Sometimes a Great Notion by Ken Kesey

Not when it was so goddam evident, so right-before-your-eyes obvious, that in Wakonda, that year, the town's worries and woes were being caused by nobody else but that goddam hardnose up the river! And rain is one thing and, fine, maybe you can't do nothing about the weather except yak about it, but Hank Stamper is a different breed of cat from the rain! And you can maybe put the blame on the Arm of the Lord those years when that arm puts a stranglehold of frost on the woods so tight it freezes all the way to your pay envelope, and maybe you can roll with the blow of the wind if there's nothing else except the wind blowing... but when the arm is the arm of Hank Stamper strangling off your income, and you know damn well that the blow is being dealt by the fist on that arm, then you find yourself having a pretty hard time blaming your woes on anything other than that arm!

Ken Kesey's Sometimes a Great Notion is set in the fictional town of Wakonda (lol), Oregon, where a strike has brought the lumber industry to a standstill, except for one family: the Stampers, who make a private contract with the local lumber company to continue felling trees. (These small non-union outfits not associated with sawmills were called gyppo loggers, and in the real world they were as hated by their union counterparts as the Stampers are in Kesey's novel.) Hank Stamper, the oldest son of grizzled patriarch Henry, is just the kind of guy to make such a contract, not selfish, really, but stubborn, and insensate to what other people might think about him. But Hank needs labor, and few of the locals are willing to scab for the man they see as taking money out of their pocket. Lucky, then, is the return of Hank's half-brother Lee from school in the East. Lee and Hank have a complicated history: Hank may have been sexually involved with Lee's mother, who has recently committed suicide, and Lee has always felt in Hank's shadow. His return to Wakonda is a chance to either prove himself or defeat his brother--in his neurotic state he vacillates between these goals--both of which might mean making off with Hank's wife Viv, whose intelligence and sensitivity are wasted in that remote ramshackle house on the Wakonda River.

Sometimes a Great Notion is a one hell of a tome. Not only is it 700+ pages, it's stylistically frenetic, most notably in its habit of switching from third to first person without warning. Often I found myself reading whole paragraphs before realizing I'd been dropped into the first person, then having to go back and figure out whose head exactly I'd been dropped into. In moments of high physical or mental intensity, Kesey will even switch rapidly back and forth between, say, Hank and Lee within the same paragraph, often with liberal, but not perhaps clarifying, use of italics and parentheses. It's a big, beautiful mess, and in my opinion it tries to do too much. But it's clear that Kesey is trying, and often succeeding, to capture several levels of human experience, from the larger communal life of the logging town to the inner turmoil of the individual psyche. The ramshackle house, with its precarious add-ons supported by innumerable timbers and pillars to keep it from sinking into the river, is a symbol of the precariousness of the Stamper family, besieged both from without--as with the locals angry with their lumber contract--and within--by the inflexibility of Hank and the psychosexual vengeance of Lee.

Sometimes I felt like the boat needed to cross the river and reach the Stamper place, bobbing up and down on uncertain waters. But when the narrative finds moments of pathos and intensity, it's really something, as when [spoiler alert] one of the Stampers' most loyal associates is pinned by a log against the bank of the rising river, certain to drown before the heavy log can be lifted. The characters here are at the mercy of happenstance, including the torrential rains and natural remoteness of the coastal Oregon landscape, but even moreso they are the mercy of themselves, their stubbornness, their desires, their inability to see and speak to each other. As the passage above suggests, it may be the Stampers themselves who most resemble the weather, implacable, insensible, and unstoppable, even by themselves. 

The Good Rain by Timothy Egan

The Snake, the Pend Oreille, the Spokane, the Clearwater, the Owyhee, the Deschutes--all of these rivers used to carry salmon to the desert, a twice-yearly occurrence surely as miraculous as the irrigation which brought wheat and plump fruit to the treeless hills above the central Columbia. Now the desert east of here is full of Corps of Engineers trucks; the salmon travel the interstate, or die. Most of the young fish don't do well on the highway. A maze of ladders, locks, lifts, channels and portages is used to help the dying older chinooks reach their spawning grounds upstream. When their eggs hatch and the young fry start to head downstream, they run smack into the hydroelectric turbines. Many are sliced and diced in these massive blenders. Others die of the bends, tossed to such depths and then pushed up so quickly that their respiratory systems can't adjust in time. More than half of all the young salmon which head downstream, seeking the ocean and three or four years of wandering, expire before they get past the first hurdles.

The Pacific Northwest of North America is one of the truly great places. The wildflowers of Mount Rainier, the looming haystacks of the Washington and Oregon coasts, the volcanic power of Mount Saint Helens and Crater Lake, the rugged cliffs of the Columbia River--the PNW offers all of this, plus places you'd never think to look for, like the high desert of eastern Oregon or the lush orchards of Washington. Timothy Egan, the one-time Seattle correspondent for the New York Times, writes about all these places in The Good Rain, subtitled "Across Time and Terrain in the Pacific Northwest," traveling as far north as the English gardens of Victoria and as far south as the Siskiyou National Forest, Oregon's timber basin.

The book begins with Egan scattering the ashes of his grandfather, a lifelong Pacific Northwesterner, along the flanks of Mt. Rainier. In the distance is a glacier named for Theodore Winthrop, a Civil War officer who traveled extensively throughout the region when there were few white people off of the coasts. Egan's journey ostensibly follows Winthrop's, but the conceit is lightly held, and the essays are more linked to theme than place: "Salmon," "The Natives," "Wood Wars," "Under the Volcano," "Columbia." Still, a little pen-and-ink drawing accompanies each chapter, pegging each one to square of the map: the Strait of Juan de Fuca, the North Cascades, the Yakima Valley, etc. Egan evokes each of these places with the easygoing fluency of a journalist, and often with the awe of a PNWer endeavoring to see the majesty of the places that have underpinned much of his life.

The Pacific Northwest that Egan describes is one threatened by capital and greed. Once, he suggests, the borders of the Pacific Northwest were easy to adjudicate: the Pacific Northwest reaches as far as the salmon do on their journey back to their hatching grounds. But the mighty Columbia and all its tributaries have been dammed, and the hatching grounds replaced with fish hatcheries which not only produce weakened, inferior salmon, but which have devastated the lifeways of the Indigenous tribes who live throughout the region. The book's heroes are men like Billy Frank, the Nisqually elder who successfully led a campaign to preserve the tribe's fishing rights. Like the salmon, the trees are threatened by rapacious logging, which has rooted up a majority of the region's old-growth forests, abetted by the National Forest Service. (Egan suggests the Forest Service ought to know better, but anyone who's seen the way Ken Burns depicts NFS founder Gifford Pinchot as a mustache-twirling villain will know it's always been this way.) Threatened, too, are the wolves, the orcas, the wild river.

In some ways, The Good Rain wears the thirty years since its publication poorly. In a chapter on Seattle, Egan focuses on a movement to "freeze" the city by preventing new residents and new development, likened either by Egan or the movement's proponents to the "monkeywrenching" of Edward Abbey. It's a little strange, actually, to read a dispatch from a time before density disputes had reached the level of nationwide intensity they now have, and when you could call yourself an environmental warrior for standing in the way of housing development with a straight face. We now know, of course--though I suppose not everyone wants to admit it--that encouraging new growth in cities and away from sprawling suburban tracts is an important step toward the healing of the environment. And I'd like to think that if The Good Rain were written now, a good journalist like Egan would reveal a little more clearly the chauvinism at the heart of people who, by the very nature of history, have only a handful of generations of history in a place and want to pull the door closed behind them. It's as quaint to read, in a way, as Egan's description of Washington's Red Delicious apples as the country's most popular--well, it took a while, but we figured out those apples sucked, too.

The best parts of The Good Rain for me were the descriptions of the places I'd never visited: the eerie bend of the Columbia at Hanford Reach, left wild because it was where uranium was processed for nuclear bombs; the wild wooded Siskiyou; the Yakima Valley. I read the chapter about Astoria, Oregon--the oldest town west of the Rockies--on an airplane headed to a visit there, and I loved seeing the rainy, hardscrabble town through Egan's eyes. (I also wondered if, given the number of bakeries and breweries we saw there, and the long line of people queued up for the old boat that sells fish and chips out of a parking lot, if the town's circa-1990 motto of "We Ain't Quaint" has been revised.) I've been lucky enough to see a lot of the PNW in my life, but The Good Rain made me feel like there's much more to explore.

On Lighthouses by Jazmina Barrera

Almost all general histories of the lighthouse begin with Alexandria, or before--from the times of the beacons of the Celts--passing through the Tower of Hercules and the earliest medieval lighthouses in France, England, Italy, Spain, and China to the proliferation of lighthouses brought about by Fresnel in nineteenth-century France, and then the most modern ones of the twentieth century. In a few years, this history might include references to the last lighthouses, when GPS and computers have put an end to the need for them. I wonder if one day they will all be decommissioned, and if they will then return to being temples of fire dedicated to the sea, fetishes of the superstitious and seekers of esoteric knowledge, who will keep alive the legends of shipwrecks, lighthouse keepers, and the ghosts that surround them. Or if they will be (as seems their destiny) turned into hotels, museums, relics, for the amusement of millionaires, retired folk, archaeologists, historians, and the curious. Divested of their function, they are collectible objects. They now also have that attractive quality of ruins and decay. For melancholics, they are all the more beautiful.

When will the last boat arrive safely to port thanks to the beams of a lighthouse? Who will be the last lighthouse keeper in the world? Or could it be that the relationship between humans and the sea is so primordial that there will always be someone to switch on--using a button or some other future technology--a light for ships in distress or fishermen? Or perhaps they will shine out as temples or memorials to the thousands of people who lie at the bottom of the sea.

What does it mean to "collect" lighthouses? "Obsession," Mexican writer Jazmina Barrera writes, "is a form of mental collection." Traveling around to see lighthouses, and add them to one's mental collection, is "an attempt to satisfy the vain desire to possess with an immaterial, intangible form of possession, not unlike what one might feel toward a loved one." For Barrera, the attractions of lighthouses are many: they are stolid, impregnable, unchanging when compared with the changeable sea; they represent a kind of immutability of emotion or identity that is, for an anxious or adrift person, something to aspire to. Visiting the Blackwell Light on Manhattan's Roosevelt Island, Barrera imagines that she is "slowly transforming into a sealed tower." "I feel so sane," she writes, "that I must be losing my sanity."

On Lighthouses is arranged as a series of vignettes, each titled for a different lighthouse Barrera has visited: Yaquina Light in Oregon, Tapia Lighthouse in Spain, Goury Lighthouse in Normandy, Jeffrey's Hook--otherwise known as the Little Red Lighthouse--and Blackwell Light in Manhattan, Montauk Point at the end of Long Island. Each vignette mixes memoir, history, literature, and reflection in a way that reminded me of Helen Macdonald's H is for Hawk, though that book has the careful organization of an academic, and of someone who's come through the existential crisis explored in the book with a kind of resolution. On Lighthouses, by contrast, offers little change, much less resolution: whatever it is that Barrera grapples with, the limits are endemic to her methods--she writes eloquently, for example, about coming to terms with the many lighthouses she'll never "collect."

This book struck a chord with me because I'm a lighthouse-collector, too. I'm writing this from Ocracoke Island in North Carolina's Outer Banks, a short bike ride from a 200-year old lighthouse, a squat brick tower painted bright white, that is the second oldest in operation in the country. When I drive back to New York later this week, several other lighthouses will mark the stations of the journey: the barber-pole light at Cape Hatteras, the country's tallest, the striped light on Bodie Island, the distant tip of Cape Henry across Chesapeake Bay. Barrera's exploration of why she travels to these lighthouses seems right to me: they are discrete and countable, but inexhaustible; their verticality and commanding presence makes them visibly striking, even comforting; and their age makes one feel connected to history, to others. In reading about the New York-area lights, I felt the comforting presence of a fellow traveler, though what Barrera writes about the isolation of lighthouses, and the separation from the world one achieves by identification with them, struck me, too. (I can only assume that Barrera has yet to visit the lighthouses of the Outer Banks, and that once she makes the road trip a second volume is forthcoming.)

"When I visit lighthouses," Barrera writes, "when I read or write about lighthouses, I leave myself behind." This hardly seems true; it isn't true, only an expression of an attempted self-negation. But it's also true, I think, in the sense that the lighthouses, as with many places of great historical importance, invite us to enter into another understanding of time and place, one less shackled by the here and now. It leads Barrera to communion with Robert Louis Stevenson, whose grandfather built the first lighthouses along the dangerous Scottish coast, to Poe, Meville, Verne, and obviously Woolf, and to the lives of the many keepers who sacrificed their selves and sanity to protect the coasts. Even to the first lighthouse-builders, who kept towers of fire to propitiate the gods. As technology progresses and the need for lighthouses diminish, these layers of history become ever more important. Lighthouses become less utilitarian but more meaningful, landmarks on a geography of time and spirit.

The Dying Grass by William T. Vollmann

It must be here that the loneliness of the Indian country of which we have merely commenced to take possession, and at that so nominally that nothing but violence will save our claims from being laughed away, begins to march along with us, very quick and correct in its movements, although uncouth in the gaze and teeth it turns upon us, proposing to nibble us up before we notice, our desire consequently being to ride away from here , but now as long as we continue forward, everywhere we go will be again here in the dying golden grass of what is not yet America even though it will certainly become so, which is why we pursue Joseph as far as we must, our Springfields ready with a round in the chamber and our faces fixed as we seek earth stained by his sign, riding east now toward our dear United States, the general watching us without imparting anything but affable trivialities; we will carry Joseph to the gallows, and if that isn't good enough, we will kick him down to Hell.

The Nez Perce, like so many of the indigenous tribal nations of the 19th century in the land that is now the United States, were "good Indians" until they weren't. They cooperated with the U.S. government and the Army, they were friendly with settlers--even intermarrying with them--and signed a treaty agreeing to a large reservation in the land that now lies at the intersection of Washington, Idaho, and Oregon. But of course there isn't a single Indian treaty that the United States didn't break, and the thief treaty was the same: the Nez Perce saw their reservation chiseled away to a tiny fraction of what it had been. Many Christianized Nez Perce stuck to the reservation, took English names, and began the process of assimilation, but several bands totaling about 750 people decided to refuse the terms of the treaty, touching off a war of attrition that lasted from June to October of 1877. The Nez Perce led the Army on a strategic retreat through Idaho, Wyoming, and Montana, before finally being routed just a few miles south of the Canadian border.

William T. Vollmann's novel The Dying Grass tells the story of the Nez Perce War from beginning to end, from both the perspective of the Nez Perce, and the Department of the Columbia that pursued them. It is the longest of Vollmann's five written Seven Dreams novels about conflict between settlers and Native Americans--at 1200 pages it is almost certainly, by page count at least, the longest book I have ever read--but also the most stylistically adventurous. When a perspective shifts--perhaps from one character to another, or from what someone is saying to what they are really thinking, or just from the action to a description of its natural surroundings--Vollmann indents that section or set of lines. The result looks and often reads like poetry, but it also reminded me of the "stacks" of computer code (sorry Brent that's probably not right). The result is that The Dying Grass seems uniquely polyphonic, woven from hundreds of different voices. More than any of the other Seven Dreams books, The Dying Grass captures the sheer breadth of the conflict and its many actors.

On the white side, Vollmann's main character is the General Oliver Otis Howard, known by his detractors as "Uh Oh Howard" for his defeat at the Battle of Chancellorville. Many of Howard's soldiers also call him "General Prayer Book" because of his piousness, and rankle under his proscription of alcohol and his friendliness toward Indians and blacks. Howard's virtues are indeed very virtuous: his sincere concern for black Americans--something that could not be said for many other Union generals--led him to found Howard University and steer the Freedman's Bureau. His attitude toward the Nez Perce is similar: when he says he had counted them friends and is aggrieved by their rebellion, we believe him, but he is blind to the limits of his own paternalism. He wants for the Nez Perce what he wanted for the Negroes--a little bit of land and assimilation into the social order of the United States--but cannot see how such largesse entails the destruction of the nation's cultural history and way of life. 

Only one of the soldiers, Howard's aide-de-camp Erskine Wood, slowly comes to believe that the Army's pursuit of the Nez Perce is a moral outrage; Vollmann's depiction of him is second only to Howard in its richness and sensitivity. And yet even Wood's protest remains in his heart only; his creeping doubt does not spur him to reject his Army commission or aid the Nez Perce (though we find, in a true and fascinating fact, that later in life Wood sent his son to learn "how to be an Indian" from the captured Nez Perce Chief Joseph). Wood's foil might be Ad Chapman, the volunteer interpreter who knows how to speak Nimipuutimt from his marriage to a Nez Perce woman. Crude, mercenary, and untrustworthy, it might be said that the whole war is Chapman's fault because he fires first on the Nez Perce, and yet his position between two worlds makes him indispensable. In a touch that is both meaningful and historically true, it's Wood and Chapman, dissident and bigot, who pen the famous translation of Chief Joseph's surrender speech: "From where the sun now stands I will fight no more forever."

Howard's counterpart on the Nez Perce side is Chief Joseph himself, called by his true name, Heinmot Tooyalakekt. The Nez Perce's strategic retreat bestows upon Joseph the title of the Red Napoleon, but this relies on a grave misunderstanding: Joseph is the chief of his own small band of Nez Perce, but he's never made war chief, a role given to Looking-Glass (named for the shard of mirror he keeps around his neck) or Lean Elk. Jane Smiley's review of The Dying Grass suggests that Vollmann is so sympathetic to the Nez Perce that it verges on "noble savage" ideology, but not only is this a poor moral judgment--a kind of bothsidesism projected onto the past--I'm not sure how she could have read about the great disagreements between the restrained Joseph and the more militant members of the Nez Perce party, like the "Three Red Blankets" or the bloodthirsty Toohoolhoolsote, and came away with that conclusion. One thing Vollmann, who wrote an 800-page treatise on the nature of violence, does well is to show the way violence cycles out of control, no less among the Nez Perce than the Army: their rebellion against the "Bostons" becomes all too easily an excuse to raid and murder uninvolved white settlers.

For his part, Joseph always advocates for surrender and peace, though his stature is not such that he's often heeded. But among the many disputing chiefs Joseph emerges as the most virtuous because he unerringly thinks of the welfare of his people, and women and children especially, before abstract concerns like honor. The Dying Grass suggests that the American press might have it right when they imagine Joseph to be supreme among the Nez Perce:

now his heart begins too late to understand

--although many other best men dispute this, preferring White Bird, who planned our victory a Sparse-Snowed Place and led us across the Medicine Line--

that our greatest chief was Heinmot Tooyalakekt,

he who never had hope,

desiring only to help our women, children, and old ones:

Yet The Dying Grass echoes an idea that first came to me by way of Dee Brown's history of the Indian Wars, Bury Me at Wounded Knee: in the end, the various responses to removal mattered very little. The Bannocks and Cheyennes who help the "Bluecoats" stomp out the Nez Perce will find themselves at the barrel of their guns within a year, and even the disputation between the various Nez Perce chiefs seems, in the end, meaningless: "The prudent and trusting submission of Looking-Glass," Volmann writes, "the violent resistance of the Three Red Blankets, the flight of White Bird and the restraint of Chief Joseph all produced the same result. So did General Howard's kindheartedness and General Sherman's pitiless fury." It is interesting to think of Howard and Sherman--and Wood and Chapman, perhaps--in the same boat, one which rises on the tide of history but which can barely be guided or steered. Did the rush of settlement in the latter half of the 19th century mean that the cruelty of the Indian Wars and the reservation system were foregone conclusions? In Fathers and Crows, Vollmann wrote of the Jesuit conversion of the Haudenosaunee, "If it had to be done, it could have been done differently." Is that true here, too? Or is Howard right when he tells Wood that there's no other way?

Either way, The Dying Grass is a tremendous panorama of those caught in the rush of history. Beyond Howard, Wood, Chapman, Joseph, Looking-Glass, and Toohoolhoolsote there are dozens and dozens of individual characters whose interior lives are thoughtfully imagined and evoked by the unusual structural choices of the novel. It's a novel as big and breathtaking as the mixed-grass prairie, or the mountain valley, or the camas meadows over which that history moves.