This House of Sky (9 page)

It made a fine effect, the customers all at a purposeful tilt as they came climbing toward the long dark-brown span of bar. Then, sitting up on one of the Stockman's three-foot stools, you could glance out and down through the street window at passersby going along below your kneecaps. In early evening, it was a chance to look out at humanity as unseen as if you were hidden away on a shed roof, and Dad and I would settle in to watch the town's night begin to take shape.

The Stockman had other likable lines besides its lofty floor. From end to end, the wall behind the bar was almost all mirror and whiskey bottles, held in regiments by a great dark-wooded breakfront. Glass and liquor and liquor and glass reflected each other until my eyes couldn't take in the bounce of patterns. The label print and emblems would have added up to a book, and the ranks of bottles with their mirror images shouldering behind them seemed to crowd out toward us as we sat at the bar. But in gaps along the bottom shelf, saved for the clean glasses which rested mouth down
on white towels, were propped the curiosities I would pick out to look at long and often—the tiny cellophane packs of white salted nuts or smoked meat strips. Every so often, someone might buy a packet and share it along the bar. Every time, the white nuts tasted as chalky as they looked, and the smoked meat let loose a seasoning which made us work each piece around in our mouths as if our tongues were gradually catching fire. These samples would disgust us all for a while, but before long I would forget just what the tastes had been, and start all over again the staring at the packets and the wondering what the snow-colored nuts or the blades of meat must be like.

Untasty as it was, the cellophane food offered the harmless choice I could focus on back of the bar. What I would look at with a peeper's stealth a hundred times an evening was the nakedness of the calendar lady.

You could depend on her year after year: some passing salesman from a brewery would provide the saloon with a long calendar to put up next to the cash register, and on the calendar just above the brewery's name would be a figure big as a sitting cat—the naked lady with breasts coming out like footballs. The style then was to photograph the kneeling calendar lady under a bluish-purple light. The play of this cold tint onto her breasts shaded the nipples down to dark pointed circles like the ends of ripe plums, and tended to make a brunette—as calendar ladies generally seemed to be, across the years—look as if she were only waiting for the shadows to deepen one notch more before lunging points-first right at you.

The single thing I knew about women was that I wasn't supposed to be seeing them in this condition. I felt I had to resort to great casual sweeps of looking: start my eyes at a high innocent corner of the whiskey shelves, work like an inventory-taker along the bottle labels until the neighborhood of the cash register, loiter around the cellophane snacks while trying to sense out of the corners of my eyes whether anyone was watching my peeping. Then straight and fast as I could, the peek right onto the glorious purplish-blue breasts. Hard-earned gazes, every one, but I was willing to work at it.

The Stockman had even another night-in, night-out attraction. Against the wall opposite the bar, a smeary rainbow of colors glowed out of the jukebox. Each shade slid in behind the fluted glass front as you watched, maybe a dim red followed by a tired green, a mild orange forever chased by a bruiselike purple, which was likely to remind a person of the calendar lady again.

This slow spin of colors seemed to be the chief job of the jukebox, because it rarely put out music. A song from it meant either there were strangers in the saloon, or one of Dad's friends had pressed a dime into my hand and steered me off to play a tune while he said something I shouldn't hear. Months on end somewhere in that span of time, I spent each bonus dime on
Good Night, Irene.
The record would slide out of hiding and flip into place, I would press my nose against the jukebox glass to see the needle jab down, and then I would feel the sound strum out:
Sometimes I live in the countreeee, sometimes I live in townnnn.
... A lot of times, men would turn sideways along the bar to listen as the sad chorus went on.
Sometimes I take a great notionnnn, to jump into the river and drownnnn...

With its movie house length—long enough, in fact, to make the trip back to the toilet a hazard for a drinker too full of beer—the Stockman at dusk would be as open and uncrowded as a sleepy depot. And like a depot, it had someone veteran and capable in charge when the clientele did start showing up. Always, Pete McCabe would be waiting, watching. His soft gray shirt and the long oval of his face and
bald brow seemed fixed behind the spigot handles which thumbed up at the center of the long bar. A dozen barrels of beer a week purled out of the spigots under his steady pull, and never a glass of it came along the bar without a good word from Pete McCabe.

There are listening bartenders, who are the storied ones, and there are talky bartenders, trying to jaw away the everlasting sameness of their hours. Pete was neither, and better—a bartender who knew how to visit with his customers.

When the two of us straddled onto stools across the slick bar wood from him, Pete would push a schooner of beer in front of Dad, listen close as a minister to whatever he had on his mind, and in turn begin quietly telling Dad who had come into town that day and what price they were getting for their lambs or wool or calves and how far along they were with the haying, and on into bigger currencies:
Hear they had a little flabble down the street last night. Couple of fellows squared off and pushed each other around a little. I just don't care too much for that fightin', Charlie. I don't let it get goin' in here, just have to slap 'em a little before they start in on it ... Hear a lot about turnin' this into a big gamblin' state. I don't want to see that. It's just a sharpshooter's game, that gamblin; you'll see the cross-roaders comin' in here like they were flies after a bunch of dead guts.... Government trapper was through, said they got an early snow down in that Sixteen country. About six inches of wet, heavy as bread dough....

Pete's rich ration of talk wasn't done for the business of it. In White Sulphur Springs there was steady thirsty commerce no matter how a bartender behaved. Pete simply had made it a hobby to size up people, and to work out a routine of friendship with those deserving. He had a tribute for the few best men he knew. Glancing off into the glass
hodgepodge behind the bar, Pete would say slowly:
He's a nice fellow.
Slow nod, and slower again:
A real nice fellow.
When that was said, you knew the fellow must be a prince of the world. And plainly enough, Pete deemed this wry-smiling father at my side a real nice fellow.

Only now do I understand how starved my father was for that listening and gossip from Pete McCabe. Nowhere else, never in the silences of the life we led most of the time on the ranch, could he hear the valley news which touched our own situation, and in a tone of voice which counted him special. Nowhere else, either, did Dad's past as a ranchman glow alive as it did in the Stockman. Just then in its history, White Sulphur was seeing the last of a generation of aging sheepherders and cowboys and other ranch hands. Several of them, I remember, had nicknames of a style which would pass when they did: Diamond Tony, who had a baffling Middle European name and an odd, chomping accent to go with it; Mulligan John, called so for the meal which had become a habit with him in the aloneness of sheep camps; George Washington Hopkins, the little Missourian who insisted he was from Texas, and insisted too on being called simply Hoppy; a dressy little foreigner who had been dubbed Bowtie Frenchy; other immigrant herders who rated only Swede, Bohunk, Dutchy; towering Long John and silent Deaf John. Maybe half a hundred of these men, gray and gimpy and familyless, making their rounds downtown, coming out for a few hours to escape living with themselves. Any time after dusk, you began to find them in the saloons in pairs or threes, sitting hunched toward one another, nodding their heads wise as parsons as they reheard one another's stories, remembering them before they were spoken.
Just waitin' for the marble farm,
Pete McCabe said of them with sorrow, for he enjoyed the old gaffers and would set them up a free beer now and again,
you know they'd like to have one
and don't have the money for it and I never lost anything doing it for 'em.
Dad had worked with most of these men, on the Dogie or elsewhere, and their company seemed to warm him from the cold agony he had been through.

Other valuable friends could be met in the Stockman. The two I remember above the rest were as alike and different as salt and sugar. Lloyd Robinson was the unsweetened one. Some time before, he had pulled out of his saloon partnership with Pete McCabe, but he still strolled in at least once a day like a landlord who couldn't get out of the habit of counting the lightbulbs. Lloyd was a nondrinker, or at least a seldom drinker. He came by the saloon just to give his tongue some exercise. His wolfish style of teasing kept me wary, but also taught me how to put in sharp licks of my own. Usually a mock uproar broke out between us. When Lloyd glared down the slope of his belly at me and rumbled that if he had been unlucky enough to have Scotch blood in him he'd have cut his throat to let it out, it was my cue to chirp back that he might as well get at it because a Missourian like him was nothing but a Scotchman with his brains kicked out anyhow. He would glower harder and I would try to squint back through giggles, until our truce came with Lloyd's grump that he might as well buy me a soda pop as argue with a redheaded Scotchman.

Nels Nelson had a spread of belly to challenge Lloyd's, but the disposition of a kitten. Nellie drove the grader, the huge bladed machine which scraped down the ruts or cleared the snow from the county's hundreds of miles of dirt roads. He handled machinery with the touch my father had for livestock, and it may have been this turn of skill they recognized in each other that made them friends.

This big open man Nellie had almost all that a small town could offer: a job he liked and did as if born to it, a pretty home of shellacked logs looking across the end of the valley to the Castle Mountains, a wife as handsome and
spirited as the palomino horses which she pastured behind their house. He also had an almighty thirst.

It was said in admiration that Nellie was a happy drinker. Each fresh head on a glass of beer delighted him more, until it seemed the next spigot's worth would send him delirious. He would parrot dialects, spiel jokes, greet any newcomer as if the fellow were his long-lost twin, spread every generosity he could think of into the knot of friends around him—and of course was destroying himself. One particular episode of Nellie's that we all laughed about when it happened was actually the worst kind of omen. One midnight, he had wobbled home, lost his footing on the kitchen linoleum, and passed out where he crashed. As he went down, one forearm flopped into the slop bucket beside the sink. He came to in the daylight to find that forearm still dangling into the curdled gray swill of greasy dishwater, potato peelings, and table scraps. A man who could wake up to that in the morning and be back downtown the very evening again drinking—and worse, telling the story on himself—was a man doomed.

Side by side with a friend splintering apart this way, I suppose my father was in a mood to simply accept that life is fatal to us all, one way or another. If he ever tried to warn off Nellie from the fierce drinking, I never heard the words. The flow of booze into his best friend or the behavior of anybody else in the Stockman, Dad took without a blink of judgment. I cannot know whether he ever thought it out entirely, but I believe that in him was the notion that anyone who began his night along the bar with us must have been tussling life in his own right, just as we were. Pete McCabe's Stockman offered a few hours of neutral ground, and the wrong words, even wise ones, might snap that truce.

Three more saloons elbowed into each other on the same block with the Stockman. Next door stood the Melody Lane, with a neon cheeriness about it which probably was
supposed to go with the name. Only about a third the size of the Stockman and with plump booths where couples might be sitting and cooing, the Melody Lane seemed always to be showing off its manners more than we liked. It was the kind of enterprise better suited to mixed drinks than beer, and Dad and I seldom invested much time there. But next on the block came a favorite of ours, the Maverick, hard drinking and rollicking. Under its low ceiling the air hazed into a murky blue, probably as much from accumulating cusswords as cigarette smoke. Opening the door from the street was like finding yourself in a sudden roaring fog. But if you had lungs and ears for it, the Maverick was the inevitable place to find one old friend or another bellied up sometime during the night, and it made a good sociable stop for Dad after the warmup beer at the Stockman.

For a time, the Maverick even offered gambling. Other saloons might slyly slip in a poker table or two, but the Maverick set up an entire side room. If you could wedge your way in, your money might change hands several different ways. In my memory is all of one evening spent perched on a corner of the roulette table, boosted kindly by someone who noticed me teetering on tiptoe as I tried to see across to the white marble whirling around the wheel. Roulette impressed me. I liked the practiced flip of the wheel man's thumb as he sent the marble whirring around its rim of circle, the hypnotic slow fan of the wheel moving the opposite direction, the surprise drop and glassy clatter as the marble fell onto the wheel and skittered for a slot. I probably liked to watch the stacks of silver dollars being pushed bravely onto the hunch numbers, too. It was noticeable even to me that roulette players suffered out loud, and hard, while the poker players farther back in the side room spoke only to raise, call, and ask whether everybody had put in their ante.

You can see that the Maverick could take up all of a person's night, if you would let it. But there were six more saloons in town, and Dad liked to keep on the move. Across a rutted alley from the Maverick stood a big square-fronted saloon which had earned a hard name even in this damnless town—the Grand Central. Generally, only spreeing sheepherders and the most derelict of drunks drank at the Grand Central, and you could catch a case of brooding glumness just by being around them. The upstairs floors served as the town's flophouse.
It's a stiffs' outfit,
Pete McCabe said down his nose. The bleary way of life there was beyond the understanding of anybody who hadn't sprawled into it, and the ragtag men of the Grand Central were known to the rest of us only by the stories which reeked out of the place like the stink of vomited wine. It was told, and thoroughly believed, that one time the undertaker had been called about a body lying head down across the stairs leading up to the flop rooms. He was baffled to find the corpse wedged hard in the stairwell, stiff as a side of frozen meat and apparently dead for at least the past twenty-four hours. He was exactly right. Thinking the sprawled victim was only drunk and sleeping it off upside down, the other inhabitants had been lurching carefully across him on the stairs for the past day and night.