Ariel's Crossing

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After years of being kept in the dark, Ariel Rankin learns that her birth father is a man named Kip Calder who went to Vietnam and then disappeared before she was born. The discovery shakes her world to the core. Realizing she can no longer elude her past if she is to have a future, Ariel leaves behind her life in New York City and heads west to New Mexico to find the mysterious Calder-and the truth of who she is. Audaciously weaving social and magic realism, award-winning author Bradford Morrow delivers a moving...

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Overview

After years of being kept in the dark, Ariel Rankin learns that her birth father is a man named Kip Calder who went to Vietnam and then disappeared before she was born. The discovery shakes her world to the core. Realizing she can no longer elude her past if she is to have a future, Ariel leaves behind her life in New York City and heads west to New Mexico to find the mysterious Calder-and the truth of who she is. Audaciously weaving social and magic realism, award-winning author Bradford Morrow delivers a moving exploration of the search for identity and reconciliation with the past.

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Editorial Reviews

Publishers Weekly
Morrow uses a woman's search to find her father as a vehicle to explore the dual legacies of Los Alamos and Vietnam in his latest, a powerful, multilayered novel in which he revisits a character from Trinity Fields, Kip Calder, who becomes the holy grail of a quest by his daughter, Ariel Rankin. As the novel opens, Rankin is leading a comfortable life as an assistant editor for a Manhattan publisher, but things gets turned upside down in a hurry by a surprise pregnancy, along with the revelation that Brice McCarthy (who also appeared in Trinity Fields) is not her real father. Most of the novel involves Rankin's search for Calder, who survives a bout with illness and a down-and-out stretch when he is taken in by the Montoya family in the remote desert of New Mexico. Rankin's search is complicated by Calder's erratic wanderings, which culminate in an effort to help Delfino Montoya, who worked on the Manhattan Project, recover the ranch that was seized by the government during the military effort. The first half of the novel is near-brilliant, as Morrow sets up a tightly woven network of strong, intriguing characters while crafting evocative chapters about the tumultuous effect of political events on the lives of his protagonists. The novel fades down the stretch, mostly due to overcomplicated subplots, including one involving Rankin and her love interest, Marcos Montoya, while a final confrontation with the government on the ranch is drawn out and labored. These problems aside, this is yet another outstanding, thought-provoking novel from one of America's major literary voices as he continues to explore the issues that made Trinity Fields so compelling and memorable. (May) Forecast: The sequel elements of this novel may help boost sales. Morrow's track record ensures a solid base audience.
Library Journal
Though Morrow begins his novel with a historically and geographically significant conceit that of the ghost of Do$a Francisca de Pe$a, whose story offers us a violent, almost biblical introduction to the land around Chimayo , NM he soon runs headlong into the present and a group of bumbling characters who are considerably less convincing. The intricate plot and subplots coalesce around protagonist Ariel's long search for her father, Kip, who went to fight in Vietnam and disappeared in Laos before her birth. The action starts when, out of the blue, a minor character tells Ariel that she knows "a man who'd be very happy to meet" her. Ariel heads to Chimayo , missing her father only by chance because he has decided, not very convincingly, to martyr himself to a hopeless cause. Unfortunately, Morrow does not capitalize on these ironies or the potential for poignancy here. Instead, the shallow characters and silly plots are submerged by melodrama not unlike that of the daytime soap operas a real surprise from Morrow, founding editor of Conjunctions and author of four previous novels, including The Almanac Branch. Lyle D. Rosdahl, San Antonio P.L., TX Copyright 2002 Cahners Business Information.
Kirkus Reviews
Ghosts of the Spanish settlers and lingering effects of the Manhattan Project pleasantly spook the atmosphere in a New Mexican family drama. The landscape is purple and tan, the humidity low, the manors adobe, but the family dynamics are as realistically complex and, well, cozy as one of those nice Aga sagas that the Brits ship over by the ton. Morrow (Giovanni's Gift, 1997, etc.) sets the ghost of Dona Francisca de Pena, free-spirited 18th-century descendent of the Conquistadors, floating (but not meddling) around the family acres in greater Santa Fe, where, gradually fading, she observes the lives of her own offspring, the Montoyas, and is herself occasionally sighted. The Montoyas are mostly unpretentious ranchers, horse people whose common sense is badly needed by the Anglos who wander into their pastures. Most of the needy non-grandees have connections to the Ur-techies who came in the '40s to test the limits of atomic theory. Kip Calder and Brice McCarthy had physicist fathers and shared a Los Alamos boyhood and friendship that soured in the '60s when Kip skipped out on his pregnant girlfriend, who wound up marrying Brice. Kip went to Southeast Asia and became a spook; Brice went to law school and became a liberal cliche. Now Kip, dying from cancer, has returned, and Ariel Rankin, his abandoned daughter, herself pregnant from a broken affair, has at last responded to feelers Kip put out at a reunion with Brice three years earlier. Kip, nursed from near-death at Sarah Montoya's nursing home, has become part of the family, but when Ariel reaches New Mexico and picks up her father's trail, he has disappeared on a last adventure with plucky widower Delfino Montoya to reclaim the ranchthe feds snatched for their proving ground. Subplots abound, including an actress trapped in a character she created, until everything knits up as tidy as Twelfth Night. High-toned escape with palatable preaching and beautiful scenery.
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Product Details

  • ISBN-13: 9780142002827
  • Publisher: Penguin Group (USA)
  • Publication date: 7/29/2003
  • Pages: 400
  • Product dimensions: 5.26 (w) x 7.76 (h) x 0.74 (d)

Meet the Author

Bradford Morrow is the author of the novels Come Sunday, Trinity Fields, and Giovanni's Gift. In 1998, the American Academy of Arts and Letters presented him with the Academy Award in Literature. He is a professor of literature at Bard College and is founder and editor of the literary journal Conjunctions.

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Read an Excerpt

Ariel's Crossing


By Bradford Morrow

OPEN ROAD INTEGRATED MEDIA

Copyright © 2002 Bradford Morrow, Inc.
All rights reserved.
ISBN: 978-1-4532-1209-7



CHAPTER 1

Stranger by the Gate

Nambé 1820–1993


DOÑA FRANCISCA DE PEÑA never believed in ghosts, and even after she became one herself she couldn't help but have her doubts.

When she was young, Francisca already wore a weathered look in her dark eyes. Stronger than her brothers, she rode better than they did and worked the fields with a grown man's stamina. Her father, Trinidad Otero de Peña, a pioneer ranchero who settled three dozen hectares in Nambé valley before the mid-century pueblo land grants, taught her the names of animals and plants and stars. Showed her how to irrigate summer pastures and graft pear trees. Her mother, Estrella, schooled her in reading, writing, and numbers. They sensed Francisca was not like other children. Quicker, more awake, but at the same time given to curious reveries. Maybe she was a gentle bruja, they thought, a benign witch. They nicknamed her Francisca esparaván, little sparrowhawk.

On her seventh birthday, Francisca had a dream in which she swam Rio Nambé like some underwater bird, feathering her way with ease through its cold currents. When she awakened, a mysterious change had visited the world around her. Paralyzed in bed, she saw her room was not the same. Sun billowing in her window seemed more like liquid than light. Her cane chair wavered toward invisibility. The book on her table was translucent, as was the willowy table itself. Her room was in the river, it appeared, the universe of her dream having merged with what she witnessed here, awake. Then slowly her alcove regathered itself, and the girl arose into her morning.

Throughout that day, while doing chores on the rancho, a tract of scratchland at the western edge of the pueblo not far from where it bordered Pojoaque, Francisca was tormented by the fear she might never be able to visit her dream place again. For though she liked working the horses and stoking the piñonwood fire in the mud oven where her mother baked their bread, nothing matched the ecstasy of that dream. But she needn't have worried. That very night she sat on one of the moonlit blades of the wooden windmill, feet dangling as she rode round and round on its spinning face in a carnival of her own devising.

Many different birds visited her dreams. Magpies that squealed like lusty cats in rough basket-nests high in their catalpa trees. Strutting crows dressed in black like debonair hangmen. Roadrunners that zigzagged the open barrens. On her ninth birthday, Francisca dreamed she spread her arms and stretched her fingers and flew above the treetops of Nambé basin. The desert wind combed her blue-black hair and made her pluming skirts flutter against her thighs. When she gazed below she saw herself asleep in her rope bed, another girl who was Francisca de Peña, she supposed, an earthbound creature for whom she felt a certain pity.

This was the dream that marked her continuous consciousness. It was so viable, so very true, that when she awoke to find herself not in the sky but on the ruddy floor, soaked in sweat, coughing and clawing at the air, flinching in her mother's arms, the girl opened her eyes awestruck to discover that her mother seemed more fantasy than her spectral flight.

Dreams flowed through her with progressive fury. Looking at another dawn over the Sangre de Cristos, or gazing toward the Jemez Mountains coppered by sundown, she dismissed the temptation to confide in anyone. Who would understand these night visions that caused her to mistrust if she ever really slept? Who would believe she sometimes knew in the morning what afternoon would bring? That this year's frijoles would grow under generous rain, while next year's crop would fail? That a cousin living near Santo Domingo was pregnant with twin girls who would survive the hour of their birth even as their mother perished? Francisca herself scarcely believed the things she saw.

All the while, the waking world of mother and father and brothers who'd been christened with good adamant names out of the Bible—Mateo, Santo, Teofilo, Pedro—moved on. Mateo, born scrawny, became a strapping buck. Santo had long sable hair and an eye for the women. Hardworking Teofilo wore a bright-red kerchief tied around his head beneath his hat. Pedro, who lived in the kitchen, grew round as an armadillo. These brothers matured, as did the ranch. More sheep and cattle in the pastures, more horses. The orchards flourished. Her father took a fall off his favorite stallion and walked forever after with a proud limp. Estrella's gray eyes got grayer, and her hair went white. Crops were sown, harvested, cellared, eaten. Seasons migrated like sandhill cranes.

While she never ventured off the place other than to make the wagon ride across the gritty, shadeless trail to La Villa Real de la Santa Fé to attend mass at San Miguel, Francisca found that she could journey across centuries and converse with people in many languages. She met saints and rogues and angels who reminded her of the brilliant painted reredos at the cathedral. She met harlots in beaverskin and virgins white as the snow-crowned Truchas. She walked beside blessed Bernardo Abeyta and caravaned with whimsical Santo Niño. She was the very penitente carved from orangewood and balsam whom they crucified as El Cristo Negro of Esquípulas. She became the stuff of myth, a question whose answer was another question. Had she not loved being awake and alive, she'd have thought how wonderful it would be to sleep and dream always. As nights glided into days, days into nights, it became harder for her to tell the difference anyway.


Francisca never married, proved herself to be alone among the de Peña children capable of running the ranch after the deaths of her parents. She outlived them all, each of those brothers with their saintly names. Under her aegis, Rancho de Peña continued to thrive. A grand hacienda was built on the rise overlooking the ranchlands, replacing the small adobe fieldhouse beside the river. Every stretch of earth was put to use. Her vines bore the richest fruits, her fields the best produce. No one had finer livestock or better-trained horses. The first guitar in Nambé pueblo was heard under the portal of the new hacienda, strummed by none other than Francisca herself. Dances were held, both secular and sacred, hoedown and corn dance. For a time, her world was a desert utopia.

Then the day arrived, 9 February 1880, when Francisca de Peña left her flesh behind. She was cremated—a sinful annihilation in those times, but enacted on her strict instructions—by the man to whom she'd willed the de Peña holdings, a man for years rumored to be her lover, certainly her dearest friend, and the sole person with whom she shared her bruja's secret.

Juliar Montoya built Francisca's bier along the stony shoal of Rio Nambé, near the fieldhouse that fronted her favorite pasture. A snowy morning. Crows cawed overhead. Cottonwoods, some of whose recalcitrant leaves had failed to fall, rattled above as the wind gusted through. Pellets of ice hissed when they struck the fiery coals. Montoya did his work alone, watching over the fire while her legs and arms burned and curled and her beloved face flamed, blackened, collapsed, and her bones pushed forth from the searing skin that once hid her heart but did no more. Having blazed throughout the long dank day, fed with cedar branches and lengths of poplar, the fire finally smoked down to char, and Montoya broadcast with a shovel her glittering ashes in that field her feet had known so well. Blinding benevolent snow soon enough buried Francisca's remains, and as it continued to fall in thick waves it whitened the terrain, softening everything visible so that the world momentarily forgot itself. Montoya shouldered his shovel and walked back up to the main house. As long as he lived, he would never forget the sweet perfume of that funeral fire.


Journeying on in her vivid dream, Francisca kept mostly to herself. She walked barefoot the dry pebbly bed of Rio Nambé in autumn and smelled the sage that bloomed alongside it in spring. Sometimes, when the moon was new, she lay in bed beside Montoya, wrapping her arms around him after he'd fallen asleep. She admired the way he carried on the work she had begun. Itinerant workers who drifted onto the ranch were treated as confreres. A fair wage was given for a fair day's work. And Montoya, who deplored peonage—Indian slavery practiced by local friars—took in refugees even as he managed to avoid trouble with militia and traders who passed through on their way between the Taos and Chihuahua markets.

After Nambé reservation was established, the old de Peña ranch, along with others—Ortiz, Garduno, Sena, the precious ditches still bear their names today—became islanded within its borders. Of all the Tewa pueblos, Nambé would prove to be the most peaceful and the poorest. Seasons ascended over the valley and veered away. There were dry years and wet ones. The wind blew, and then came days when the air was so still fans could not push it along. There were sick animals and those it seemed nothing could kill. Violent men ranged at every periphery, and some who were less violent, and a rare few who weren't. All the while, Nambé watched the mountains abide and monumental clouds wheel above their summits.

At the center of all this passage was Francisca. Her nephews and nieces—Mateo's children; Santo's—departed the valley to seek their fortunes elsewhere, the boys having felt slighted by Montoya's inheritance which they thought might better have been their own, the girls marrying into other families in Yuma and up in Gunnison. They never accused Juliar Montoya of stinginess. He offered them a stake in the land, on the condition that they work together with him and share. None of the nephews was ever seen again, though the girls sometimes sent a letter.

Montoya married a gaunt handsome woman from Oklahoma, had children, and died one year shy of the start of the twentieth century. Francisca was saddened that on his death he didn't join her in the fieldhouse, but she understood her dream was not his. He was buried in Chimayó, three hours' walk northeast of Rancho de Peña. Every year following his death, his widow, Emily, made the Good Friday pilgrimage to the santuario there. Even in the last year of her life she dug sacred healing dirt from the posito in the mission, then anointed herself and her children with it in the hope it would cure them of illness that loomed about the valley.

Emily Montoya succumbed in 1918 to the Spanish influenza, the same plague that took all of Montoya's children but one, a kid named Gil, who had in 1895 been born with a clubfoot but was otherwise healthy, an able rider and hardworking rancher. Gil always fancied horses and kept them on the spread not only for traditional work beneath a rider or before a plow, but for breeding. He married, had two children. The elder, Carl, was his particular pride, but Delfino was well loved, too. Carl and Delfino stayed on the ranch working for their father—though Delf, never very prudent, would in later years move south to Tularosa to homestead some of the most broiling, bony, difficult acres anywhere in the desert West. As these generations went about their routines, Montoya's land changed little beyond its slow conversion from subsistence ranching of the old days to horse ranching.

Coyote fences were woven and laid up along the boundaries of their property. Paddocks were built. A new barn was erected, bigger than the last, then a newer one was raised after lightning set the other afire. Irrigation ditches were dug and redug, cleaned and re-cleaned. Spillways were rebuilt, sluice gates refitted. The tawny land went white in winter and greened again in spring when big Navajo willows brightened like lime explosions among the leafing elms and box elders. Naked cuestas and hogbacks and spires out toward Chupadero were resculpted with magnificent delicacy by the slow hand of weather.

The visions that followed Francisca in her continuous dream were so richly whole as to make her unaware of time's presence. One thing she missed, however, was the raw tactility of her former waking life. She never bruised or bled now. Drought didn't make her thirsty. Winter frost failed to chill her. She walked the fields unable to feel the sharp stalks of corn or bulbs of purple garlic. Raindrops in their hurry to reach the ground passed through her body. Amazed, she would extend her arm and watch the drizzle penetrate her palm as if she were not there at all. How she wished she could feel the holy clay of Chimayó, its grainy coolness. But over time she learned not to wish for more than flight and fragrances and the remembrance of touch.

Doubt is a ghost's most dangerous adversary. Hoping she was somehow not a ghost had kept her going, but after decades gathered themselves and fell behind the arc of the new century, even Doña Francisca de Peña began to wane. Lately, daybreak exhausted her, and she crouched in shadowy corners of the crumbling fieldhouse, wondering if a dreamer could dream within her dreams other dreams. She began to venture more often into the murky world of doubt, only to return feeling worn down, bereft as some cleric who had lost his calling. She told herself that this unfinished presence, this separating spirit that seemed the furtherance of a life led, was probably some fond but spurious dream that one small part of her heart had wished into being, even though it lay as dust on the ground. Could it be that a single speck of her waking or dreaming self had simply refused to die and, as a result, was now caught in a fantasy? That she had misunderstood her death, and all this was a prophecy of a future that hadn't come to pass?

There really were signs she was wasting away. Sometimes she forgot how to ascend the veiled staircase of air. How to smell or see. Sometimes she had to work to convince herself she was the same woman, animated and full of opinions about everything, just as she always had been when this land was hers, and the name Doña Francisca of Nambé carried a weight of authority and respect throughout the valley and outlying lands.

It wasn't until this boy saw her, this boy christened Mark but nicknamed Marcos by those who worked on the horse ranch—Rancho Pajarito, they called it now—that she began to believe in herself again. She'd wandered these fields for so long that she hadn't noticed that no one noticed her after Juliar Montoya cast her ashes here, in the century before the advent of electric power and telephone lines and cellular towers, before cars ferried people in from and out to the highway where the school building had been converted into a shining sad new Indian casino down at the junction of the roads to Santa Fe, Los Alamos, Taos, and Chimayó village.

With a look of terror and skepticism tailored by reverence in his squinting eyes, Carl's son, Marcos, confirmed for her the prospect that she was there, a figure, a shape, a vision in someone else's mind, not just the spectral issue of her own weird genius. The question was, how could she express the gratitude she felt without frightening off her only witness?

A quiver of excitement stirred the air around her. Marcos, then thirteen, reminded her of her father, Trinidad: strong, rangy, carven-faced, shy yet with a stubborn cast in those midnight-blue eyes. Like her father, he bore a scar on his left forearm. Even as the boy was shocked to see her floating above the field, he wore the same determined frown of Francisca's father.

Marcos's mind was racing, What the hell?

Reaching out toward him, head tipped, she gestured, beckoning him to understand that she was the same deliberately tenacious woman as ever, possessed of the same hardness as the earth beneath them. She tried to tell him that though time had worn her down a little, and that she'd been roughened by its voluptuous desolation, she was—she was, she existed. How else could she extend her arm and open her fingers like this?

Marcos stared.

Heavy wind rolled slow over the desert past Tesuque, down what used to be Kit Carson Highway, past Cities of Gold casino whose name chides Coronado even as its gamblers pantomime his weakness, up the reservation road past Pojoaque cemetery where a fresh grave was decorated with pink plastic carnations and a wooden crucifix painted white. It meandered, this wind, along those same lands where Old World conquerors came, brutal Don Juan de Oñate in 1605, Don Diego de Vargas who retook the pueblos after the Indian rebellion at the end of the seventeenth century, alongside hundreds of other souls whose names were also scratched into Inscription Rock but who are now known only as icons, as words, letters, flourishes of the nearly forgotten. It meandered where explorers had worked their way into these domains and, circling as wind and humans and history will do, it blew over barrancas and came down into this valley and rushed right through her. The cottonwood leaves rustled on their numb winter limbs. This was the end of February 1981, the evening when Marcos first saw Francisca. She'd lost her sense of smell but keenly remembered the perfume of greasewood, of piñon smoke and grayblue juniper berries crushed between her fingers, the smell of rainripe droppings left by animals domestic and savage. She knew she couldn't touch the amber bark of the cottonwoods that smelled like vanilla on hot summer days, but drew in breath—air breathing air—and ran her hand over the trunk of the great tree if only to show him she could, prove to him she was more than some desert draft.


(Continues...)

Excerpted from Ariel's Crossing by Bradford Morrow. Copyright © 2002 Bradford Morrow, Inc.. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sort by: Showing all of 5 Customer Reviews
  • Anonymous

    Posted July 18, 2002

    This is Morrow's best work--and that's saying a lot!

    Read this book for yourself and you¿ll see why *Ariel¿s Crossing* is Bradford Morrow¿s best work. His use of language is sublime---so rich and lush---and yet, unlike so many writers, it enhances his storytelling rather than interfering with it. Ariel is a wonderful, inspiring young woman whose journey to self-discovery takes her through some amazing yet completely believable twists of fate. Her search for her birth father begins long years after fraught, emotional conversation in which her mother and stepfather finally tell her the truth about her parentage. Kip, her father, who is now dying of cancer, has spent his entire lifetime fighting ¿other men¿s wars¿, most notably in Vietnam and Laos, and characteristically seeks to end his life having fought one more battle--that of Delfino, whose ranch was confiscated by the government to create a nuclear bomb test site near Los Alamos during World War II (a cause meaningful not only to Kip, born in Los Alamos and haunted by the bomb for his whole life, but to any reader who cares about how the government is spending our tax dollars on wars we may or may not agree with). Morrow's love of the New Mexican landscape is palpable. He has also created a roster of marvelous characters, including Franny (aka Mary), who discovers herself by simply re-inventing herself as someone else, Sarah Montoya, the wise mother who guides her whole family (adopted and otherwise) with wry intelligence, and even Francisca, the ghost whose very presence seems to make a place home. There is good reason that Publisher¿s Weekly called *Ariel¿s Crossing* ¿yet another outstanding, thought-provoking novel from .one of America's major literary voices¿.

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  • Posted December 9, 2008

    more from this reviewer

    deep relationship drama

    Ariel Rankin grew up in Manhattan thinking that Brice McCarthy was her father. However, recently the Manhattan publisher has learned that Brice is not her biological father, but that Kip Calder had sired her. Stunned with the truth, and single and pregnant, Ariel decides to meet Kip. <P>In the 1960s Kip impregnated his girlfriend Jessica and fled to Southeast Asia where he became a spy. Brice, irate with his best friend for what he did to Jessica, stepped in and married her, helping her raise Ariel. Now Kip is back home in New Mexico, nearing death and wants to meet his daughter. However, instead of waiting for her, Kip decides to finish his life with one last quest. He is helping widower Delfino Montoya to reclaim the ranch the Feds snatched from her family for those notorious tests in the proving ground. <P>ARIEL¿S CROSSING is a deep relationship drama filled with numerous subplots that draw from the divergent culture that the Manhattan Project and subsequent nuclear research brought to New Mexico. The story line is action packed though some of the secondary threads take away from the prime theme. Still readers will feel mesmerized as the characters take the audience on a tour of the Land of Enchantment including the pits rarely seen by anyone who is not a Lobo or an Aggie. <P>Harriet Klausner

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    Posted January 13, 2011

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    Posted January 16, 2011

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    Posted May 7, 2013

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