring the play of headlights in her hair, watching her face grow softer with sleep, and making plans to transfer three years of credits to the university in her hometown, Missoula.

And now she’s gone to Costa Rica with some Orvis-endorsed guide from Livingston, to stalk permit on the flats and—as she says—to wander her options. Isn’t it sad that after fifteen years of more-or-less congenial divorce, it still hurts that she didn’t ask me first? It’s been that kind of summer in Missoula: a late June frost, then an early August one. The tomatoes turned directly from green to black, and the snap beans produced only one meager crop. I couldn’t seem to find time for the river, or when I did was so frantic to catch trout that I pulled the fly from their mouths. Laurie’s phone call raised a welt like one of those interstate bees that crashes into your bare forearm at highway speed, bumbles weakly inside the cab for a few seconds, then recovers just enough to sting you under the chin before escaping into the slipstream. She was cheerful as always, as sure of her good intentions as on that April morning when she announced that she’d bought a house in Livingston, and would be moving there with Marina the following week, and that it would probably be easier on me if I didn’t help them pack. I put down the phone and walked to the Clark Fork to catch my breath. At the confluence with the Bitterroot, two sandhill cranes lumbered over the bare-limbed cottonwoods—necks up, legs down—struggling like swimmers past their depth.

I haven’t recovered. For fifteen years, I’ve been trying not to prepare for the death of hope. Every few months we have a family dinner at Chico Hot Springs or Sir Scott’s Oasis. Every August we fish together on a favorite stretch of the Madison just inside the park boundary, and on those river days I can almost forget that we share only a family history—no present, no future, no geography. But her recent cheerfulness had a new lilt, an unnerving musicality that reminded me of our honeymoon in Alaska, the note of triumph as she’d set the hook in a steelhead bright from Prince William Sound: I’ve got a fish. I was already facing the prospect of winter without my stock of beans canned with dill weed and jalapeños, without trout in the freezer, without tomatoes dried on the picnic table and bottled in olive oil. If Laurie was in love again, and not with me, then where was I to go?

So I called Marina, the daughter we named after the old boatyard at Grant Village, a sophomore now at Montana State and seasonal waitress at Roosevelt Lodge, where you and I used to sit in the big rockers with our feet on the porch rail, sipping gin drinks and looking out over the sagebrush until the smell of barbecued ribs and baked beans almost overcame us. I asked her to meet me at Chico on Friday night so that we could drive into the park together, and she agreed with all of the cheerfulness inherited from her mother, and then I closed my eyes and saw two twenty-year-old shadows close together under the lodgepole pines: the shadow that might have been you, and the shadow that almost certainly was Laurie, her face lifted for a kiss.

Arrived Chico at midnight Friday, bearing two hundred miles of hunger and a hectic month’s worth of exhaustion. The kitchen had closed promptly at ten, and the dining room staff had just finished eating the last of the night’s unordered desserts. They looked pleased with their work—and only mildly apologetic. Happily, Marina and her friends had saved a few morsels from their plates, wrapped in aluminum foil fashioned into the shapes of swans. A medallion of beef, a sliver of venison, four miniature spears of asparagus, the wing and breast of a quail.

That held me to morning. After breakfast, we turned south underneath Emigrant Peak and headed for the park, Marina beside me in the pickup and a present from her affixed to the inside of the windshield—an employee’s entrance pass, silhouette of a white pelican beneath the word Yellowstone. As we hit the curves for Yankee Jim Canyon, I felt that familiar dizzy feeling—a sort of vertigo almost—when the truck seems to be rolling downhill, while the road is most definitely moving uphill, against the falling river. I only feel that way in two places: on Highway 191 from the Gallatin Gateway to West Yellowstone, and on U.S. 89, from Livingston to Gardiner. Perhaps it’s because I know that I’ll soon be in the park, a sort of premeditated giddiness that goes along with any return to a beloved place or person.

On that day the Yellowstone was running dirt-brown from a thunderstorm in the Lamar Valley and the sky was filled with pelicans, wheeling like oversized gulls in a great flock above the road. We craned our necks to see them as they passed over the windshield, their enormous wings flashing silver against the blue. They seemed drunk with flight, with the power to float unhindered on thin air. When we reached the stone arch outside the north entrance, a pronghorn skipped across the pavement as if possessed with that same power, each long leap more like a prelude to flight than an earthbound gait, the whole meadow like a runway.

I was sorry that you weren’t there, really I was. Sorry that you couldn’t feel the insane satisfaction it gave me to pass through the gate with an employee’s sticker on my windshield. To shift into second gear for the twisting climb to Mammoth that we made so many times with Laurie between us. Each switchback in that road was like a pleasant surprise—a surprise because I had memories for each one, and a pleasure because I remembered.

We fished Slough Creek that afternoon, taking turns with the one rod that I brought from Missoula, an old five-weight with a willowy mid-section that’s just right for daydreaming your way through a reach of pools and riffles. I dropped Marina at Roosevelt in time for her evening shift, then headed south towards Lake Hotel, brimful with the good fortune that is my daughter.

On the way up Dunraven, I got caught behind a motor yacht trolling for scenery at a leisurely fifteen knots. Instead of trying to pass, I laid off the accelerator and rolled down the windows. The hillsides below the summit of Mount Washburn were already tinged with the red of autumn. At eight thousand feet, the air smelled of fall, crisp and cool and faintly dusty, without the scent of growing things. To the east: the hulks of Druid Peak and the Thunderer glowering in the smoke of a late-season fire. To the south: forests of pine and fir like a ragged pelt on the flanks of the mountain, meadow grass gone golden with August, the Yellowstone River meandering through the Hayden Valley, and, creeping alongside the river, the glint of aluminum travel trailers in the setting sun.

Their sheepish procession reminded me of another day of fishing with Marina, on a stretch of the Madison that runs alongside the highway to West Yellowstone, when she was still in diapers and her mother still kissed me awake in the mornings. It was a warm, breezy afternoon and I was wading wet, flipping a big caddis nymph into the deep runs, while Marina watched over my shoulder from the safety of the baby pack. As we worked our way downstream, a cow elk walked out into the water below us, her neck and ears twitching with flies. She dipped her muzzle in the water, tossed her head at the shimmery surface, scratched at her neck with one sharp hoof. In minutes, the road was lined shoulder to shoulder with license plates from Illinois and Washington and California. Camera shutters shirred like locusts. The cow took a couple of prancing steps toward the far bank and shook with annoyance. Marina and I turned our backs to the crowd and kept fishing. I heard a splash nearby and to the right, like the swirl of a trout, and pivoted on the mossy rocks. Did you hear that? I asked her. Was that a fish? No, she said, then fell silent. I cast, letting the fly drift under a bathtub-sized patch of river weed and into a dark hole of water.

I was picking up the fly to cast again when Marina whimpered: My sandal. I repeated the word dumbly—sandal, sandal—before remembering the nearby splash. I reached behind me and tickled her right foot. It was bare. When I finally looked downstream, her sandal was bobbing twenty yards away and gaining speed, on a collision course with a fully grown and fully aggravated cow elk. I tried a couple of quick shuffling steps in that direction, then sent the fly out after it. But the beloved sandal was a small, rapidly dwindling target that changed course with each little finger of current. I threw a couple of big mends into the line and still missed by a foot. Marina’s whimpering was more insistent now—Get sandal, get sandal. I took another look at the elk and decided she wouldn’t much appreciate two humans churning downstream into her bath. So I made for shore and the camera-wielding tourists, charged up the bank, then shouldered my way onto the path that parallels the river. The wind was blowing up and across the current, slowing the sandal’s progress enough for us to pull ahead, but also angling it into the deeper water midstream. Fifty yards behind the elk, I picked a gravelly spot and splashed in. The river was belt high. Frightened trout fled for cover as we thrashed through ribbons of weed. My feet had just reached the lip of a dark trough when the sandal floated into arm’s reach. I leaned over and gathered it in like a catcher pulling an outside pitch back towards the strike zone. Marina thrust her hands into the air and cheered loud enough to turn a few cameras from the elk. I cheered too. The nearest onlookers gave us those benign and disconnected smiles that most folks reserve for fools and crazy people. But what did we care? We were flush with success, proud conspirators in a small but significant victory.

I remember wishing that Laurie could have been there to share it, but she had decided to work upstream with a brace of dry flies, toward the junction of the Gibbon and the Firehole, and later only rubbed Marina’s head in a distracted sort of way when we tried to describe the scene. Then she asked about you, wondered aloud why you never wrote, and said that she could never come to the park without thinking of that summer we met.

Hard to believe that we came here in 1978 with nothing but our fly rods and a jar of tartar sauce, two college roommates from Philadelphia, babes in the woods. Is it guilt that makes me scan the faces at every fishing hole and geyser basin, looking for the wisps of blond hair feathered shyly over those raptor’s eyes, your shoulders hunched slightly, as if preparing for flight? I looked for you in the fall of 1982, when a September snow blanketed our favorite camp at Heart Lake; in the smoke of 1988, when that tangle of lodgepoles upstream from Tower Falls burned right to the bank; and in the drought of 1994, when the river showed its bones—smooth black rock and water-polished deadfalls left gleaming three feet above the ordinary water line.

If you had been here then you would’ve noticed the changes. The marina at Grant Village is long gone, only the two breakwaters to remind you of otters swimming sleekly from dock to dock. The tackle store where Laurie played cashier is now a waterfront steak house, and the meadow above the lake has been replaced with a hotel and restaurant complex, where you can order herbed chicken breasts and chilled Chardonnay. Our favorite stretch of the Yellowstone River, above Tower Falls, has become a certified hot spot, recommended at fly shops and touted in guidebooks. On a typical summer day the parking lot overflows with rental cars and motor homes for at least a hundred yards uphill of the Hamilton store, forcing traffic to a crawl. The trail to the base of the falls has been redone with post-and-pole fences to keep over-enthusiastic sightseers from cutting switchbacks. What you might remember as a claustrophobic stand of lodgepoles crisscrossed with down timber is now mostly open, with tremendous views of sulfur-tinged canyon walls and blue-green water. There are no longer enough shadows to hide the bears that we imagined lurked in wait for college students, and no longer enough privacy to entice those students to roast trout on a stick over a small, smoky fire. There are still a few trees left, of course, as well as some charred snags and tangles of wild roses, but a two-foot wide path now parallels the bank for miles upstream. At every obvious pool, other paths split off the main trail and head for the river’s edge. The last time I walked it, the water seemed as blank and lifeless as a mirror. I would cast, the fly would drift aimlessly with the current, no trout would move to break the surface, then I would cast again.

I let that pattern of failure repeat itself for several hours, thinking of Laurie gone and the trout too, thumbing through my book of failings like a sorry preacher with his Testament, snatching the fly from the water lest a fish hook itself and break the spell. As had become my habit in the months after Laurie took Marina with her to Livingston, I told myself that I deserved every blow that bad luck could deliver, that I had no right to expect something good to come from the way I’d acted, although of course something had. Did you know that I was in love with her—not afterwards, I’m sure that you guessed afterwards—but before? On that night of her farewell party, that night when I saw the two of you underneath the lodgepoles, just beyond the reach of the firelight, when I announced that I suddenly needed to go back to Philadelphia and would catch a ride with Laurie if she didn’t mind? What matters, I suppose, is that I knew—or thought I knew—that you loved her, and that I waded in anyway, and now that river has washed me here, a thin stick of dead wood drifting in the current.

I continued to flog myself with those thoughts all that long afternoon, and to flail pointlessly at the water, until at last a little gray caddis flew up underneath my sunglasses and I had to stop to wipe my eyes. After that, I could no longer ignore the hordes of caddis on the bankside willows and thickets of wild rose. I tied on a caddis emerger and turned back downstream, this time paying attention to all the little pockets and eddies that others might overlook. I lingered a while in each one, steering the fly through the deeper cuts and then slowly raising it to the surface, like a swimmer nonchalantly looking for air. More often than not, the shadow of a trout rose after it—looming into view like a ribbon of gold in the green water. No monsters came to the fly, but the action was steady and the fish beautiful—with sleek flanks and a certain firmness you could feel in your hands, a limber strength that trout raised in warmer, slower water can’t pretend to own.

Back at the confluence of Tower Creek and the Yellowstone, I looked longingly at the sharp, steep bend in the canyon wall, no trail visible in the soft earth. Since the river was low, I figured I could sneak along the ankle-deep ledge and get downstream to the more lightly fished water. But the afternoon sun was wearing on into evening, and the back of my throat was dust-dry, and the image of a double-dip ice cream cone suddenly appeared in my head and remained there, perfectly frozen. I snipped off the tattered emerger, stowed my reel in a vest pocket, and started up the hill.

On the canyon rim, two mighty tour buses had just pulled into the parking lot and disgorged their charges. The trail was flooded with tourists: mothers, fathers, children, grandmothers. Judging from the conversation, they were mostly Americans, though I also caught snatches of accented English that reminded me how little I know of the world. Inside the Hamilton store, the line for ice cream wound up and down the aisles like a New Year’s parade. I swallowed hard, and bought a six-pack instead.

Drank dinner last night in the high-ceilinged lobby at Lake Hotel, gazing out the picture window while a string quartet sawed away at the evening. Do you remember the time some park service employees dug a charcoal pit in the gravel beach near Fishing Bridge, buried a whole pig in the hot coals, then got too drunk to eat and just left the carcass roasting in the sand? By the time we stumbled onto the scene, only a half-dozen stout souls were still awake, lounging against two unopened cases of barbecue sauce while the stars spun in their orbits. I can still see you and Laurie pulling the succulent meat from the bones, as soft and sweet as cotton candy, while white-winged pelicans ghosted across the full moon like pterodactyls.

For some reason, that memory made it impossible for me to eat or sleep. I lay awake all night remembering how happy we felt, how impossibly lucky to roam the beach of Yellowstone Lake under a full moon in July and catch the scent of keg beer and slow-cooked meat. At that time I thought that it had everything to do with the three of us together, but now I recall that Laurie had rousted us from our beds after midnight, just to share the moon, and neither one of us could resist her.

In the morning, I checked out before breakfast and drove southwest along the lake shore, then turned west along the Grand Loop Road to cross and recross the continental divide. A cold front had blown the smoke out of the park and the western horizon looked sharp and blue. I fought the urge to turn in at Old Faithful for a bloody mary at the Bear Pit, stopping instead at the Lower Geyser Basin, taking the bridge over the Firehole and making my way through the crowds to the end of the boardwalk. As I peered into the crater of Fountain Geyser, an old man in a soft canvas hat, a disposable camera dangling from his leathery neck, croaked It’s gonna blow. Sure enough, several standing waves appeared in the turquoise pool, then a tidal surge, and then the sky filled with steam and water, great blasts that frothed thirty feet into the air, splashed onto a floodplain of white sinter, then ran downslope to pool about the hooves of grazing bison. Above the slosh and grumble of the geyser, I could hear the shouts of children, cheering with each burst of water as if they were riding in the front seat of a rollercoaster. For a moment, I wished that Marina was small again, riding in the backpack with her warm arms around my neck, until I remembered the deft motion with which she unhooked a sixteen-inch rainbow without lifting it from the water, then stood straight-backed again and smiling, a loop of line already rising into the air. Maybe next year, I thought, we would take our own trip south—to Belize maybe, or the southern Yucatan—we’d even invite Laurie, if she wanted to go, and I could watch the two of them stalk bonefish and marvel at both the one who used to love me and the one who always will.

By the time the geyser roared itself dry again, I was hungry. I drove straight into West Yellowstone and bought a bag of cocktail shrimp, a hunk of blue cheese, a loaf of sourdough bread, and a flask of bourbon. I spent the rest of the afternoon prospecting the Madison, fishing offhandedly upstream until I encroached on another angler or strayed too far from the bourbon and the shrimp chilling in the cooler. By sunset, I had worked my way to within a mile of the junction, where the river meanders weedily through a broad meadow of sedge and thistles. As soon as I parked the truck, two cow elk and their calves crossed the river above me and bent their necks to graze. I had an hour of twilight left and knotted a black marabou fly as long as my thumb to the leader. Big fish or no fish. I dropped the fly alongside the shadowed banks and inched it leechlike towards the main current; flipped it behind boulders and under deadfalls; cast it into the current and pulsed it back towards the bank. No sign of trout. As I splashed through a backwater to the next bend, a ten-inch rainbow fled before me, pushing a small wake that creased the fading light. Twenty yards farther downstream, a frightened minnow skittered into the air and fell back again. I watched for the telltale swirl of a big brown but saw nothing, gave the pool a couple dozen careful casts just in case. Still nothing. I stood in the middle of what seemed like a lifeless pool while the water broke behind my knees and rejoined below them, a soft sound that I suddenly wished would drown the endless thrum of cars on the road to West Yellowstone, travelers turned away from the park’s chockfull hotels, or employees out for a night on the town. I fished hard for a while, casting steadily, moving two steps downstream with each cast. The dark crept into the water first, so that slick moss and shallow gravel and shoulder-deep holes all began to look dimly alike. The rush of engines grew louder and the glare of headlights brighter. I snipped the fly from my tippet and wound the leader onto the reel. When I shuffled at last to shore, the elk had worked in behind me. If you will forgive me, I thought, I will abstain from fishing tomorrow, and from catching and killing fish, and forgo the satisfaction of watching that delicate orange meat of a Yellowstone cutthroat flake from the bones. The nearer cow picked up her head and turned her big ears toward my sigh. Not the worried, ready-to-bolt look of elk in hunting season, but a gesture of interest. Her calf took two bouncing steps then melted in behind her, aligning legs with her mother’s so that they seemed to become a single alert and yet unconcerned animal. I spoke to them, quiet reassurances and words of small praise. They were beautiful. A half-mile upstream, I could see the bleached shell of the pickup glowing in the pale light of the moon.

Friday, May 25, 2007

Why Stories Matter

A few weeks back I mentioned environmental psychology but a recent article in the The New York Times introduced me to another, even more interesting subgenre of the field: narrative psychology.

According to the author, Benedict Carey, "Every American may be working on a screenplay, but we are also continually updating a treatment of our own life — and the way in which we visualize each scene not only shapes how we think about ourselves, but how we behave, new studies find. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones."

I find this a lot easier to believe than the so-called Secret, although I think it also explains part of the Secret's appeal, along with its individual stories of success.

Tuesday, May 1, 2007

Housekeeping

You might be wondering where I'm headed with this story. To tell the truth, I'm curious too. I went to Mumbai without assignment or outline, and I'm still looking for an opening, that first sentence on the journey to coherence.

If you'd like to read the posts in chronological order, begin on April 25.

If you'd rather read about fishing than fashion, try Scratching the Surface in Borneo, on the travel networking site matadortravel.com.

If you're a fan of Marilynne Robinson's 1981 novel, Housekeeping, then buy Gilead, winner of the 2005 Pulitzer Prize for fiction.


Tuesday, April 17, 2007

Disclaimer

I stole the title of this blog from a passage in a favorite novel: Masuji Ibuse’s Black Rain. At least I think I stole it. After a few initial readings, I began to cherish this line: “Fishing paralyzes the mind so the soul can rest.”

How profound, I thought. What genius! I even quoted these words in a work of my own, a story that won second prize in the 2005 Raymond Carver Short Story Contest.

But when I went back to the book last month, I could not find that sentence.

In John Bester’s translation, Ibuse writes, “While one was fishing, one’s powers of thought were temporarily paralyzed, so that it had the same effect in resting the cells of the brain as a deep sleep.”

The right idea, but not nearly as elegant as I remembered.