Rocket Boys: A Memoir (aka October Sky)

Rocket Boys: A Memoir (aka October Sky)

4.3 89
by Homer Hickam
     
 

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"Until I began to build and launch rockets, I didn't know my home town was at war with itself over its children, and that my parents were locked in a kind of bloodless combat over how my brother and I would live our lives. I didn't know that if a girl broke your heart, another girl, virtuous at least in spirit, could mend it on the same night. And I didn't

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Overview

"Until I began to build and launch rockets, I didn't know my home town was at war with itself over its children, and that my parents were locked in a kind of bloodless combat over how my brother and I would live our lives. I didn't know that if a girl broke your heart, another girl, virtuous at least in spirit, could mend it on the same night. And I didn't know that the enthalpy decrease in a converging passage could be transformed into jet kinetic energy if a divergent passage was added. The other boys discovered their own truths when we built our rockets, but those were mine."

So begins Homer "Sonny" Hickam Jr.'s extraordinary memoir of life in Coalwood, West Virginia-a hard-scrabble little company town where the only things that mattered were coal mining and high school football. But in 1957, after the Soviet satellite Sputnik shot across the Appalachian sky, Sonny and his teenaged friends decided to do their bit for the U.S. space race by building their own rockets—and Coalwood, Sonny and A powerful story of growing up and of getting out, of a mother's love and a father's fears, Homer Hickam's memoir Rocket Boys proves, like Angela's Ashes and Russell Baker's Growing Up before it, that the right storyteller and the right story can touch readers' hearts and enchant their souls.

In a town where the only things that mattered were coal-mining and high-school football, where the future was regarded with more fear than hope, a young man watched the Soviet satellite Sputnik race across the West Virginia sky—and soon found his future in the stars. In 1957, Homer H. "Sonny" Hickam, Jr., and a handful of his friends were inspired to start designing and launching the home-made rockets that would change their lives and their town forever.

Looking back after a distinguished NASA career, Hickam shares the story of his youth, taking readers into the life of the little mining town of Coalwood and the boys who would come to embody its dreams. Step by step, with the help (and occasional hindrance) of a collection of unforgettable characters, the boys learn not only how to turn scrap into sophisticated rockets that fly miles into the sky, but how to sustain their dreams as they dared to imagine a life beyond its borders in a town that the postwar boom was passing by.

Rocket Boys has already caught the eye of Hollywood: The producer of Field of Dreams is now working to produce a major motion picture in time for next year's Academy Awards.

A uniquely endearing story with universal themes of class, family, coming of age, and the thrill of discovery, Homer Hickam's Rocket Boys is evocative, vivid storytelling at its most magical.

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Editorial Reviews

From the Publisher
"[T]horoughly charming....Hickam builds a story of overcoming obstacles that is worthy of Frank Capra...[in its]...eloquent evocation of a lost time and place."—Christopher Lehmann-Haupt, New York Times

“A thoroughly charming memoir ... [An] eloquent evocation of a lost time and place.”—New York Times

“A stirring tale that offers something unusual these days ... a message of hope in an age of cynicism.”—San Diego Union-Tribune

“A great read ... One closes the book with an immense feeling of satisfaction.”—Atlanta Journal-Constitution

Library Journal
Few boys escaped the coal mining towns of West Virginia of the 1950s without football scholarships, but Hickam and his friends sought a way. Inspired by the space race, they built and launched a series of rockets, dreaming they would earn scholarships to study to be aerospace engineers. Winning community support was easier than getting a father’s approval. Hickam re-creates an exciting time in American history in this first of three memoirs. (LJ 11/1/98)

(c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

James R. Gaines
. . .[W]hatever its flaws, it's a good bet this is the story as he told it to himself. It is a lovely one, and in the career of Homer H. Hickam Jr., who prevailed over the facts of his life to become a NASA engineer. . .that made all the difference.
The New York Times Book Review
Bruce Watson
Many a memoir has but one story to tell—the author's own. But Hickham's is the tale of a town caught between the old technology and the new....His memoir honoring both earthbound miners and their sons who gazed into space is required reading for understanding the American Dream. -- Smithsonian Magazine
Stephen Blanchard
Rocket Boys is sometimes an uncomfortable blend of fiction and faction, but the real weight of the book lies not with Homer's struggle for altitude, interesting though it is, but in his awkward love for his father and for Coalwood, with its doomed mines and railyards. -- Literary Review
This nostalgic memoir chronicles the rocket launching adventures of Homer Hickam and his friends during their teenage years in Coalwood, West Virginia, in the 1950s. Inspired by the historic Soviet Sputnik launch in 1957, Hickam and his self-proclaimed Big Creek Missile Agency decided to launch a rocket into space. Unbeknowst to them, this seemingly harmless pursuit changes a destiny bound for a life of laboring in Coalwood's bituminous coal mines. Hickam would, in fact, grow up to be a pioneering NASA engineer at the Marshall Space Center in Huntsville, Alabama. Hickam's plain-spoken narrative captures the wide-eyed innocence of the era and draws the reader into a world of boyhood friendships, school-girl crushes and adolescent dreams. Coalwood, an impoverished small town where a promising future consisted of issuing a young boy a mining hat upon high-school graduation, however, is a less than idyllic place for dreams. Instead it serves as a reminder of the author's youthful yearning for a brighter future. In Hickam's teenage world, characters are observed through idle talk or the occasional encounter, emotions are distant curiosities, and glimpses of life in the 1950s are only frames of reference. This is neither a famous astronaut's autobiography nor a dramatic portrayal of life in Cold War America. It's simply a true-life adventure that tickles the imagination while it evokes a more idealistic time.
— William Travis
Publishers Weekly - Publisher's Weekly
Great memoirs must balance the universal and the particular. Too much of the former makes it overly familiar; too much of the latter makes readers ask what the story has to do with them. In his debut, Hickam, a retired NASA engineer, walks that line beautifully. On one level, it's the story of a teenage boy who learns about dedication, responsibility, thermodynamics and girls. On the other hand, it's about a dying way of life in a coal town where the days are determined by the rhythms of the mine and the company that controls everything and everybody. Hickam's father is Coalwood, W.Va.'s mine superintendent, whose devotion to the mine is matched only by his wife's loathing for it. When Sputnik inspires "Sonny" with an interest in rockets, she sees it not as a hobby but as a way to escape the mines. After an initial, destructive try involving 12 cherry bombs, Sonny and his cronies set up the Big Creek Missile Agency (BCMA). From Auk I (top altitude, six feet), through Auk XXXI (top altitude, 31,000 feet), the boys experiment with nozzles, fins and, most of all, fuel, graduating from a basic black powder to "rocket candy" (melted potassium chlorate and sugar) to "Zincoshine" (zinc, sulfur, moonshine). But Coalwood is the real star, here. Teachers, clergy, machinists, town gossips, union, management, everyone become co-conspirators in the BCMA's explosive three-year project. Hickam admits to taking poetic license in combining characters and with the sequence of events, and if there is any flaw, it's that the people and the narrative seem a little too perfect. But no matter how jaded readers have become by the onslaught of memoirs, none will want to miss the fantastic voyage of BCMA, Auk and Coalwood.
Christopher Lehmann-Haupt
A story of overcoming obstacles worthy of Frank Capra. . . .Thoroughly charming. . .an eloquent evocation of a lost time and place. . .A touching memoir which makes a dark and threatening place seem as golden as the dawn of a promising new life.
-- The New York Times
Kirkus Reviews
This straightforward, unselfconscious memoir is set in Coalwood, West Virginia, where the author was 14 years old in 1957, the son of the local mine superintendent. Hickam divides his life in West Virginia into two phases—before and after the October 1957 launching of the Soviet Sputnik satellite. Hickam Sr., a straight company man, despised the Russian Communists and saw his budding scientist-son as a future mining engineer, but his son had other plans. After reading all about rockets in Life magazine, Homer Jr., a disciple of the esteemed U.S. engineer and Cape Canaveral team leader Wernher von Braun, decided to build a rocket of his own. Hickam satisfies in his characterization of his rocketeer cohorts, including the brains behind the operation, the school nerd, whose jet-black hair 'looked as if it had been plastered down with about a quart of Wildroot Cream Oil.' After several mishaps in town with their dangerous steel missile projectiles, the boys set up a rocket center on an old dump site and called it Cape Coalwood, complete with a cement launch pad and a 'blockhouse,' or building for the rocketeers' protection, made of scavenged wood and tin. The author and his friends are adept at breaking things, including his mother's rose garden fence and bathroom scale, but when they break the one-mile barrier in their launches, the entire town has to take them seriously. Hickam admits in an author's note to having used a certain license in telling his story. This seems evident in its idealization of his mother and her near-religious insistence that her son not follow her husband into the mines. A simple small-town story of larger-than-life dreams, in the vein of Rinker Buck'srecent coming-of-age adventure, Flight of Passage(1997). Heavy on '50s nostalgia, invoking song lyrics throughout and portraying the era's inhibition of sexual relations among young people.

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Product Details

ISBN-13:
9780385333207
Publisher:
Random House Publishing Group
Publication date:
09/28/1998
Pages:
368
Sales rank:
449,645
Product dimensions:
5.59(w) x 8.27(h) x 1.26(d)
Age Range:
14 - 18 Years

Read an Excerpt

Coalwood

Until I began to build and launch rockets, I didn't know my hometown was at war with itself over its children and that my parents were locked in a kind of bloodless combat over how my brother and I would live our lives. I didn't know that if a girl broke your heart, another girl, virtuous at least in spirit, could mend it on the same night. And I didn't know that the enthalpy decrease in a converging passage could be transformed into jet kinetic energy if a divergent passage was added. The other boys discovered their own truths when we built our rockets, but those were mine.

Coalwood, West Virginia, where I grew up, was built for the purpose of extracting the millions of tons of rich, bituminous coal that lay beneath it. In 1957, when I was fourteen years old and first began to build my rockets, there were nearly two thousand people living in Coalwood. My father, Homer Hickam, was the mine superintendent, and our house was situated just a few hundred yards from the mine's entrance, a vertical shaft eight hundred feet deep. From the window of my bedroom, I could see the black steel tower that sat over the shaft and the comings and goings of the men who worked at the mine.

Another shaft, with railroad tracks leading up to it, was used to bring out the coal. The structure for lifting, sorting, and dumping the coal was called the tipple. Every weekday, and even on Saturday when times were good, I could watch the black coal cars rolling beneath the tipple to receive their massive loads and then smoke-spouting locomotives straining to pull them away. All through the day, the heavy thump of the locomotives' steam pistons thundered down our narrow valleys, the town shaking to the crescendo of grinding steel as the great trains accelerated. Clouds of coal dust rose from the open cars, invading everything, seeping through windows and creeping under doors. Throughout my childhood, when I raised my blanket in the morning, I saw a black, sparkling powder float off it. My socks were always black with coal dirt when I took my shoes off at night.

Our house, like every house in Coalwood, was company-owned. The company charged a small monthly rent, automatically deducted from the miners' pay. Some of the houses were tiny and single-storied, with only one or two bedrooms. Others were big two-story duplexes, built as boardinghouses for bachelor miners in the booming 1920's and later sectioned off as individual-family dwellings during the Depression. Every five years, all the houses in Coalwood were painted a company white, which the blowing coal soon tinged gray. Usually in the spring, each family took it upon themselves to scrub the exterior of their house with hoses and brushes.

Each house in Coalwood had a fenced-off square of yard. My mother, having a larger yard than most to work with, planted a rose garden. She hauled in dirt from the mountains by the sackful, slung over her shoulder, and fertilized, watered, and manicured each bush with exceeding care. During the spring and summer, she was rewarded with bushes filled with great blood-red blossoms as well as dainty pink and yellow buds, spatters of brave color against the dense green of the heavy forests that surrounded us and the gloom of the black and gray mine just up the road.

Our house was on a corner where the state highway turned east toward the mine. A company-paved road went the other way to the center of town. Main Street, as it was called, ran down a valley so narrow in places that a boy with a good arm could throw a rock from one side of it to the other. Every day for the three years before I went to high school, I got on my bicycle in the morning with a big white canvas bag strapped over my shoulder and delivered the Bluefield Daily Telegraph down this valley, pedaling past the Coalwood School and the rows of houses that were set along a little creek and up on the sides of the facing mountains. A mile down Main was a large hollow in the mountains, formed where two creeks intersected. Here were the company offices and also the company church, a company hotel called the Club House, the post office building, which also housed the company doctor and the company dentist, and the main company store (which everybody called the Big Store). On an overlooking hill was the turreted mansion occupied by the company general superintendent, a man sent down by our owners in Ohio to keep an eye on their assets. Main Street continued westward between two mountains, leading to clusters of miners' houses we called Middletown and Frog Level. Two forks led up mountain hollows to the "colored" camps of Mudhole and Snakeroot. There the pavement ended, and rutted dirt roads began.

At the entrance to Mudhole was a tiny wooden church presided over by the Reverend "Little" Richard. He was dubbed "Little" because of his resemblance to the soul singer. Nobody up Mudhole Hollow subscribed to the paper, but whenever I had an extra one, I always left it at the little church, and over the years, the Reverend Richard and I became friends. I loved it when he had a moment to come out on the church porch and tell me a quick Bible story while I listened, astride my bike, fascinated by his sonorous voice. I especially admired his description of Daniel in the lions' den. When he acted out with bug-eyed astonishment the moment Daniel's captors looked down and saw their prisoner lounging around in the pit with his arm around the head of a big lion, I laughed appreciatively. "That Daniel, he knew the Lord," the Reverend summed up with a chuckle while I continued to giggle, "and it made him brave. How about you, Sonny? Do you know the Lord?"

I had to admit I wasn't certain about that, but the Reverend said it was all right. "God looks after fools and drunks," he said with a big grin that showed off his gold front tooth, "and I guess he'll look after you too, Sonny Hickam." Many a time in the days to come, when I was in trouble, I would think of Reverend Richard and his belief in God's sense of humor and His fondness for ne'er-do-wells. It didn't make me as brave as old Daniel, but it always gave me at least a little hope the Lord would let me scrape by.

The company church, the one most of the white people in town went to, was set down on a little grassy knob. In the late 1950's, it came to be presided over by a company employee, Reverend Josiah Lanier, who also happened to be a Methodist. The denomination of the preacher the company hired automatically became ours too. Before we became Methodists, I remember being a Baptist and, once for a year, some kind of Pentecostal. The Pentecostal preacher scared the women, hurling fire and brimstone and warnings of death from his pulpit. When his contract expired, we got Reverend Lanier.

I was proud to live in Coalwood. According to the West Virginia history books, no one had ever lived in the valleys and hills of McDowell County before we came to dig out the coal. Up until the early nineteenth century, Cherokee tribes occasionally hunted in the area, but found the terrain otherwise too rugged and uninviting. Once, when I was eight years old, I found a stone arrowhead embedded in the stump of an ancient oak tree up on the mountain behind my house. My mother said a deer must have been lucky some long ago day. I was so inspired by my find that I invented an Indian tribe, the Coalhicans, and convinced the boys I played with—Roy Lee, O'Dell, Tony, and Sherman—that it had really existed. They joined me in streaking our faces with berry juice and sticking chicken feathers in our hair. For days afterward, our little tribe of savages formed raiding parties and conducted massacres throughout Coalwood. We surrounded the Club House and, with birch-branch bows and invisible arrows, picked off the single miners who lived there as they came in from work. To indulge us, some of them even fell down and writhed convincingly on the Club House's vast, manicured lawn. When we set up an ambush at the tipple gate, the miners going on shift got into the spirit of things, whooping and returning our imaginary fire. My father observed this from his office by the tipple and came out to restore order. Although the Coalhicans escaped into the hills, their chief was reminded at the supper table that night that the mine was for work, not play.

When we ambushed some older boys—my brother, Jim, among them—who were playing cowboys up in the mountains, a great mock battle ensued until Tony, up in a tree for a better line of sight, stepped on a rotted branch and fell and broke his arm. I organized the construction of a litter out of branches, and we bore the great warrior home. The company doctor, "Doc" Lassiter, drove to Tony's house in his ancient Packard and came inside. When he caught sight of us still in our feathers and war paint, Doc said he was the "heap big medicine man." Doc set Tony's arm and put it in a cast. I remember still what I wrote on it: Tony—next time pick a better tree. Tony's Italian immigrant father was killed in the mine that same year. He and his mother left and we never heard from them again. This did not seem unusual to me: A Coalwood family required a father, one who worked for the company. The company and Coalwood were one and the same.

I learned most of what I knew about Coalwood history and my parents' early years at the kitchen table after the supper dishes were cleared. That was when Mom had herself a cup of coffee and Dad a glass of milk, and if they weren't arguing about one thing or the other, they would talk about the town and the people in it, what was going on at the mine, what had been said at the last Women's Club meeting, and, sometimes, little stories about how things used to be. Brother Jim usually got bored and asked to be excused, but I always stayed, fascinated by their tales.

Mr. George L. Carter, the founder of Coalwood, came in on the back of a mule in 1887, finding nothing but wilderness and, after he dug a little, one of the richest seams of bituminous coal in the world. Seeking his fortune, Mr. Carter bought the land from its absentee owners and began construction of a mine. He also built houses, school buildings, churches, a company store, a bakery, and an icehouse. He hired a doctor and a dentist and provided their services to his miners and their families for free. As the years passed and his coal company prospered, Mr. Carter had concrete sidewalks poured, the streets paved, and the town fenced to keep cows from roaming the streets. Mr. Carter wanted his miners to have a decent place to live. But in return, he asked for a decent day's work. Coalwood was, after all, a place for work above all else: hard, bruising, filthy, and sometimes deadly work.

When Mr. Carter's son came home from World War I, he brought with him his army commander, a Stanford University graduate of great engineering and social brilliance named William Laird, who everyone in town called, with the greatest respect and deference, the Captain. The Captain, a big expansive man who stood nearly six and a half feet tall, saw Coalwood as a laboratory for his ideas, a place where the company could bring peace, prosperity, and tranquillity to its citizens. From the moment Mr. Carter hired him and placed him in charge of operations, the Captain began to implement the latest in mining technology. Shafts were sunk for ventilation, and as soon as it was practical, the mules used to haul out the coal from the mine were replaced by electric motors. Later, the Captain stopped all the hand digging and brought in giant machines, called continuous miners, to tear the coal from its seams. The Captain expanded Mr. Carter's building program, providing every Coalwood miner a house with indoor plumbing, a Warm Morning stove in the living room, and a coal box the company kept full. For the town's water supply, he tapped into a pristine ancient lake that lay a thousand feet below. He built parks on both ends of the town and funded the Boy Scouts, Girl Scouts, Brownies, Cub Scouts, and the Women's Club. He stocked the Coalwood school library and built a school playground and a football field. Because the mountains interfered with reception, in 1954 he erected an antenna on a high ridge and provided one of the first cable television systems in the United States as a free service.

Although it wasn't perfect, and there was always tension between the miners and the company, mostly about pay, Coalwood was, for a time, spared much of the violence, poverty, and pain of the other towns in southern West Virginia. I remember sitting on the stairs in the dark listening to my father's father—my Poppy—talk to Dad in our living room about "bloody Mingo," a county just up the road from us. Poppy had worked there for a time until a war broke out between union miners and company "detectives." Dozens of people were killed and hundreds were wounded in pitched battles with machine guns, pistols, and rifles. To get away from the violence, Poppy moved his family first to Harlan County, Kentucky, and then, when battles erupted there, to McDowell County, where he went to work in the Gary mine. It was an improvement, but Gary was still a place of strikes and lockouts and the occasional bloody head.

In 1934, when he was twenty-two years old, my father applied for work as a common miner with Mr. Carter's company. He came because he had heard that a man could make a good life for himself in Coalwood. Almost immediately, the Captain saw something in the skinny, hungry lad from Gary—some spark of raw intelligence, perhaps—and took him as a protégé. After a couple of years, the Captain raised Dad to section foreman, taught him how to lead men and operate and ventilate a mine, and instilled in him a vision of the town.

After Dad became a foreman, he convinced his father to quit the Gary mine and move to Coalwood, where there was no union and a man could work. He also wrote Elsie Lavender, a Gary High School classmate who had moved on her own to Florida, to come back to West Virginia and marry him. She refused. Whenever the story was told, Mom took over at this point and said the letter she next received was from the Captain, who told her how much Dad loved her and needed her, and would she please stop being so stubborn down there in the palm trees and come to Coalwood and marry the boy? She agreed to come to Coalwood to visit, and one night at the movies in Welch, when Dad asked her to marry him again, she said if he had a Brown Mule chewing tobacco wrapper in his pocket, she'd do it. He had one and she said yes. It was a decision that I believed she often regretted, but still would not have changed.

Poppy worked in the Coalwood mine until 1943, when a runaway mine car cut off both his legs at the hip. He spent the rest of his life in a chair. My mother said that after the accident, Poppy was in continuous pain. To take his mind off it, he read nearly every book in the County Library in Welch. Mom said when she and Dad visited him, Poppy would be hurting so much he could hardly talk, and Dad would agonize over it for days afterward. Finally, a doctor prescribed paregoric, and as long as he had a continuous supply, Poppy found some peace. Dad saw that Poppy had all the paregoric he wanted. Mom said after the paregoric, Poppy never read another book.

Because he was so dedicated to the Captain and the company, I saw little of my father while I was growing up. He was always at the mine, or sleeping prior to going to the mine, or resting after getting back. In 1950, when he was thirty-eight years old, he developed cancer of the colon. At the time, he was working double shifts, leading a section deep inside the mine charged with cutting through a massive rock header. Behind the dense sandstone of the header, the Captain believed, was a vast, undiscovered coal seam. Nothing was more important to my father than to get through the header and prove the Captain right. After months of ignoring the bloody symptoms of his cancer, Dad finally passed out in the mine. His men had to carry him out. It was the Captain, not my mother, who rode with him in the ambulance to the hospital in Welch. There the doctors gave him little chance for survival. While Mom waited in the Stevens Clinic waiting room, the Captain was allowed to watch the operation. After a long piece of his intestine was removed, Dad confounded everybody by going back to work in a month. Another month later, drenched in rock dust and sweat, his section punched through the header into the softest, blackest, purest coal anyone had ever seen. There was no celebration. Dad came home, showered and scrubbed himself clean, and went to bed for two days. Then he got up and went back to work again.

There were at least a few times the family was all together. When I was little, Saturday nights were reserved for us to journey over to the county seat of Welch, seven miles and a mountain away from Coalwood. Welch was a bustling little commercial town set down by the Tug Fork River, its tilted streets filled with throngs of miners and their families come to shop. Women went from store to store with children in their arms or hanging from their hands, while their men, often still in mine coveralls and helmets, lagged behind to talk about mining and high-school football with their fellows. While Mom and Dad visited the stores, Jim and I were deposited at the Pocahontas Theater to watch cowboy movies and adventure serials with hundreds of other miners' kids. Jim would never talk to any of the others, but I always did, finding out where the boy or girl who sat next to me was from. It always seemed exciting to me when I met somebody from exotic places like Keystone or Iaeger, mining towns on the other side of the county. By the time I had visited and then watched a serial and a double feature and then been retrieved by my parents to walk around Welch to finish up Mom's shopping, I was exhausted. I almost always fell sound asleep on the ride home in the backseat of the car. When we got back to Coalwood, Dad would lift me over his shoulder and carry me to bed. Sometimes even when I wasn't asleep I pretended to be, just to know his touch.

Shift changes in Coalwood were daily major events. Before each shift began, the miners going to work came out of their houses and headed toward the tipple. The miners coming off-shift, black with coal dirt and sweat, formed another line going in the opposite direction. Every Monday through Friday, the lines formed and met at intersections until hundreds of miners filled our streets. In their coveralls and helmets, they reminded me of newsreels I'd seen of soldiers slogging off to the front.

Like everybody else in Coalwood, I lived according to the rhythms set by the shifts. I was awakened in the morning by the tromp of feet and the clunking of lunch buckets outside as the day shift went to work, I ate supper after Dad saw the evening shift down the shaft, and I went to sleep to the ringing of a hammer on steel and the dry hiss of an arc welder at the little tipple machine shop during the hoot-owl shift. Sometimes, when we boys were still in grade school and tired of playing in the mountains, or dodgeball by the old garages, or straight base in the tiny clearing behind my house, we would pretend to be miners ourselves and join the men in their trek to the tipple. We stood apart in a knot and watched them strap on their lamps and gather their tools, and then a bell would ring, a warning to get in the cage. After they were swallowed by the earth, everything became eerily quiet. It was an unsettling moment, and we boys were always glad to get back to our games, yelling and brawling a little louder than necessary to shatter the spell cast on us by the tipple.

Coalwood was surrounded by forests and mountains dotted with caves and cliffs and gas wells and fire towers and abandoned mines just waiting to be discovered and rediscovered by me and the boys and girls I grew up with. Although our mothers forbade it, we also played around the railroad tracks. Every so often, somebody would come up with the idea of putting a penny on the track and getting it run over by the coal cars to make a big flat medal. We'd all do it then until we had used up our meager supply. Stifling our laughter, we'd hand the crushed coppers across the counter at the company store for candy. The clerk, having seen this many times over the years, usually accepted our tender without comment. They probably had a stack of flat pennies somewhere in the company-store offices, collected over the decades.

For a satisfying noise, nothing beat going up on the Coalwood School bridge and throwing pop bottles into the empty coal cars rolling in to the tipple. When the coal cars were full and stopped beneath the bridge, some of the braver boys would even leap into them, plunging waist-deep into the loose coal. I tried it once and barely escaped when the train suddenly pulled out, bound for Ohio. I wallowed through the coal and climbed down the outside ladder of the car and jumped for it, skinning my hands, knees, and elbows on the packed coal around the track. My mother took no pity on me and scrubbed the coal dirt off me with a stiff brush and Lava soap. My skin felt raw for a week.

When I wasn't outside playing, I spent hours happily reading. I loved to read, probably the result of the unique education I received from the Coalwood School teachers known as the "Great Six," a corruption of the phrase "grades one through six." For years, these same six teachers had seen through their classrooms generations of Coalwood students. Although Mr. Likens, the Coalwood School principal, controlled the junior high school with a firm hand, the Great Six held sway in the grades below. It seemed to be very important to these teachers that I read. By the second grade, I was intimately familiar with and capable of discussing in some detail Tom Sawyer and Uncle Tom's Cabin. Huckleberry Finn they saved for me until the third grade, tantalizingly holding it back as if it contained the very secrets of life. When I was finally allowed to read it, I very well knew this was no simple tale of rafting down a river but the everlasting story of America itself, with all our glory and shame.

Bookcases filled with complete sets of Tom Swift, The Bobbsey Twins, The Hardy Boys, and Nancy Drew were in the grade-school hallway and available to any student for the asking. I devoured them, savoring the adventures they brought to me. When I was in the fourth grade, I started going upstairs to the junior high school library to check out the Black Stallion series. There, I also discovered Jules Verne. I fell in love with his books, filled as they were with not only great adventures but scientists and engineers who considered the acquisition of knowledge to be the greatest pursuit of mankind. When I finished all the Verne books in the library, I became the first in line for any book that arrived written by modern science-fiction writers such as Heinlein, Asimov, van Vogt, Clarke, and Bradbury. I liked them all unless they branched out into fantasy. I didn't care to read about heroes who could read minds or walk through walls or do magic. The heroes I liked had courage and knew more real stuff than those who opposed them. When the Great Six inspected my library record and found it top-heavy with adventure and science fiction, they prescribed appropriate doses of Steinbeck, Faulkner, and F. Scott Fitzgerald. It seemed as if all through grade school, I was reading two books, one for me and one for my teachers.

For all the knowledge and pleasure they gave me, the books I read in childhood did not allow me to see myself past Coalwood. Almost all the grown-up Coalwood boys I knew had either joined the military services or gone to work in the mine. I had no idea what the future held in store for me. The only thing I knew for sure was my mother did not see me going into the mine. One time after Dad tossed her his check, I heard her tell him, "Whatever you make, Homer, it isn't enough."

He replied, "It keeps a roof over your head."

She looked at the check and then folded it and put it in her apron pocket. "If you'd stop working in that hole," she said, "I'd live under a tree."

After Mr. Carter sold out, the company was renamed Olga Coal Company. Mom always called it "Miss Olga." If anybody asked her where Dad was, she'd say, "With Miss Olga." She made it sound as if it was his mistress.

Mom's family did not share her aversion to coal mining. All of her four brothers—Robert, Ken, Charlie, and Joe—were miners, and her sister, Mary, was the wife of a miner. Despite their father's hideous accident, my father's two brothers were also miners; Clarence worked in the Caretta mine across the mountain from Coalwood, and Emmett in mines around the county. Dad's sister, Bennie, married a Coalwood miner and they lived down across the creek, near the big machine shops. But the fact that all of her family, and my father's family, were miners did not impress my mother. She had her own opinion, formed perhaps by her independent nature or by her ability to see things as they really were, not as others, including herself, would wish them to be.

In the morning before she began her ritual battle against the dust, my mother could nearly always be found with a cup of coffee at the kitchen table in front of an unfinished mural of a seashore. She had been working on the painting ever since Dad took over the mine and we moved into the Captain's house. By the fall of 1957, she had painted in the sand and shells and much of the sky and a couple of seagulls. There was an indication of a palm tree going up too. It was as if she was painting herself another reality. From her seat at the table, she could reflect on her roses and bird feeders through the picture window the company carpenters had installed for her. Per her specifications, it was angled so not a hint of the mine could be seen.

I knew, even as a child, that my mother was different from just about everybody in Coalwood. When I was around three years old, we were visiting Poppy in his little house up Warriormine Hollow, and he took me on his lap. That scared me, because he didn't have a lap, just an empty wrinkled blanket where his legs should have been. I struggled in his thick arms while Mom hovered nervously nearby. "He's just like Homer," I remember toothless Poppy lisping to Mom while I squirmed. He called to my dad on the other side of the room. "Homer, he's just like you!"

Mom anxiously took me from Poppy and I clutched hard to her shoulder, my heart beating wildly from an unidentified terror. She carried me out onto the front porch, stroking my hair and hushing me. "No, you're not," she crooned just loud enough so only she and I could hear. "No, you're not."

Dad slapped open the screen door and came out on the porch as if to argue with her. Mom turned away from him and I saw his eyes, usually a bright hard blue, soften into liquid blots. I snuggled my face into her neck while Mom continued to rock and hold me, still singing her quietly insistent song: No, you're not. No, you're not. All through my growing-up years, she kept singing it, one way or the other. It was only when I was in high school and began to build my rockets that I finally understood why.

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