Monday, February 28, 2011

WIP (Work in Progress) Snippet - "Tucker Beene"

One of my works in progress, "Tucker Beene," is the story of a nineteen year-old kid from the flat lands of southeastern Colorado who becomes a "dead of night emigre" from his daddy's cow operation, heads for Denver, and finds work in a gay bathhouse clandestinely owned by the North Denver Italian mob. The story takes place in 1975, with commentary from a much older Beene--perhaps in his fifties--looking back on those days of his youth where danger was tangible, love fleeting, and hopes and dreams were never lost--maybe not fulfilled, but never lost.

This little snippet provides a bit of Beene's history.


His granddaddy had built a rock house into the southern side of a bluff in the treeless misery of the southeastern Colorado desert, near the town of Lamar and within sight of the notable natural attractions of a place called Two Buttes. Two Buttes was two buttes sitting off by themselves as curious erections in the middle of nowhere, so close to Kansas that the righteous odor of Creationism wafted sour and slow-witted up to the rock house whenever the wind changed. When they’d moved from east Texas to Lamar, Beene’s daddy shoved a doublewide alongside the rock house and opened up a hole for a door between the old house and the new. Beene spent the last years of his adolescence passing each morning, each night from the leavings of one generation to another, from rocks to tin walls and large-looped carpet the color of pea soup. Thing about it was, the old rock house stayed warm in the winter and cool in the summer. The tin house, balanced on cinder blocks, stayed hot in the summer and cold in the winter. Beene thought often about the whole thing, about the rock house being cut open to accommodate passage to the new doublewide, its tin walls with seams that whistled when the wind blew. Thought there was something wrong with the skin-thin rickety new butting-up against the solid old of the home place. Thought his grandpa had probably turned a bit in his grave with it all. Wondered, too, why his daddy’d left the home place in Lamar and gone off to Texas in the first place. Didn’t make much sense, till his daddy’d told him he and his own daddy had had a falling out, a misunderstanding of sorts. Why that was enough to cause his daddy to head to Texas, Beene had no idea. If Lamar was hell, Texas had been the devil’s kitchen.
Beene trudged his days as a boy. Up before the sun, he’d muck the stalls where Flapjack and Lucille nudged his shoulder with their heads, flapped their lips and stared at him with eyes large with want or love or just smarts that critters seem to take for granted and people had just lost somewhere along the way. He’d place his palms on either side of their heads, move his lips close to their muzzles, a prayer of sorts, and tell them he’d return, he’d be back. Then he’d whisper to them, repeating what his mama had said to him when he was put to bed as a child: “You make the sun shine and the flowers bloom, the rain sweet and the world complete.” He loved the horses, no two ways about it. Scooped hay, a little alfalfa into the stalls, then filled the water troughs, hooked a bucket, a quarter full of sweet grain, where they could get to it. He’d move on to the pigs. Just two. His daddy would eventually butcher them both, then replace them, wait a while, then cut the new ones up. Beene would always have an excuse to be off somewhere, atop Lucille, far from the homeplace, when his daddy’d start sharpening that pig knife.
The sun would peek over the eastern horizon by the time Beene checked his mama’s chickens, grabbing eggs, throwing feed. Then he’d eat some toast, eggs, drink a little coffee, grab his books and stand out on the no name county road and wait for the yellow bus to pick him up. 

Thursday, February 17, 2011

WIPs (Works in Progress) - Continuing the Trudge

My next novel, "Finding Deaglan," recently went through the last phase of the edit process--proof--and is now ready for cover art. MLR will, hopefully, issue the book this spring. Part of MLR's process includes the opportunity for the author to describe what they would like to see on the cover. My initial response was to provide imagery comprising a good deal of the plot lines within the storytelling. Revisiting my cover art request, I realized that what I had provided would be impossible for the artist to accomplish; there were simply too many images that would result in a very, very busy cover. I think--being relatively new to this publishing craziness,(well, maybe not "craziness," but certainly esoterica that I've yet to become comfortable with)--I've realized that the simpler cover art is, the better. I do believe cover art attracts potential readers, and the allure of just a wee hint of the storytelling--the imagery on the cover--is preferred to the busyness I had originally envisioned. I haven't heard from the cover artist yet. Looking forward to her/his "vision."

I have commenced a sequel to "Big Diehl - The Road Home," that sees Diehl and Joe Tye on the High Plains of northwestern Colorado, working a small ranch, as they sort through the lingering horrors of war Diehl saw in Iraq, and the soothing presence of the land and the critters upon it that will, or maybe won't, cement Big's and Joe's commitment to each other. I don't know the outcome. I never plot endings. I do not outline. I just write what the muse provides.

A novella--twenty to thirty-thousand words--is also in the works. I call it, "An American Memory." This is a coming-of-age story, that centers on the seemingly banal existence of a fifteen year old kid who understands his sexuality early on, and deals with it in the staid environment of Denver in the early '60s.

Finally, I'm also digging into an admittedly literary piece, "The Palisade,"(Why do I feel the need to apologize for literary?), that explores a writer's life within the confines of an all-gay apartment building in Denver during the early '80s. This storytelling encompasses two POVs: one of the protagonist, and the other omniscient. The difficulty with this one is in assuring the reader understands the movement from one POV to the other. I do like this story. Finding a publisher, however, might be an issue.

So, there's an update on my WIPs. And in providing this update, I do acknowledge that I work slowly, methodically. I can't crank them out, one after another, with only months in between publications. I suppose I envy those who are so prolific as to barely have time to add another three-hundred "friends" to their Face Book page, before their next novel, novella, short is published. Ah, so be it.  I do what I can with what I've got.

I continue the trudge.