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By Nickolas Butler
St. Martin's Press Copyright © 2014 Nickolas Butler
All rights reserved.
SHOTGUN LOVESONGS, Ch. 1WE INVITED HIM TO ALL of our weddings; he was famous. We addressed the invitations to his record company's skyscraper in New York City so that the gaudy, gilded envelopes could be forwarded to him on tourin Beirut, Helsinki, Tokyo. Places beyond our ken or our limited means. He sent back presents in battered cardboard boxes festooned with foreign stampsbirthday gifts of fine scarves or perfume for our wives, small delicate toys or trinkets upon the births of our children: rattles from Johannesburg, wooden nesting dolls from Moscow, little silk booties from Taipei. He would call us sometimes, the connection scratchy and echoing, a chorus of young women giggling in the background, his voice never sounding as happy as we expected it to.Months would pass before we saw his face again, and then, he would arrive home, bearded and haggard, his eyes tired but happily relieved. We could tell that Lee was glad to see us, to be back in our company. We always gave him time to recover before our lives resumed together, we knew he needed time to dry out and regain his balance. We let him sleep and sleep. Our wives brought him casseroles and lasagnas, bowls of salad and freshly baked pies.He liked to ride a tractor around his sprawling property. We assumed he liked feeling the hot daylight, the sun and fresh air on his pale face. The slow speed of that old John Deere, so reliable and patient. The earth rolling backward beneath him. There were no crops on his land of course, but he rode the tractor through the fallow fields of prairie grasses and wildflowers, a cigarette between his lips, or a joint. He was always smiling on that tractor, his hair all flyaway and light blond and in the sunlight it was like the fluff of a seeding dandelion.He had taken another name for the stage but we never called him by that name. We called him Leland, or just plain Lee, because that was his name. He lived in an old schoolhouse away from things, away from our town, Little Wing, and maybe five miles out into the countryside. The name on his mailbox read: L SUTTON. He had built a recording studio in the small, ancient gymnasium, padding the walls with foam and thick carpeting. There were platinum records up on the walls. Photographs of him with famous actresses and actors, politicians, chefs, writers. His gravel driveway was long and potted with holes, but even this was not enough to deter some of the young women who sought him out. They came from around the world. They were always beautiful.Lee's success had not surprised us. He had simply never given up on his music. While the rest of us were in college or the army or stuck on our family farms, he had holed up in a derelict chicken coop and played his battered guitar in the all-around silence of deepest winter. He sang in an eerie falsetto, and sometimes around the campfire it would make you weep in the unreliable shadows thrown by those orange-yellow flames and white-black smoke. He was the best among us.He wrote songs about our place on earth: the everywhere fields of corn, the third-growth forests, the humpbacked hills and grooved-out draws. The knife-sharp cold, the too-short days, the snow, the snow, the snow. His songs were our anthemsthey were our bullhorns and microphones and jukebox poems. We adored him; our wives adored him. We knew all the words to the songs and sometimes we were in the songs.***Kip was going to be married in October inside a barn he'd renovated for the occasion. The barn stood on a farm of horses, the land there delineated by barbed-wire fences. The barn was adjacent to a small country cemetery where it was entirely possible to count every lichen-encrusted tombstone and know how many departed were lying in repose under that thick sod. A census, so to speak. Everyone was invited to the wedding. Lee had even cut short the leg of an Australian tour in order to attend, though to all of us, Kip and Lee seemed the least close among our friends. Kip, as far as I knew, didnt even own any of Lee's albums, and whenever we saw Kip driving around town it was inevitably with a Bluetooth lodged in his ear, his mouth working as if he were still out on the floor of the Mercantile Exchange.Kip had just returned to Wisconsin after about nine years of trading commodities in Chicago. It was as if the world had just gotten small again. For years, decades, our whole lives, really we'd listened to the farm reports in our trucks on the AM radio. Sometimes you'd even hear Kip's voice during those broadcasts as he was interviewed from his office down in Chicago, that familiar self-assured baritone narrating fluctuations in numbers that dictated whether or not we could afford orthodontia for our children, winter vacations, or new boots, telling us things we didnt exactly understand and yet already knew. Our own futures were sown into those reports of milk and corn prices, wheat and soy. Hog-bellies and cattle. Far from our farms and mills, Kip had made good, manipulating the fruits of our labor. We respected him just the same. He was fiercely intelligent, for one thing, his eyes burned in their sockets as he listened intently to us complain about seed salesmen, pesticides, fertilizer pricing, our machines, the fickle weather. He kept a farmer's almanac in his back pocket, understood our obsession with rain. Had he not gone away, he might have been a prodigious farmer himself. The almanac, he once told me, was almost entirely obsolete, but he liked to carry it around. "Nostalgia," he explained.After he returned, Kip bought the boarded-up feed mill downtown. The tallest structure in town, its six-story grain silos had always loomed over us, casting long shadows like a sundial for our days. Very early in our childhoods it had been a bustling place where corn was taken to be held for passing trains, where farmers came to buy their fuel in bulk, their seed, other supplies, but by the late eighties it had fallen into disrepair, the owner having tried to sell in a time when no one was buying. It was only a few months before the high-schoolers began throwing stones through the windows, decorating the grain silos with graffiti. Most of our lives it was just a dark citadel beside a set of railroad tracks that had grown rusty and overgrown with milkweed, ragweed, fireweed. The floors had been thick with pigeon shit and bat guano, and there was a lake of standing water in the old stone basement. In the silos, rats and mice ran rampant, eating the leftover grainsometimes we broke inside to shoot them with .22s, the small-caliber bullets occasionally ricocheting against the towering walls of the silos. We used flashlights to find their beady little eyes and once, Ronny stole one of his mother's signal flares from the trunk of her car, dropping it down into the silo, where it glowed hot pink against the sulfurous darkness, as we shot away.Within ten months Kip had restored most of the mill. He paid local craftsmen to do the work, overseeing every detail; he beat everyone to the site each morning and was not above wielding a hammer or going to his knees, as needed, to smooth out the grout, or what have you. We guessed at the kind of money he must have thrown at the building: hundreds of thousands for sure; maybe millions.At the post office or the IGA, he talked excitedly about his plans. "All that space," he'd say. "Think about all that space. We could do anything with that space. Offices. Light industry. Restaurants, pubs, cafs. I want a coffee shop in there, I know that much." We tried our best to dream along with him. As young children, we had briefly known the mill as a place where our mothers bought us overalls, thick socks, and galoshes. It had been a place that smelled of dog food and corn dust and new leather and the halitosis and the cheap cologne of old men. But those memories were further away."You think people will want to have dinner inside the old mill?" we asked him."Think outside the box, man, he crooned. Thats the kind of thinking thats killed this town. Think big."Near the new electronic cash register was the original till. Kip had saved that, too. He liked to lean against the old machine, his elbows on its polished surface while one of his employees rang up customers at the newer register. He had mounted four flat-screen televisions near the registers where it was easy to monitor the distant stock markets, Doppler radar, and real-time politics, talking to his customers out the sides of his mouth, eyes still trained up on the news. Sometimes, he never even looked at their faces. But he had resurrected the mill. Old men came there to park their rusted trucks in the gravel lot and drink wan coffee as they leaned against their still warm vehicles, engines ticking down, and they talked and spat brown juices into the gravel rock and dust. They liked the new action that had accumulated around the mill. The delivery trucks, sales representatives, construction crews. They liked talking to us, to young farmersto me and the Giroux twins, who were often there, poking fun at Kip as he stared at all those brand-new plasma television screens, doing his best to ignore us.Lee had actually written a song about the old mill before its revival. That was the mill we remembered, the one, I guess, that was real to us.*** (Continues...)
Excerpted from Shotgun Lovesongs by Nickolas Butler. Copyright © 2014 Nickolas Butler. Excerpted by permission of St. Martin's Press.
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