Posted by Chris Clarke on October 6, 2008
I was pleased with the way the Phantom Seed reading went in Riverside in Saturday. The new issue of Phantom Seed looks great, and there’s a serious pile of good writing there, as well as my pieces “Kessler Peak” and “Epilobium.”
The event drew a good crowd, and a number of talented writers showed up to take part in the open mike reading.
After the open mike I was part of a panel along with desert writers Rob Roberge, William Luvaas, Rice Baxter and Ruth Nolan, each of whom read some of their work. (I read this and this.) We then discussed, for a while, the notion of desert noir as a genre: does it exist? Is it distinct from Los Angeles noir, or a subcategory?
Though I’m by no means an expert on noir as a genre, I do know a thing or two about desert writing in general and thus I managed to avoid having too many doe-in-the-headlights moments up there on the dais. After all, the important thing about any kind of literary thing is, of course, the umbrella of job creation, where intolerance of the kind of literary and economic freedom that noir rears its head in… well, I’m not the kind of writer whose parents gave him a pencil and said “go off and see the world.” I had jobs. And the desert is where we send those out to make sure that an eye is being kept on the desert, because it is right there. We’ve got to see the desert as opportunity, not a competitive, um, scary thing.
Also, turns out Rob Roberge and I lived a few blocks from each other’s houses in Buffalo, which was odd and pleasing to find out.
During the course of the panel discussion Bill Luvaas said something that has provoked in me a bit of subsequent rumination: that the desert, by its nature, inspires a grotesque realism in writing. Life is harsh, the summer will kill an unprotected person, the bones of the earth stick through the soil and the bones of the desert’s victims litter the earth. Other victims show up here as well: the California desert is famously a dumping ground for Los Angeles’ inconvenient corpses. Antisocial types ranging from the Manson Family to right-wing survivalists to freelance pharmaceutical manufacturers to avowedly benign eco-misanthropes find refuge here. The desert is Carl Hiaasen’s Florida with less water and fewer alligators.
Luvaas’ statement makes palpable sense, and yet he said something tangential, basically a throwaway line, that got things roiling in me over the next few days: he made sure we knew he didn’t mean “magic realism” when he said “grotesque realism.” It was this short:
“…grotesque realism. Not magic realism; grotesque realism.”
It was a short enough, ambiguous enough reference that I don’t know whether Luvaas meant to say the desert doesn’t inspire writing that could be called magic realism, and so I won’t claim to know his position on whether the desert can inspire magic realism , if he indeed has one. He is a reflective, intelligent man, and he’s surely thought about it. I just don’t have enough data to gauge where his thoughts have ended up on the topic.
I’ll just say that I turned on the tap when I got home tonight, filled a glass with water, and drank it.
The water comes out of the ground warm. It tastes sweet, and if you let a pan full sit out for half a day it will evaporate completely, leaving a remarkable amount of white salt behind. Live here for a few decades and your bones would be strong well-into old age, which would be good, because you need strong bones to get yourself to the urinal when you’re having your fifth kidney stone… wait, that’s gone off into the grotesque.
The water will form brilliant crystals inside you.
The water I drink now was, two days ago, 700 feet beneath the creosote bushes’ roots. It fell as rain before that. A fair bit of it flowed beneath the earth off the slopes of the nearby mountains in the last few years, or fell directly onto the gravely soil of this alluvial fan, sank into the earth after quenching the four o’clocks, the tortoises.
Some of fell as rain a thousand years ago, and has cured in the Ivanpah Valley’s deep stony sediments ever since.
Some of it — perhaps most of it — fell when the dry lake two miles west of here held water year-round, and tules sheltered flocks of waterfowl. Knuckle-walking monsters the size of moose roamed the valley. They ate pale soapy flowers that grew at the tips of contorted, elastic trees covered in dagger-leaves. Twelve thousand years ago, or twenty, great billowing storms sealed the Sierra Nevada in a mantle of ice and made this valley a green, temperate woodland with lions and bears. The last beast before me to drink this droplet in my glass may have been saber-toothed.
The locals claim that down beneath the gravel and silt, down 700, 800 feet where the well-drillers must delve to fill our taps, is a dark and silent lake, a gigantic pocket in the earth filled with clear water. My neighbor Fred, a blur of motion most days even in the afternoon when the temperature surpasses 110°, a number significantly lower than the sum of his age and mine, told me this by way of introduction to the town.
They found a catfish, he told me. When they drilled the well, there was a catfish down there. They got down 700 feet and they struck water and everything, and commenced to pumping and up it came, all banged up from the pump and the pipe and everything, and he didn’t recall whether they said it was still alive when it got to the surface.
Fred speaks in the laconic manner of a man who has seen it all and mastered most of it. He uses the phrase “and everything” the way other men breathe inward between sentences.
Fred’s story wasn’t the first time I’d heard of huge amounts of water down there. Across the valley is the Kokoweef Mine, center of and heir to the legend of the Lost River of Gold. My next-door neighbor lived in a cave up there, the owner of this little town told me when we met. For some years, she raised kids there, made a home there in the side of the mountain, while men worked to find the fabled opening to a 5,000-foot-high chamber, at the bottom of which the Lost River is said to flow black and silent to the Sea of Cortez. Deep black sands are supposed to line its banks, each cubic foot of sand assaying out to a small fortune in gold.
Tonight a bit of black grit came out of my kitchen tap, sank rapidly to the bottom of the glass. I examined it closely.
Discuss in The Coyote Den