DRESS BLUES 1

My mom married five times, still never got it right. My favorite stepdad was a Wisconsin farm boy as a kid who taught me to hunt and fish in the mountains and streams of eastern Oregon. His name was Bill Gano. This is for him...

Dress Blues 1

     Bill took me to a gun shop in Klamath Falls. We couldn't afford anything, not even a used rifle. We went there to dream. Maybe they'll give me some overtime, Bill said. And we'll pick spuds together on weekends when they come ripe. Maybe we can get a good used .30-30, not this year, but in time for next deer season. We could sure use the meat, save on groceries. Gotta tell your ma that, or she won't let us spend money on a rifle. .30-30's not the best gun for this country, though. Good brush gun, but short range. Need somethin' that'll reach out farther in this open country, .300 Savage maybe. That's a real nice rifle, got a good long barrel, you get a peep sight on the back, with that long distance between sights, you can be real accurate. Bill liked peep sights. He'd gotten used to them during World War II, when he'd fired the Springfield 1903 .30-06, and later, the M-1 Garand. Ought six's a good caliber, he said. You could get a lot of different loads for it, and you could buy ammo anywhere. 

     We were talking like that, and the store owner, who knew we didn't have any money, was letting me handle a used .300 Savage off the rack. He wasn't busy. "Boy handles a rifle real nice," he said, knowing that'd puff me up, which it did. Puffed Bill up a little too, because he'd taught me. 

     The little bell over the door jingled, and a man walked in. Instantly, the three of us were breathing different air. The man wore a striking blue uniform, topped by - of all things in a dusty logging and cattle town - an immaculate white cap with a brown leather brim and a shiny brass emblem. He removed the cap and tucked it under his left arm as he entered. The dark blue uniform tunic had brass buttons and a funny high collar that closed at the throat, and red piping at the sleeves and pockets. There were medals - some shiny silver, some multicolored cloth - on his left breast. The silver medals seemed to represent rifles and pistols. There was a broad crimson stripe down each leg of the blue trousers. 

     The man knew the gun shop owner; they greeted each other. I could sense a subtle change in Bill, even though he was behind me, looking over my shoulder at the man in the strange uniform. 

     The man in the uniform was watching me, seemingly   with approval, handle the .300 Savage with all the aplomb a skinny kid with glasses could muster. He nodded over my shoulder at Bill. "There's a young man I'll be talkin' to one of these days," he said to all of us. Then, to me: "Ever hear of the Marines, son?" He smiled. I was thirteen or fourteen. I knew nothing of him or his world. 

     I did know that both Bill and the gun shop owner had changed when he walked in. 

     "No," I said.

     The man might have said something else. I don’t know. I just remember how he looked, and the feeling he brought into the room. And Bill saying with a testy voice, "He's a little young for that." 

     The man in the glittering blue, white and red uniform did his business and left. I could feel the air in the room return to something like it had been before he came in, though a part of his presence remained. 

     I looked at Bill's face with my question. Part of his answer was already in his face; it contained some mixture of awe and disapproval, with a hint of myth or mystery.

     "Marine recruiter, I guess," Bill said, looking at the gun shop owner, who nodded as he leaned on the counter. I asked who Marines were, lobbing the question for both of them to catch. The store owner said something that confirmed the awe in Bill's face, about Marines being the best fighters. There was more awe in his reply than I saw in Bill's face, with none of the disapproval. 

     I was surprised at the anger in Bill's voice. He said something like, Sure, Marines have a lot of guts, but they don't care, they do all this crazy stuff, just stand up and fix bayonets and walk right into it instead of trying to do the job with less casualties. They get a lot of guys slaughtered just to prove how brave they are. 

     As we walked back to the Studebaker Bill said, very pointedly, that when my time came, I should join any branch of service but the Marines.

     I never forgot Bill's admonition. But the man in blue had done his work.

ICICLES (POEM)

1/4/02 Chief Joseph Mountain

For three days, snow has fallen

onto the cabin roof, thawed, slid,

frozen, slid again, curved, re-

frozen until a foot-thick whitecap

of corrugated ice

hangs above my door, a row

of two-foot icicles

along its lower edge. As

the ice became a half-circle

the icicles turned and pointed at the wall:

the very claws of winter.

It thawed again, and the icicles thinned

at one point only, near their tops, and

they drooped, then bent

until they pointed long slender

lumpy-knuckled fingers
at the ground.

Comes the light. Blue moon glows through

gauzy clouds; white stars blink

between.

I step off the porch,

look up, watch

as light enters ice.

Blue light enters ice, turns,

pings around inside

until icicles begin

to vibrate, then hum.

Light becomes music, and

the row of crazy icicles

are skinny silver temple bells tolling

the hymn of winter.                                   

                                                               © Dean Metcalf 2002, 2012

DREAM: RATTLESNAKE AND PISTOL

The rattlesnake dream     

     Sometime in 1991, I was walking down a back street in a Guatemalan town – either Guatemala Antigua, the old Spanish capital; or Panajachel, on the shore of Lago de Atitlán. I was with my friend Roger Bunch, who’d spent years in Guatemala, and a friend of his who was interested in dream interpretation. That friend asked me to tell some of mine. So while walking down that back street in Guatemala, I told him about “Dance of the Arrows” and “Rattlesnake and Pistol.”

     Roger’s friend was agog, and asked me to write them down so he could interpret them for me. In good Marine Corps fashion, I told him to go piss up a rope: “Forget it, buddy. Those are my dreams, and I already know what they mean.”

     I decided then and there to write this book, and what its title would be.

Dream: Rattlesnake and Pistol

People come running up to me: people I know, friends, family, the human community. They're all afraid. They scurry and bump into one another in their urgency to summon my help: "Dean! Dean! There's a snake... you have to shoot it. Hurry!" I follow them. They form a wary circle around the snake, a rattler with powerfully writhing body as thick as my forearms, and triangular head the size of a fist. I'm in the circle, between the people and the snake. Someone hands me a pistol. It's a Hi Standard .22 semiautomatic with a 5" barrel. I recognize it in the dream, and later when I waken, as the first real pistol I ever held, the one my stepdad Bill Gano taught me how to shoot when I was a kid, setting up bottlecaps on a log to represent snakes' heads. The pistol is totally familiar: the purposeful weightiness, the dully glinting, no-nonsense machined surfaces, the knurled metal grips, the thumb safety and the blade front sight and the notch rear sight at the rear of the slide, even the screws, all as I remember them, in their proper places. The people become more frightened, their urgings more frantic: Hurry, they say, and shoot the snake. You're the only one who can do it. The snake throws its body into a coil of scaly, muscular loops. It cocks its head. It emanates power. The people surge back, their entreaties swelling to an ever higher pitch. I take the pistol and look down at the snake. It's in position to strike, but something is missing, which I notice more viscerally than visually. What is missing is that last critical increment of muscular readiness, the quiver of surgical tubing under tension. As I look closer, I notice that the head, instead of hovering just above the coils, tracking its target in readiness to strike, is still resting on the topmost coil, in a physical attitude which suggests both threat and a certain reluctance. And the mouth, which, if open to strike, would have been a terrifying maw in a snake that size, is still closed. I remember that a rattlesnake ready to strike flares its jaws open to almost 180 degrees in order to point all four fangs at its target. And this snake's eyes are not the cold, unblinking eyes with vertical black pupils I had stared into from six inches away, on the Rogue River, as a teenage boy. They are much larger, softer, moist, and brown, more like a dog's, or even a human's, eyes. The snake looks back at me. Its eyes convey ferocity layered with a deep wisdom; and with more layers of warmth, menace, accusation, resignation, regret, and a slight admixture of pleading. Though the snake does not have a voice, what it says with its eyes reaches my brain, not in words exactly, but still in a form akin to language. Ah, the snake says with its eyes. I guess you have to shoot me. I am, after all, a snake. And yes, I am dangerous. I wish I could promise never to bite any of these people, but I can't. I am what I am. But I'm not that different from you. And if you kill me, what does that make you? The urgings of the people in the circle around the snake and me have become a cacophony. They're aware of the eye-to-eye conversation between me and the snake, and want me to shoot before I have time to think about it. The snake is lying in its coils, its eyes now conveying only sadness and a deep reserve of dignity that says it will not demean itself by trying to avoid its fate. I reach down, pick up the snake, and put it in a burlap bag. I leave the circle. The people howl in surprise and protest, but express relief that the snake is no longer free among them. I walk down a road that leads away from the circle of the snake's accusers - the circle of my people - with the rattlesnake in the bag in my left hand, and the pistol, still loaded and still unfired, in my right.