To practice the quick slipping away of ground beneath our feet, geologists built a second mountain. This one is a tender surface, fitted with sensors, and rigged for data. On sunny, cold mornings, to practice how helpless, they measure piles to drop — peat, gravel, water-saturated masses of organic matter, combinations to mimic what might happen — and let them fall into chaos. To practice the moment of shock, they invite everyone like a performance. The scientists on their lunch break gather, promising to stand quietly for five minutes after the stopwatch starts, for the duration of the drop, to watch how it all tumbles, gaining speed, no gasping no matter what it looks like, and for ten whole minutes after. This is the most difficult part. Practicing the quiet after.
With July well underway, we’veput together a list of transportive pieces that encapsulate the spirit of summer—the dust above the country roads, the coolness of the waterfronts, the anticipation of autumn, and of course, the sticky, melting sweetness of ice cream. Take a trip through space and time with these summery selections.
When we were young, white, and poor, we were handed dull machetes. At first light, in the back of half-ton grain trucks, we rode past the peppermint fields and the pear orchards of southern Oregon. We were strangers thrown together like dice in a cup. Some of us smoked quietly or blew the steam off the tops of take-out coffee containers. Others sipped whiskey from dented flasks or spit tobacco into plastic bottles. In ratty plaid shirts, torn dungarees, and worn out boots we looked the part of migrant workers. We would work twelve hours with half-hour lunch breaks that felt like no break at all. At the end of our shift we were older, more broken, and still in debt.
My dad’s black mutt slunk up to the front porch, looking slowly back and forth and crouching down low to the ground. I knew that body language: she was unsure of how a gift she had for us would be received. Her mouth was full of something. “Spit it out, girl,” I commanded. She gently separated her jaws and rolled a small brown ball of fur off her tongue. It was a wild baby rabbit, so small that at first I thought it was a mouse. But then I saw its ears and pink nose, and, as any nine-year-old girl would, I jumped and let out a squeak. Then I composed myself by taking a deep breath and patted my dog on the head. “Good girl, Macy. I’ve got it from here.”
I was not allowed to walk or ride my bike along the highway without an adult. “Blonde hair and blue eyes,” my grandma would tell me. “Just the kind they’d want to steal.” As though at any moment, I could be taken and sold for profit like a chunk of copper wire.
“They’re not gonna steal me, Grandma,” I would tell her. “I’m too mouthy.”
We decided we’d stop for the night in Denver while eating at a Taco Johns in North Platte, Nebraska, and scanned the Expedia app on my phone. There was a 4-star hotel in the suburbs northwest of the city on sale for 86 bucks, so I reserved a room because it was the same price as the Best Western.
Amanda Coplin’s debut novel, The Orchardist, takes place in the Pacific Northwest, a land of dusty rural outposts, ancient forests, and cold deserts. We begin in 1900, in the fruit orchard of William Talmadge, on a farm his mother founded years before in Oregon Country by leading her children “north and then west, west and then north, as if drawing toward a destination already envisioned…” There are rows of apple and apricot trees on this grand, but desolate, estate. Talmadge is a bachelor and an orphan. Talmadge’s solitude is heightened by the many years of his youth spent fruitlessly searching for his dearly loved sister, who went missing shortly after their mother’s death, leaving only her bonnet and basket as clues. This early trauma foreshadows the losses to come. Talmadge has only two friends: a mute Nez Perce man named Clee and a local midwife-cum-apothecary, Caroline Middey, who has long helped him with minor ailments and the embarrassing venereal afflictions of his younger days.
The trail never begins level. It’s part of the architecture of a waterfall. A creek or a stream or a river is flowing along its course, and then there is an abrupt change—a fall—that brings the water a little closer to sea level. A little closer to home.
We drove straight from work and hit the trailhead at 6:15. The sun was already low, and the shadows of Douglas Fir fell long over six feet of snow. For the first hour, we had the false sense of warmth as dusk lit the air with alpenglow. Almost without notice, it became harder and harder to see; then it was dark. We turned on our headlamps, and the blue reflective diamonds marking the trail shone like gas flames among the trees. It was slow going. A foot of fresh powder had fallen the night before, and even with snowshoes, we waded ankle deep beneath our full packs, sweating under our fleece while the freezing air burned our faces.