Loitering: New and Collected Essays (12 page)

I sometimes wonder if by “repairment” he meant “repayment,” and I always pause at the caesura created by the simple sentence, “So be it,” which Catholic kids were once taught is the meaning of “Amen.” Was this the phrase that ran through my brother’s mind as he paused between his two signatures?
So be it
: with these, my father’s last words, I know I will never hear from him again. But I save his letters, as I save Danny’s, as I save Mike’s, neatly bound and held between the army surplus boots that my brother died in, and which I keep, filled with rocks, on my desk.

PART 2:

STRATEGIES AGAINST EXTINCTION

Above all, the real is arbitrary. For to be a realist (in art or in life) is to acknowledge that all things might be other than they are. That there is no design, no intention, no aesthetic or moral or teleological imprimatur but, rather, the equivalent of Darwin’s great vision of a blind, purposeless, ceaseless evolutionary process that yields no “products”—only temporary strategies against extinction.

—
JOYCE CAROL OATES
, “They All Just Went Away”

American Newness

Right inside the door of my first Fleetwood Home I was greeted by the evocative odor of American Newness, that smell everyone knows but cannot name. It was like breaking the seal on a box and getting a whiff of—of what?—of exactly what you always wanted. I know I got doped up on the smell and instantly forgot the facts of my life for the fantasy it might become. The walls in the homes I toured had the texture of those egg-shaped confections of sugar that house dioramic Easter scenes of bunnies and baby chickens. The walls didn’t look entirely dry, as though you might sink your finger in for a lick of buttercream frosting. They were immaculate and white and somehow against this backdrop even normal objects seemed like
miniatures, not quite real and thus easily manageable. All the rooms were furnished by a hired decorator but felt empty. What they were missing was you and yet it was haunting to confront a face in a mirror. Suddenly you were there, arrived and occupying a place in this world premised on choice, where everything exists as potential, where the deep pile carpet on the floor is only a polite suggestion and might, in a moment’s wish, become Adobe, Cameo Blush, Cabernet, Cinnabar, Periwinkle, or Nappa [
sic
] Valley. The Formica on the counter could be traded for squares of blue tile. The fridge will find food, the quiet will find voices, the beds will bring rest and love and renewal.

To make a manufactured home, first you build a chassis with axles. After you’ve put the chassis in place you glue and staple the flooring to it with extra-big boards that cut down on the number of seams and hence reduce the likelihood of leakage. As it’s being built the house floats like a river barge on a bed of compressed air. A couple men lean into it with their shoulders and shove it from one station to the next as if it were nothing. Exterior walls go up, interior walls; men plumb the thing, run wires, install fixtures; they add windows, hang doors; a roof is lowered in place by an Erector Set crane; appliances, cabinets, fans, and carpets are readied. Out of this wizardly and truly awesome Oz the
house is wheeled into the daylight and trucked away to whatever Kansas your heart desires.

I made a couple of trips to the factory and a dirt lot nearby where Fleetwood showcases their finished product, and lastly I started looking for places where I could find people living in the houses for real. Several detours off Interstate 5 showed me just how rapidly a community seeded with modular housing can grow. Everything’s so brand-new there isn’t even any sound in the air. In one such neighborhood off Gun Club Road in Woodland, Washington, I parked my truck and tried to talk to some kids coming home from school, but they were right on it with the snappy, drilled response.

“Are you a stranger?” one little girl wanted to know.

“What’s a stranger?”

“Somebody who kills you or rapes you,” she said.

I’m not that kind of stranger, but it might have been here, in this neighborhood, in this place where the children know what to say, that a note of sorrow first entered the world of hope I’d been entertaining during my initial home tour.

Your typical manufactured home makes its way in the world because it bears a studied resemblance to a regular house. Its visual ambition is mimetic and realistic
the same way a painting of a cow agreeably satisfies verisimilitude if it’s got four legs, a tail, and a head. You could build these homes attractively but the aesthetic would need to be stripped and lean and frank, with materials that openly declare themselves and hide nothing. Fleetwood, by contrast, makes a sincere imitation of the real thing, a house that aspires to popularity and recognition like a girl who comes to the prom with a face on loan from a magazine. It’s that inserted layer of sincerity that rings false. It’s evilly un-American to say aloud, but real divisions exist between people, and the houses themselves try hard, desperately hard, to obscure those differences. They’re socially insecure yet hopeful. They want acceptance and to get it they try really hard to please everyone.

The woman who gave me my factory tour was so sweet, so kind, so eager to encourage my optimistic assessment of Fleetwood’s product, the echo of everything she said now rattles around in my head because I knew before I entered the building I’d betray her trust and hope. She told me she herself lived in a Fleetwood triple-wide and was absolutely happy. Like everyone connected with Fleetwood she was defensive against unspoken snottiness, and given my inability to rise above it I can see why. “I hope you say something nice,” nice people kept saying to me in person and on the phone.
Salespeople and secretaries alike insisted that a Fleetwood Home was every bit the structural and social equal of what’s known in the trade as a stick-built house. Their zeal was evangelistic, it was memorized and rehearsed and recited like a prayer, it was felt and sincere and thus a notch shy of being spontaneously true. What people were telling me was no more a syncretic hodgepodge than the Pledge of Allegiance, but if you don’t live entirely within it, if you’re not unself-consciously at home in the words and you hesitate even a little, it all starts to sound like cant.

In the face of so much generous and heartfelt uplift I cut short the factory tour, asking no questions. This woman and all these people, they are the good people, whereas I was just walking around in the factory faking my enthusiasm and hiding a creepy low-grade horror. Normally I don’t like my meaning ready-made, but by the time I headed out to my truck I was in total despair about not being with the program.

I drove up along the Lewis River for a change of scene and to think and to see if anybody was catching fish from an early fall run of chinook.
A GOOD ATTITUDE IS A TREASURE
, said the sign outside the Woodland Middle School, on my way upriver. Five miles back in the canyon the banks were crowded with fishermen working fairly dull, obvious water, where
the highly evolved homing instinct of the salmon hits the blunt obstruction of a dam and the fish pool up in mass confusion. At the hatchery there was the usual display of agitprop about salmon recovery and an article about the building of the first dam and how it might just possibly disrupt and ruin the runs. It did, of course, and now the Lewis is only the ghost of itself, flowing emptily into the Columbia. The article was written in 1930 and seventy years later the river no longer seriously produces salmon but continues to spin the turbines that supply power to the recessed lights in the kitchens of modular homes up and down I-5. An abiding American assumption, mentally apocalyptic, says that somehow the wrongs in history stem from our ignorance; once we’re enlightened, we’ll be free of our errant ways and history itself will stop and we’ll come to rest in a return to Eden. Now the state of Washington raises fish in rearing ponds and releases smolts into the river, hoping their intricate salmonoid nerves won’t give out in complete bafflement and, after four years at sea, they’ll find their way back upriver to the cul-de-sac of their birth.

It wasn’t my original plan but I checked into a motel for the night because it bugged me that I couldn’t find anything nice to say about modular homes. I ate dinner at a Mexican restaurant across the street. It was karaoke
night in a lounge the hostess referred to as “the cantina.” The décor was modular Mexican, a sort of mañana peon style that lightly revamped clichés about lazy Mexicans. Two guys at my table told me they were hiding from their wives, they’d kind of karaoked a lie about working on their cars and instead came to the cantina for a couple quick rum and Cokes. Another guy’s girlfriend was out of town and he kept asking me what I thought of the waitress’s ass. He was embarrassing me and I felt square and stupid and unable to say what, as a man, I know I’m supposed to say, and so, nervously changing the subject, I asked him about the fishing on the Lewis. He said, “Look, we took the land from the Indians, like what? I don’t know. Five hundred years ago? Was it five hundred years? Big deal. I’m all for paying them back, but after a generation or two, they should get in society like everyone else.” Later I shared a table with a woman whose home business was writing personal poetry “for your weddings and funerals.” She often writes letters for friends who need special thoughts expressed and many people have told her she should write a novel. Her husband recently convinced her to leave Portland and move to Woodland and then he left her for the woman next door and moved back to Portland. Divorce and treachery and betrayal were in the air but so was desire and the people who came forward to sing surprised
me with their earnestness. I’d have thought this kind of thing a joke, snide and ironic, but they sang their hearts out. The favored narrative of the songs people selected turned on love and heartbreak and while the music and the words were not the singer’s own, the voice and the feeling were. Emotion was evident by the way people gripped the microphone and bowed their heads as they waited eight bars for the chorus to come around and when it did they lifted their heads again and sang the words and moved toward the crowd compelled by an inner urgency.

My last day I still didn’t feel like going home. I lingered, pointlessly. Overnight a banner had been strung across Woodland’s main drag announcing the coming of “Make a Difference Day.” I stopped a couple of places to look through a few more completed houses. All along I’d been intrigued by the lack of language inside these model homes. There were no words, spoken or written, and even the few decorative books seemed mute on the shelves—not words, but things. Language in the modular industry belongs largely to the manufacturing end of the business, and there, in technical brochures and spec sheets, it’s thick and arcane, made up of portmanteaus and other odd hybrids that are practically Linnaean in their specificity. You get Congoleum and Hardipanel Siding and Nicrome Elements.
At the factory all that language is assembled and given narrative development in the tightly plotted path the house takes as it progresses from chassis to truck. But once inside the finished home it ends, there’s a kind of white hush, a held breath, and all narrative, defined simply as a sequence of events in time, is gone. Silence and timelessness take over so that when the door opens and you cross the threshold you feel you’ve stepped out of life itself.

In house #19 I find an icy aspect to the arrangement of family artifacts and like Keats before the Grecian Urn I can’t quite puzzle out the story. Photos have been framed and set out on tables and shelves but the pictures are of those same corny people who haven’t aged a bit since they came with your first cheap wallet. Who are these blonde women with unfading smiles? Whose bright kids are these? What happy family is this? In the kitchen two ice cream sundaes sit on the counter. Those sundaes will never melt, nor will they be eaten. The cookbook in the kitchen is open to a recipe for blueberry pancakes but in the living room a bottle of wine and two glasses wait on a coffee table. What time of day is it?