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From the Publisher"Sweet, moody, sexy, cruel. Stories told with such tenderness, they leave
you with your heart aching." -Sandra Cisneros, author of Caramelo and The House on Mango Street
Set mainly in California's Central Valley, Manuel Muñoz's first collection of stories goes beyond the traditional family myths and narratives of Chicano literature and explores, instead, the constant struggle of characters against their physical and personal surroundings. Usually depicted as the lush and green world of rural quiet and tranquility, the Valley becomes the backdrop for the difficulties these characters confront as they try to maintain hope and independence in the ...
Set mainly in California's Central Valley, Manuel Muñoz's first collection of stories goes beyond the traditional family myths and narratives of Chicano literature and explores, instead, the constant struggle of characters against their physical and personal surroundings. Usually depicted as the lush and green world of rural quiet and tranquility, the Valley becomes the backdrop for the difficulties these characters confront as they try to maintain hope and independence in the face of isolation.
In the title story, a teenage boy learns the consequences of succumbing to the lure of a town outsider; in "Campo," a young farm worker frantically attempts to hide his supervision of a huddle of children from the town police, only to have another young man come to his unexpected rescue; in "The Unimportant Lila Parr," a father must expose his own secrets after his son is found murdered in a highway motel. From conflicts of family and sexuality to the pain of loss and memory, the characters in Zigzagger seek to reconcile themselves with the rural towns of their upbringing—a place that, by nature, is bordered by loneliness.
By six in the morning, the boy's convulsions have stopped. The light is graying in the window, allowing the boy's bedroom a shadowy calm-they can see without the lamp, and the father rises to turn it out. The boy's mother moves to stop him and the father realizes that she is still afraid, so he leaves it on. The sun seems slow to rise, and the room cannot brighten as quickly as they would like-it will be cloudy today.
The father is a bold man, but even he could not touch his teenage son several hours ago, when his jerking body was at its worst. The father makes the doorways in their house look narrow and small, his shoulders threatening to brush the jambs, yet even he had trouble controlling the boy and his violent sleep. And it was the father who first noticed how the room had become strangely cold to them, and they put on sweaters in the middle of July-the boy's body glistening, his legs kicking away the blankets as he moaned. The mother had been afraid to touch him at all and, even as the sun began rising, still made no move toward the boy.
In the morning light, the boy seems to have returned to health. He is sleeping peacefully now; he has not pushed away the quilts. His face has come back to a dark brown, the swelling around the eyes gone.
"I'll check his temperature," the father tells the mother, and she does not shake her head at the suggestion. She watches her husband closely as he moves to the bed and reaches for the edge of the quilt. She holds her breath. He pulls the quilt back slowly and reveals their son's brown legs, his bare feet. He puts out his hand to touch the boy's calf but doesn't pull away his fingers once he makes contact with the skin. The father turns to the mother, his fingers moving to the boy's hands and face. "I think he's okay now."
The mother sighs and, for the first time in hours, looks away from the bed. She remembers that today is Sunday and, with the encouragement of the coming morning, she rises from her chair to see for herself.
Saturdays in this town are for dancing. The churchgoers think it is a vile day, and when they drive by the fields on their way to morning services, they sometimes claim to see workers swaying their hips as they pick tomatoes or grapes. They say that nothing gets done on Saturday afternoons because the workers go home too early in order to prepare for a long night of dancing. It is not just evenings, but the stretch of day-a whole cycle of temptation-and the churchgoers feel thwarted in their pleadings to bring back the ones who have strayed. They see them in town at the dry cleaners or waxing their cars. They see them buying food that isn't necessary.
The churchgoers have war veterans among them, some of whom serve as administrators for the town's Veterans Hall. They argue with each other about the moral questions of renting out their hall for Saturday's recklessness. The war veterans tell them that theirs is a public building and that the banquet room, the ballroom, and the wing of tidy classrooms are for all sorts of uses. Sometimes the veterans toss out angry stories about Korea, and the more civil of the lot mention how they converted villagers while fighting. But others claim freedom, including their hall, and to mortify the churchgoers, they tell tales of Korean girls spreading their legs for soldiers and the relief it brought. The churchgoers end the conversation there.
By Saturday afternoon, there is always a bus from Texas or Arizona parked in back of the Veterans Hall, and sometimes workers on their way home will catch a glimpse of the musicians descending from the vehicle with accordions and sequined suits and sombreros in tow. Some days it is simply a chartered bus. But other times, it is a bus with the band's name painted along the side-CONJUNTO ALVAREZ, BENNIE JIMÉNEZ Y FUEGO-and the rumor of a more popular group coming through town will start the weekend much earlier than usual. It means people from towns on the other side of the Valley will make the trek. It means new and eager faces.
The churchgoers smart at the sight of young girls walking downtown toward the hall, their arms crossed in front of their breasts and holding themselves, as if the July evening breeze were capable of giving them a chill. For some of them, these young girls with arm-crossed breasts remind them of their own daughters who no longer live in town. They have moved away with babies to live alone in Los Angeles. All over town, the churchgoers know, young girls sneak from their homes to visit the friends their parents already dislike. There, they know, the girls put on skirts that twirl and makeup that might glisten against the dull lights of the makeshift dance floor. These girls practice walking on high heels, dance with each other in their bedrooms to get the feel in case a man asks them to do a cumbia. The churchgoers remember when they were parents and listening to the closed doors and the girls too silent. Or their teenage boys, just as quiet, then leaving with their pockets full of things hidden craftily in their rooms.
And much of this starts early in the day: the general movement of the town, the activity in the streets and shops-women buying panty hose at the last minute, twisting lipsticks at the pharmacy in search of a plum color. Men carry cases of beer home to drink in their front yards. Pumpkin seeds and beef jerky. Taking showers only minutes before it is time to go.
Saturdays in this town are for dancing, have always been. This town is only slightly bigger than the ones around it, but it is the only one with a Veterans Hall, big enough to hold hundreds. By evening, those other little towns are left with bare streets, their lone gas stations shutting down for the night, a stream of cars heading away to the bigger town. They leave only the churchgoers and the old people already in their beds. They leave parents awake, listening for the slide of a window or too many footsteps. They leave the slow blink atop the height of the water tower, a red glow that dulls and then brightens again as if it were any other day of the week.
For a moment, the mother does not know whether to go to the kitchen herself or to send her husband. She does not want to take her eyes away from her son and yet at the same time is afraid to be alone with him. She says to her husband, "Una crema," but doesn't move toward getting the items she needs to make a lotion for the boy. She needs crushed mint leaves from the kitchen. She needs oil and water, rose petals from the yard.
"Do you want me to go?" her husband asks her. On the bed, the boy is sound asleep, and the sight of him in such a peaceful state almost makes her say yes. But she resists.
"No," she tells her husband. "I'll go."
She is sore from so much sitting, and the tension of having stayed awake makes movement all the worse. The rest of the house seems strangely pleasant: the living room bright because it faces east, the large clock ticking contentedly. She wishes she could tell her husband what to do, but she knows they cannot call a doctor and have him witness this. She has considered a priest, but her husband does not go to church. In the face of this indecision, the calm rooms in the rest of the house frustrate her. She wants to make noise, even from simple activity. From the kitchen, she takes a large bowl and searches her windowsill for a few sprigs of mint. She sets out a bottle of olive oil and a cup of cold water from the faucet.
In the front yard, where the roses line the skinny walkway to their door, the day is brighter than it appeared through the windows. It is overcast, but not a ceiling of low clouds, only large ones with spaces in between, and she can see how the sun will be able to shine through them. They appear to be fast-racing clouds, and, once the sun is high enough, they will plummet the town into gray before giving way to light again. Though slight, the day erases the fear in her.
She notices the skinny walkway and the open gate where their son stumbled home, the place where he vomited into the grass. She had watched from the living room window, his friends behind him at a far distance, dark forms in the street, and she had waited for them to go away as her son entered the house, cursing terribly. From her rose-bushes, she notices a gathering of flies buzzing around the mess, some of it on the gray stone of their walkway. There's a streak of red in it, she can see. She quickens her pace with the rose petals when the breeze comes up and the smell of the vomit in the grass lifts, reminding her of how ill her son was only hours ago. Dropping the petals into the bowl, she hurries back into the house, trying to get away from that smell.
She is crying in the kitchen, mixing the mint and the oil and the water, and to make it froth, she adds a bit of milk and egg. The concoction doesn't seem right to her anymore, doesn't match what she recalls as a young girl, her grandmother taking down everyday bottles from the cabinets and blessing their cuts and coughs. The mother does it without any knowledge, only guessing, but it makes her feel better despite feeling lost in her inability to remember. She takes the bowl into the bathroom and dumps half a bottle of hand lotion into the bowl, and the mix turns softer and creamy.
Back in the bedroom, her husband is still at their son's bedside, but the boy has not moved. The stale odor of the room reminds her again of outside and the earlier hours and her son's vile language and her husband's frantic struggle to keep the boy in bed, wild as he was. The boy tore off his own clothes, his thin hands ripping through his shirt and even his pants, shredding them, and he stalked into his bedroom naked and growling and strong. Her husband came to tower over him, beat him for coming home this way. The fear crept into her when the boy fought back and challenged and then, only by exhaustion, collapsed on the bed. He was quiet. And then the odor came. The smell was of liquor at first, but then a heavy urine. Then of something rotting. Her husband had yelled at her to open the windows. Even now, the smell lingers in the air.
"He's still sleeping," her husband whispers. "What do you have there?"
"A cure my grandmother used to give us," she says, half expecting her husband to ignore her and the bowl.
"You want to put it on him?" he offers, and she knows that her husband is asking whether or not she is still afraid.
She does not answer him but moves to the bed, setting the bowl on the floor. With her fingertips, she dips into the concoction and then, resisting an impulse to hold her breath, rubs it on her son's bare legs. They are remarkably smooth, and she looks at her husband as if to have him reassure her that what she had seen last night had not been an illusion. Her son's legs are hairless and cool to the touch. There are no raised veins. They are not reddened with welts. They are not laced with deep scratches made with terrible fingers.
The boy spent the early part of Saturday evening with a group of friends, all of them drinking in the backyard at the house of a girl whose parents were visiting relatives in another town. Even before the sun had set, most of the boy's friends had already had enough to drink, and they tried to convince some of the older boys to go back out and buy beer. But by then, the girls put a stop to all of it, saying the hall wouldn't let them in if they smelled beer on them.
The boy liked being with these friends because he did not have to do much. He laughed at other people when the joke was on them, and it made him feel more comfortable about himself. He smoked cigarettes and watched the orange tips get brighter and brighter as the sun went down. He looked at the girls coming in and out of the back door as they got ready for the dance. He did not drink, because he did not like the acrid taste of beer, yet he liked being here with them, knowing that every sip was what their own parents had done at their age. He did not mind seeing the others drunk-after a certain point, he knew that the drunker boys would sit next to him and talk. He would not respond except to smile, because he didn't know what else to do, what to make of their joking, their arms heavy around his shoulders.
They gathered themselves after the girls were ready and they walked to the hall, twos and threes along the sidewalk, some of them chewing big wads of hard pink gum and then spitting them into the grass. He was not as crass as the other boys, who waited to spit until they saw the dark figures of the churchgoers scowling from their porches. They divided mints between them when the hall came into view: the taillights of cars easing into the parking lot, women sitting in passenger seats waiting for their doors to be opened.
The boy got in line with the rest of them, watching as a pair of older women at the ticket table looked disapprovingly at the girls and motioned with their fingers for each of them to extend their arms. They fastened pink plastic bracelets around their wrists, ignoring the odor of alcohol. When the boy made it to them, he tried to move as close as possible, to show he was not like the rest of them, but one of the women only said, "No beer," strapping the pink bracelet tightly and taking his dollar bills.
Inside, his friends had already fractured. A flurry of kids their age milled around the edge of the dance floor while the older couples swayed gently to the band's ballad of horns and bandeneón. All he saw were bodies pressed together, light coming through in the spaces cleared for the dance steps of other couples, hips and fake jewelry catching. He saw the smoke blue in the air around the hanging lights; the cigarettes, which he felt contributed to the heat; the men with unbuttoned shirt collars, their hands around the backs of laughing women.
When the song ended, with a long and mournful note on a single horn, the couples separated to applaud, and some of the women went back to their own tables. He saw that people of every situation were there-older, single women sitting at the circular tables, men his father's age with shiny belt buckles and boots. Of his own age, the boys were pestering some of the older men to buy them beer, hiding the telltale pink bands that showed their age, sneaking sips in the darker shadows of the hall's great room.
As the next song began-a wild, brash ranchera complete with accordion at full expansion-the milling began again, people alone, people together. He put his hands in his pockets while men removed their hats and cornered women for a dance. Couples with joined hands pushed their way to the floor that had only just settled its dust. Some alone, some together. The music roared its way through the hall, and the boy reasoned that everyone felt the way he did at the moment-lost and unnoticed, standing in place as he was.
The boy's mother spreads the concoction more vigorously, her son's legs giving way where the flesh is soft, reminding her that he is not fully grown, not a man yet. She believes her rubbing will wake him, and when he doesn't respond, she looks at her husband, who does nothing but look back.
She speaks to her son. "Are you awake?" she asks him, her hands grasping his legs quickly to shake him, but he only stirs, his head moving to one side and then stopping. "Are you in pain?"
Her husband stands up to look closely at their son's face and says to her, "His eyes are open." He waves his hand slowly in front of the boy, but still he will not speak. "I don't think he sees me."
"Are you awake?" she says again, rising to see for herself. His eyes are open, just as her husband said, but they don't seem to stare back at her. She thinks for a moment that his open eyes will begin to water and she waits for him to blink, but he only closes his eyes once more.
"It's early still," the father says. "Don't worry."
The boy felt as if he had been the only person to notice the man with the plain silver buckle, a belt that shimmered against the glow of the yellow bulbs strung across the hall's high rafters. A plain silver buckle that gleamed like a cold eye, open and watching. Even from a distance, the boy knew it was plain, that it had no etchings, no tarnish, no scratches. He watched it tilt at the waist as the man put his boot up on the leg of a stool, leaning down to one of the girls who had come with the boy, whispering to her.
Excerpted from ZIGZAGGER by Manuel Muñoz
Copyright © 2003 by Manuel Muñoz. Excerpted by permission.
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.
I. Anchored: Ziggzagger; The Third Myth; Tiburon; Museo de Bellas Artes; The Unimportant Lila Parr; Swallow; II. No Blood: Campo; The Wooden Boat; Loco; By the Time You Get There, By the Time You get Back; Anchorrage; Astilla; III. Waiting To Be Dangerous: Not Nevada; Fotito; Things Waiting to Be Dangerous; Zapatos; Good as Yesterday; Everything the White Boy Told You; IV. The Harbor Of Hands: Hombres; Skyshot; Teatro Japones; Monkey, Si; Clima