Tuesday Snippet – The Fatted Calf

Prodigal Son, Thomas Hart Benton, Dallas Museum of Art

Prodigal Son, Thomas Hart Benton, Dallas Museum of Art

The Fatted Calf
(First Scene of a Short Story)

It had been a decade since Sam had rented a car. He always had his assistant arrange for a limousine. Those days were gone – long gone.

At the rental counter the first three credit cards were rejected but the fourth went through and after a short, polite argument he was allowed a subcompact car. Red-faced he took the vehicle out onto the old highway – the one he remembered from his childhood – now gone over to cracked asphalt and weeds creeping over the edges. He blared the radio and tore down the rough road with the windows down – looking across the bright green bristles of spring wheat at the lines of huge trucks on the newer Interstate – parallel – a mile distant.

He remembered his mother driving him to the airport twenty years earlier – his small bag packed. His mother teared and resigned – her wet eyes locked on the road ahead. His father was plowing the east forty. Sam could see the cloud of brown dust raised by the steel blades slicing and turning the dry soil. He watched the distant tractor stop – the dust cloud blowing past and leaving the huge machine alone and tiny in the distance. Sam had to imagine his father watching the pickup flying by on the road clear past the end of the field carrying his son away.

The hamlet was closer to the city than Sam had remembered and he drove down the main street before heading out to the family farm. Everything was so familiar – nothing had changed in the two decades – except it all seemed smaller somehow. Smaller and quieter – the streets deserted and more than a few windows boarded up or taped over with paper.

It was like driving through a miniature model of his childhood memories – perfect in detail, yet missing something essential – a soulless reproduction.
This strange living mutation of what he remembered frightened him. He accelerated, squealing his tires in the dust that leaked in thin waves onto the streets, and turned off the paved highway at the edge of town. He drove down the familiar washboarding sanded country lane – the hedgerows on each mile section taller than he remembered or often taken out altogether, leaving a gap like a missing tooth.

As he approached the farm he felt his heart beating like a fluttering bird – his breath coming with some difficulty.

At first he didn’t recognize the place. The weeds had grown high across the yard – once kept cropped short by a small herd of sheep – now gone riot. The familiar barn to the left of the drive was gone. Sam looked closer and saw the expanse of scorched earth where the wood and stored hay must have burned. The encroaching weeds were greener and taller here – fertilized by the ash.

The house – always a clean white wash – was speckled with a gray peeling – revealing the weathered old wood underneath. The windows, which Sam remembered as bright rectangles showing his mother’s colorful handmade curtains were now bare shadow pits adorned only with crystal scythes – shards of shattered windowglass.

Although it was obvious that the place was uninhabitable, for some reason Sam took his suitcase – no larger than the one he had left with two decades ago – out of the trunk after he climbed out of the tiny car.

For a long time, he stood in the remaining bit of sandy road, trying not to touch the invading weeds, with his hand on his jaw, trying to comprehend. Off to the side, behind a few strands of rusted barbed wire, was the skeleton of a cow, now bleached by the sun to a bright white. He wondered if this was the calf he had left behind –the one he had been getting up before dawn to feed. It wasn’t of course – those onerous chores were twenty years in the past – that calf was hamburger long, long ago.

The skeleton seemed to pull Sam out of his reverie and, looking past the house, he saw a structure still intact. It was the old windmill. Green vines climbed the four metal struts that supported the structure, but the zinc-coated blades were still creaking, spinning in the breeze.

Sam pushed his way through the weeds and found the path that ran from the kitchen to the windmill. The well below was too shallow – the water too contaminated and salty for humans to drink, but the cows and sheep seemed to like it fine. A series of troughs, now twisted and junked, ran from the pump attached to the mill to a half dozen watering stations that the farm animals could use.

It had another use, though. The farm was too far out for city utilities, and potable water was precious. Halfway up the tower was a tank that could be filled by the windmill, and underneath that a compartment, about the size and shape of a phone booth, was constructed of galvanized steel. A big old-fashioned shower head hung below the tank like a drooping sunflower.
Sam had hated going out to the windmill and taking his shower before school – especially in the winter. It was humiliating even when it wasn’t brutally uncomfortable.

Staring at the mechanism now, Sam was oddly drawn to it. He reached out and yanked a few stray vines out of the way and then pulled the familiar lever. Sam jumped back when the pump arm let out a huge metallic groan, but it started to move again and he heard rumbling and the telltale splash of water starting to fill the tank. As if on cue, the breeze picked up and the blades began turning faster.

Sam looked around at the vast expanse of nothing, nobody. It was silent except for the clicks and hissing of insects moving through the weeds. The sun was directly overhead and the day had turned hot – Sam felt the streams of sweat trickling across his face.

As the tank filled, Sam pulled off his suit and hung his clothes on the old hooks that ran up the windmill strut. As he waited for the tank to top off he stood naked, leaning back in the sun. As a child, he was always shy and would dash from the house with a towel held firmly, but now he didn’t care. There was nobody within miles anyway.

He reached out and pulled on the rusty handle that opened the valve to the shower head. At first there was only a hiss, then some lumps of old mud-dauber wasp nest tumbled out, followed by little more than a thin rusty trickle. It did not take long for the pipes to clean themselves and the stream gained in strength and clarity. Soon the water was pure and strong, and Sam stepped into the shower, ducking his head into the cold liquid, sparkling in the sunlight.

Gateway

I find myself working towards an art which includes a spiritual dimension. I have become increasingly aware of art as a dialogue between matter and spirit. In recent works, I have emphasized myth, symbol and dream to evoke an atmosphere in which the sculpture and its environment speak to the subconscious to make the observer aware of the dreamlike nature of life, of which we all are part.
—-Hans Van de Bovenkamp

Not too far, not very far at all, from the pile of steel boxes I wrote about yesterday, is the Arapaho DART station with another sculpture. This is a good one, by a famous sculptor, Hans Van de Bovenkamp, that you have never seen.

I’ve seen it, though. Richardson’s Central Trail – a hike-and-bike strip of concrete that runs through the city, parallel to the DART tracks and Highway 75, now being extended to the south – goes right by it. Otherwise, commuters on the bus or train never get more than a glimpse. It is exposed to the traffic going by on Greenville Avenue – but everyone is driving too fast to notice.

I didn’t look too hard and didn’t see a label or plaque. This is a public sculpture, though, so there is information on the internet. The sculpture is called Gateway, and, as I’ve said is by Hans Van de Bovenkamp. It’s painted aluminum (begining to fade a bit – might need a recoat) and is a variation of a theme of Bovenkamp – there is a bigger version in Oklahoma City.

The sculpture "Gateway" at the Arapaho DART station, Richardson, Texas.

The sculpture “Gateway” at the Arapaho DART station, Richardson, Texas.

A DART train pulls in. Arapaho Station, Gateway Sculpture

A DART train pulls in. Arapaho Station, Gateway Sculpture

Gateway, by Hans Van de Bovenkamp

Gateway, by Hans Van de Bovenkamp

Gateway, by Hans Van de Bovenkamp, Richardson, Texas

Gateway, by Hans Van de Bovenkamp, Richardson, Texas

Gateway sculpture and commuter bike

Gateway sculpture and commuter bike

Steel Boxes

One of the nice things about being a fan of sculpture is that you run into it all the time – if you are able to keep moving and your eyes open.

On a bike ride the other day, I pulled over for a minute to look at a sculpture I spotted in an unexpected place. It was off of Arapaho Road, not far from the DART station – in a stretch of very unartistic industrial buildings.

The Richardson Factory that belonged to General Packaging Corporation had a steel sculpture (probably welded of Cor-Ten) in a grassy spot next to the main entrance. You would never spot this from a car – but it’s obvious from the cockpit of a bicycle. I turned in (it was a holiday and the place was closed) and took a good look.

I was not able to find a label or plate, so I don’t know the sculpture’s name or artist. The only thing that turned up on a web search is a sculpture called Strange Romance by a sculptor from Taos named Ted Egri (he passed away a couple of years ago). I’m not sure if this is the sculpture – it doesn’t look like a Strange Romance… and the style is a little different from the rest of Ted Egri’s work.

But, the thing was obviously commissioned for the spot – the factory makes cardboard cartons and wooden boxes – the sculpture was made to commemorate the products.

At any rate – for any reason and by any artist – I liked the thing. I sipped from my water bottle and took a rest before riding on. I tipped my helmet to the folks at General Packaging for spending the money and having the thing built and installed in front of their otherwise nondescript factory. They made my day a little more pleasant… for a few minutes at least.

Sculpture at General Packaging.

Sculpture at General Packaging.

200 East Arapaho Road, Richardson, TX

200 East Arapaho Road, Richardson, TX

Sculpture and Commuter Bike. All Steel.

Sculpture and Commuter Bike. All Steel.

boxes4

Flying Over the City

Graffiti, Deep Ellum, Dallas, Texas

“The Guide says there is an art to flying”, said Ford, “or rather a knack. The knack lies in learning how to throw yourself at the ground and miss.”
― Douglas Adams, Life, the Universe and Everything

flying2

“When we started the show, ‘Dallas’ was known as the city where JFK was assassinated. By the end it was known as JR’s home town.”
—-Larry Hagman

flying1

“But there is so much more to do for the city we love… a Dallas with roads as strong as our businesses, parks as beautiful as our children, a downtown as tall as our imagination.”
—-Laura Miller

Ride That Spray Can

“I mean, they say you die twice. One time when you stop breathing and a second time, a bit later on, when somebody says your name for the last time.”
― Banksy

can

Graffiti, Deep Ellum, Dallas, Texas

“Imagine a city where graffiti wasn’t illegal, a city where everybody could draw whatever they liked. Where every street was awash with a million colours and little phrases. Where standing at a bus stop was never boring. A city that felt like a party where everyone was invited, not just the estate agents and barons of big business. Imagine a city like that and stop leaning against the wall – it’s wet.”
― Banksy

“Graffiti is one of the few tools you have if you have almost nothing. And even if you don’t come up with a picture to cure world poverty you can make someone smile while they’re having a piss.”
― Banksy

Loving Oil and Gas

Somewhere near Fair Park… Dallas, Texas

“The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It’s over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam…”
― J.G. Ballard

Loving Oil and Gas, Dallas, Texas

Loving Oil and Gas, Dallas, Texas

Just wrap your legs round these velvet rims
And strap your hands across my engines
—-Bruce Springsteen, Born To Run

We sat in the car
& the night dropped
down until the
only sounds were
the crickets &
the dance of our voices

& for a moment
the world became
small enough to
roll back & forth
between us.”
― Brian Andreas, Hearing Voices – Collected Stories & Drawings

“I come to a red light, tempted to go through it, then stop once I see a billboard sign that I don’t remember seeing and I look up at it. All it says is ‘Disappear Here’ and even though it’s probably an ad for some resort, it still freaks me out a little and I step on the gas really hard and the car screeches as I leave the light.”
― Bret Easton Ellis, Less Than Zero

“[And there was the matter of Dick Turpin. It looked like the same car, except that forever afterwards it seemed able to do 250 miles on a gallon of petrol, ran so quietly that you practically had to put your mouth over the exhaust pipe to see if the engine was firing , and issued its voice-synthesized warnings in a series of exquisite and perfectly-phrased haikus, each one original and apt…
Late frost burns the bloom
Would a fool not let the belt
Restrain the body?
…it would say. And,
The cherry blossom
Tumbles from the highest tree
One needs more petrol]”
― Terry Pratchett, Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch

Creation of Chalk

“You will die. You will not live forever. Nor will any man nor any thing. Nothing is immortal. But only to us is it given to know that we must die. And that is a great gift: the gift of selfhood. For we have only what we know we must lose, what we are willing to lose… That selfhood which is our torment, and our treasure, and our humanity, does not endure. It changes; it is gone, a wave on the sea. Would you have the sea grow still and the tides cease, to save one wave, to save yourself?”
― Ursula K. Le Guin, The Farthest Shore

chalk

“He who is in harmony with the Tao
is like a newborn child.
Its bones are soft, its muscles are weak,
but its grip is powerful.
It doesn’t know about the union
of male and female,
yet its penis can stand erect,
so intense is its vital power.
It can scream its head off all day,
yet it never becomes hoarse,
so complete is its harmony.

The Master’s power is like this.
He lets all things come and go
effortlessly, without desire.
He never expects results;
thus he is never disappointed.
He is never disappointed;
thus his spirit never grows old.”
― Lao Tzu, Tao Te Ching

Staples

Texas Sculpture Garden
Frisco, Texas

And I said, I don’t care if they lay me off either, because I told, I told Bill that if they move my desk one more time, then, then I’m, I’m quitting, I’m going to quit. And, and I told Don too, because they’ve moved my desk four times already this year, and I used to be over by the window, and I could see the squirrels, and they were married, but then, they switched from the Swingline to the Boston stapler, but I kept my Swingline stapler because it didn’t bind up as much, and I kept the staples for the Swingline stapler and it’s not okay because if they take my stapler then I’ll set the building on fire…
—- Milton, Office Space

Staples
Paul Kittelson, Houston
2001 Stainless Steel

Staples, Paul Kittelson

Staples, Paul Kittelson

“Why do people have to be this lonely? What’s the point of it all? Millions of people in this world, all of them yearning, looking to others to satisfy them, yet isolating themselves. Why? Was the earth put here just to nourish human loneliness?”
― Haruki Murakami, Sputnik Sweetheart

Staples, Paul Kittelson

Staples, Paul Kittelson

“The gods are strange. It is not our vices only they make instruments to scourge us. They bring us to ruin through what in us is good, gentle, humane, loving.”
― Oscar Wilde, De Profundis

Staples, Paul Kittelson, photograph manipulated in Corel Painter

Staples, Paul Kittelson, photograph manipulated in Corel Painter

“Sometimes you climb out of bed in the morning and you think, I’m not going to make it, but you laugh inside — remembering all the times you’ve felt that way.”
― Charles Bukowski

Alligator

Texas Sculpture Garden
Frisco, Texas

Alligator
Robert Tabak
American (Texas)
2003

“While he sat there he decided he would buy a waterbed. He had always imagined owning a waterbed when he was successful, but now it struck him that getting the bed might invoke the man he wanted to become. You bought a waterbed and so became the sort of man who owned a waterbed.”
― Lisa Moore, Alligator

Alligator, Robert Tabak

Alligator, Robert Tabak

“maybe humans are just the pet alligators that Gd flushed down the toilet”
—- Chuck Palahniuk

Balance

“There is no such thing as work-life balance. Everything worth fighting for unbalances your life.”
― Alain de Botton

Texas Sculpture Garden,
Frisco, Texas

Andrew Rogers
Australian
Balance
1997

“Something is always born of excess: great art was born of great terror, great loneliness, great inhibitions, instabilities, and it always balances them.”
― Anaïs Nin

Balance, Andrew Rogers

Balance, Andrew Rogers

“You are a beautiful person, Doctor. Clearheaded. Strong. But you seem always to be dragging your heart along the ground. From now on, little by little, you must prepare yourself to face death. If you devote all of your future energy to living, you will not be able to die well. You must begin to shift gears, a little at a time. Living and dying are, in a sense, of equal value.”–Nimit in “Thailand”
― Haruki Murakami, after the quake

“The fact is that nothing is more difficult to believe than the truth; conversely, nothing seduces like the power of lies, the greater the better. It’s only natural, and you will have to find the right balance. Having said that, let me add that this particular old woman hasn’t been collecting only years; she has also collected stories, and none sadder or more terrible than the one she’s about to tell you. You have been at the heart of this story without knowing it until today …”
― Carlos Ruiz Zafón, The Midnight Palace

“It seems to me what is called for is an exquisite balance between two conflicting needs: the most skeptical scrutiny of all hypotheses that are served up to us and at the same time a great openness to new ideas. Obviously those two modes of thought are in some tension. But if you are able to exercise only one of these modes, whichever one it is, you’re in deep trouble.

If you are only skeptical, then no new ideas make it through to you. You never learn anything new. You become a crotchety old person convinced that nonsense is ruling the world. (There is, of course, much data to support you.) But every now and then, maybe once in a hundred cases, a new idea turns out to be on the mark, valid and wonderful. If you are too much in the habit of being skeptical about everything, you are going to miss or resent it, and either way you will be standing in the way of understanding and progress.

On the other hand, if you are open to the point of gullibility and have not an ounce of skeptical sense in you, then you cannot distinguish the useful as from the worthless ones.”
― Carl Sagan

“The great systems that inform the world about the truth and life invariably claim to be absolutely truthful and well-balanced. In reality they are quaking bridges built out of yearning.”
― Peter Høeg, Tales of the Night