The geologist who surveyed southern Saskatchewan in the 1870’s called it one of the most desolate and forbidding regions on earth. I can remember plenty of times when it seemed so to me and my family. Yet as I poke the car tentatively eastward into it from Medicine Hat, returning to my childhood through a green June, I look for desolation and can find none.
The plain spreads southward below the Trans-Canada Highway, an ocean of wind-troubled grass and grain. It has its remembered textures: winter wheat heavily headed, scoured and shadowed as if schools of fish move in it; spring wheat with its young seed-rows as precise as combings in a boy’s wet hair; gray-brown summer fallow with the weeds disked under; and grass, the marvelous curly prairie wool tight to the earth’s skin, straining the wind as the wheat does, but in its own way, secretly.
Prairie wool blue-green, spring wheat bright as new lawn, wirt ter wheat gray-green at rest and slaty when the wind flaws it, roadside primroses as shy as prairie flowers are supposed to be, and as gentle to the eye as when in my boyhood we used to call them wild tulips, and by their coming date the beginning of summer.
On that monotonous surface with its occasional ship-like farm, its atolls of shelter-belt trees, its level ring of horizon, there is little to interrupt the eye. Roads run straight between parallel lines of fence until they intersect the circle of the horizon. It is a landscape of circles, radii, perspective exercises—a country of geometry.
Across its empty miles pours the pushing and shouldering wind, a thing you tighten into as a trout tightens into fast water. It is a grassy, clean, exciting wind, with the smell of distance in it, and in its search for whatever it is looking for it turns over every wheat blade and head, every pale primrose, even the ground-hugging grass. It blows yellow-headed blackbirds and hawks and prairie sparrows around the air and ruffles the short tails of meadowlarks on fence posts. In collaboration with the light, it makes lovely and changeful what might otherwise be characterless.
It is a long way from characterless; “overpowering” would be a better word. For over the segmented circle of earth is domed the biggest sky anywhere, which on days like this sheds down on range and wheat and summer fallow a light to set a painter wild, a light pure, glareless, and transparent. The horizon a dozen miles away is as clean a line as the nearest fence. There is no haze, neither the woolly gray of humid countries nor the blue atmosphere of the mountain West. Across the immense sky move navies of cumuli, fair-weather clouds, their bottoms as even as if they had scraped themselves flat against the flat earth.
The drama of this landscape is in the sky, pouring with light and always moving. The earth is passive. And yet the beauty I am struck by, both as present fact and as revived memory, is a fusion: this sky would not be so spectacular without this earth to change and glow and darken under it. And whatever the sky may do, however the earth is shaken or darkened, the Euclidean perfection abides. The very scale, the hugeness of simple forms, emphasizes stability. It is not hills and mountains which we should call eternal. Nature abhors an elevation as much as it abhors a vacuum; a hill is no sooner elevated than the forces of erosion begin tearing it down. These prairies are quiescent, close to static; looked at for any length of time, they begin to impose their awful perfection on the observer’s mind. Eternity is a peneplain.
In a wet spring such as this, there is almost as much sky on the ground as in the air. The country is dotted with sloughs, every depression is full of water, the roadside ditches are canals. Grass and wheat grow to the water’s edge and under it; they seem to grow right under the edges of the sky. In deep sloughs tules have rooted, and every such pond is dignified with mating mallards and the dark little automata that glide after them as if on strings.
The nesting mallards move in my memory, too, pulling after them shadowy, long-forgotten images. The picture of a drake standing on his head with his curly tailfeathers sticking up from a sheet of wind-flawed slough is tangled in my remembering senses with the feel of the grassy edge under my bare feet, the smell of mud, the push of the traveler wind, the weight of the sun, the look of the sky with its level-floored clouds made for the penetration of miraculous Beanstalks.
Desolate? Forbidding? There was never a country that in its good moments was more beautiful. Even in drouth or dust storm or blizzard it is the reverse of monotonous, once you have submitted to it with all the senses. You don’t get out of the wind, but learn to lean and squint against it. You don’t escape sky and sun, but wear them in your eyeballs and on your back. You become acutely aware of yourself. The world is very large, the sky even larger, and you are very small. But also the world is fiat, empty, nearly abstract, and in its flatness you are a challenging upright thing, as sudden as an exclamation mark, as enigmatic as a question mark.
It is a country to breed mystical people, egocentric people, perhaps poetic people. But not humble ones. At noon the total sun pours on your single head; at sunrise or sunset you throw a shadow a hundred yards long. It was not prairie dwellers who invented the indifferent universe or impotent man. Puny you may feel there, and vulnerable, but not unnoticed. This is a land to mark the sparrow’s fall.
Our homestead lay south of here, right on the Saskatchewan-Montana border—a place so ambiguous in its affiliations that we felt as uncertain as the drainage about which way to flow. It would be no more than thirty or forty miles out of my way, now, and yet I do not turn south to try to find it, and I know very well why. I am afraid to. In the Dust Bowl years all that country was returned to range by the Provincial Farm Rehabilitation Administration. I can imagine myself bumping across burnouts and cactus clumps, scanning the dehumanized waste for some mark —shack or wind-leaned chickencoop, wagon ruts or abandoned harrow with its teeth full of Russian thistle—to reassure me that people did once live there. Worse, I can imagine actually finding the flat on which our house stood, the coulee that angled up the pasture, the dam behind which the spring thaw created our “rezavoy”—locating the place and standing in it ringed by emptiness and silence, while the wind fingered my face and whispered to itself like an old blind woman, and a burrowing owl, flustered by the unfamiliar visitor, bowed from the dirt mound of its doorstep, saying, “Who? Who?”
I do not want that. I don’t want to find, as I know I will if I go down there, that we have vanished without trace like a boat sunk in mid-ocean. I don’t want our shack to be gone, as I know it is; I would not enjoy hunting the ground around it for broken crockery and rusty nails and bits of glass. I don’t want to know that our protective pasture fence has been pulled down to let the prairie in, or that our field, which stopped at the Line and so defined a sort of identity and difference, now flows southward into Montana without a break as restored grass and burnouts. Once, standing alone under the bell-jar sky gave me the strongest feeling of personal singularity I shall ever have. That was because it was all new, we were taking hold of it to make it ours. But to return hunting relics, to go down there armed only with memory and find every trace of our passage wiped away—that would be to reduce my family, myself, the hard effort of years, to solipsism, to make us as fictive as a dream.
If I say to the owl, “Your great-grandfather lived in my house, and could turn his head clear around and look out between his shoulder blades,” I know he will bow, being polite, and then turn his head clear around and look out between his shoulder blades, and seeing only unbroken grass, will cough and say, “What house? Whose?” I know the very way the wind will ruffle his feathers as he turns; I can hear the dry silence that will resume as soon as he stops speaking. With the clarity of hallucination I can see my mother’s weathered, rueful, half-laughing face, and hear the exact tone, between regretful and indomitable, in which she says the words with which she always met misfortune or failure: “Well,” she will say, “better luck next timel”
I had much better let it alone. The town is safer. I turn south only far enough to come up onto the South Bench, and then I follow a dirt road eastward so as to enter Whitemud from the old fam
iliar direction. That much I will risk.
It is a far more prosperous country than I remember, for I return at the crest of a wet cycle. The farms that used to jut bleakly from the prairie are bedded in cottonwoods and yellow-flowering caragana. Here and there the horizontal land is broken by a new verticality more portentous than windmills or elevators —the derricks of oil rigs. Farther north, prosperity rides on the uranium boom. Here it rides on wheat and oil. But though the country is no longer wild, this section within reach of town is even emptier, more thinly lived in, than in our time. Oil crews create no new towns and do not enlarge the old ones more than briefly. Even if they hit oil, they erect a Christmas tree on the well and go away. As for wheat, fewer and fewer farmers produce more and more of it.
To us, a half section was a farm. With modern machinery, a man by himself can plow, seed, and harvest a thousand or twelve hundred acres. The average Saskatchewan farm is at least a section; two sections, or even more, are not uncommon. And that is the good land, not the submarginal land such as ours which has been put back to grass. Even such a duchy of a farm is only a part-time job. A man can seed a hundred acres a day. Once the crop is in there is little to do until harvest. Then a week or two on the combine, a week or two of hauling, a week or two of working the summer fallow and planting winter wheat, and he is all done until May.
This is a strange sort of farming, with its dangers of soil exhaustion, drouth, and wind erosion, and with highly specialized conditions. Only about half of the farmhouses on the prairie are lived in any more, and some of those are lived in only part time, by farmers who spend all but the crop season in town, as we did. Many a farmer miles from town has no farmhouse at all, but commutes to work in a pickup. There is a growing class of trailer farmers, suitcase farmers, many of them from the United States, who camp for three or four months beside the field and return to Minneapolis or Bismarck when the crop is in.
Hence the look of extensive cultivation and at the same time the emptiness. We see few horses, few cattle. Saskatchewan farmers could go a long way toward supplying the world’s bread, but they are less subsistence farmers than we were in 1915. They live in towns that have the essential form and function of medieval towns, or New England country towns, or Mormon villages in irrigated land: clusters of dwellings surrounded by the cultivated fields. But here the fields are a mile or two miles square and may be forty miles from the home of the man who works them.
So it is still quiet earth, big sky. Human intrusions seem as abrupt as the elevators that leap out of the plain to announce every little hamlet and keep it memorable for a few miles. The countryside and the smaller villages empty gradually into the larger centers; in the process of slow adaptation to the terms the land sets, the small towns get smaller, the larger ones larger. Whitemud, based strategically on railroad and river, is one of the ones that will last.
In the fall it was always a moment of pure excitement, after a whole day on the trail, to come to the rim of the South Bench. More likely than not I would be riding with my mother in the wagon while my father had my brother with him in the Ford. The horses would be plodding with their noses nearly to their knees, the colt would be dropping tiredly behind. We would be choked with dust, cranky and headachy with heat, our joints loosened with fifty miles of jolting. Then miraculously the land fell away below us, I would lift my head from my mother’s lap and push aside the straw hat that had been protecting my face from the glare, and there below, looped in its green coils of river, snug and protected in its sanctuary valley, lay town.
The land falls away below me now, the suddenness of my childhood town is the old familiar surprise. But I stop, looking, for adult perception has in ten seconds clarified a childhood error. I have always thought of the Whitemud as running its whole course in a deeply sunken valley. Instead, I see that the river has cut deeply only through the uplift of the hills; that off to the southeast, out on the prairie, it crawls disconsolately flat across the land. It is a lesson in how peculiarly limited a child’s sight is: he sees only what he can see. Only later does he learn to link what he sees with what he already knows, or has imagined or heard or read, and so come to make perception serve inference. During my childhood I kept hearing about the Cypress Hills, and knew that they were somewhere nearby. Now I see that I grew up in them. Without destroying the intense familiarity, the flooding recognition of the moment, that grown-up understanding throws things a little out of line, and so it is with mixed feelings of intimacy and strangeness that I start down the dugway grade. Things look the same, surprisingly the same, and yet obscurely different. I tick them off, easing watchfully back into the past.
There is the Frenchman’s stone barn, westward up the river valley a couple of miles. It looks exactly as it did when we used to go through the farmyard in wagon or buckboard and see the startled kids disappearing around every comer, and peeking out at us from hayloft door and cowshed after we passed. Probably they were métis, halfbreeds; to us, who had never heard the word métis, they were simply Frenchmen, part of the vague and unknown past that had given our river one of its names. I bless them for their permanence, and creep on past the cemetery, somewhat larger and somewhat better kept than I remember it, but without disconcerting changes. Down below me is the dam, with its wide lake behind it. It takes me a minute to recollect that by the time we left Whitemud Pop Martin’s dam had long since washed out. This is a new one, therefore, but in approximately the old place. So far, so good.
The road I bump along is still a dirt road, and it runs where it used to run, but the wildcat oil derrick that used to be visible from the turn at the foot of the grade is not there any longer. I note, coming in toward the edge of town, that the river has changed its course somewhat, swinging closer to the southern hills and pinching the road space. I see a black iron bridge, new, that evidently leads some new road off into the willow bottoms westward, toward the old Carpenter ranch. I cannot see the river, masked in willows and alders, and anyway my attention is taken by the town ahead of me, which all at once reveals one element of the obscure strangeness that has been making me watchful. Trees.
My town used to be as bare as a picked bone, with no tree anywhere around it larger than a ten-foot willow or alder. Now it is a grove. My memory gropes uneasily, trying to establish itself among fifty-foot cottonwoods, lilac and honeysuckle hedges, and flower gardens. Searched for, plenty of familiarities are there: the Pastime Theater, identical with the one that sits across Main Street from the firehouse in my mind; the lumber yard where we used to get cloth caps advertising De Laval Cream Separators; two or three hardware stores (a prairie wheat town specializes in hardware stores), though each one now has a lot full of farm machinery next to it; the hotel, just as it was rebuilt after the fire; the bank, now remodeled into the post office; the Presbyterian church, now United, and the Leader office, and the square brick prison of the school, now with three smaller prisons added to it. These are old acquaintances that I can check against their replicas in my head and take satisfaction from. But among them are the evidences of Progress—hospital, Masonic Lodge, at least one new elevator, a big quonset-like skating rink—and all tree-shaded, altered and distorted and made vaguely disturbing by greenery. In the old days we all used to try to grow trees, transplanting them from the Hills or getting them free with any two-dollar purchase from one of the stores, but they always dried up and died. To me, who came expecting a dusty hamlet, the change is charming, but memory has been fixed by time as photographs fix the faces of the dead, and this reality is dreamlike. I cannot find myself or my family or my companions in it.
My progress up Main Street, as wide and empty and dusty as I remember it, has taken me to another iron bridge across the eastern loop of the river, where the flume of Martin’s irrigation ditch used to cross, and from the bridge I get a good view of the river. It is disappointing, a quiet creek twenty yards wide, the color of strong tea, its banks a tangle of willow and wild rose. How could adventure ever have inhabited those will
ows, or wonder, or fear, or the other remembered emotions? Was it along here I shot at the lynx with my brother’s .25-.20? And out of what log (there is no possibility of a log in these brakes, but I distinctly remember a log) did my bullet knock chips just under the lynx’s bobtail?
A muddy little stream, a village grown unfamiliar with time and trees. I turn around and retrace my way up Main Street and park and have a Coke in the confectionery store. It is run by a Greek, as it used to be, but whether the same Greek or another I would not know. He does not recognize me, nor I him. Only the smell of his place is familiar, syrupy with old delights, as if the ghost of my first banana split had come close to breathe on me. Still in search of something or someone to make the town fully real to me, I get the telephone book off its nail by the wall telephone and run through it, sitting at the counter. There are no more than seventy or eighty names in the Whitemud section. I look for Huffman—none. Bickerton—none. Fetter—none. Orullian—none. Stenhouse—none. Young—one, but not by a first name I remember. There are a few names I do remember—Harold Jones and William Christenson and Nels Sie verud and Jules LaPlante. (That last one startles me. I always thought his name was Jewell.) But all of the names I recognize are those of old-timers, pioneers of the town. Not a name that I went to school with, not a single person who would have shared as a contemporary my own experience of this town in its earliest years, when the river still ran clear and beaver swam in it in the evenings. Who in town remembers Phil Lott, who used to run coyotes with wolfhounds out on the South Bench? Who remembers in the way I do the day he drove up before Leafs store in his democrat wagon and unloaded from it two dead hounds and the lynx that had killed them when they caught him un-warily exposed out on the flats? Who remembers in my way that angry and disgusted scene, and shares my recollection of the stiff, half-disemboweled bodies of the hounds and the bloody grin of the lynx? Who feels it or felt it, as I did and do, as a parable, a moral lesson for the pursuer to respect the pursued?
Wolf Willow Page 3
