My Empire of Dirt: How One Man Turned His Big-City Backyard into a Farm
Page 1
MY
EMPIRE
OF
DIRT
How One Man Turned His
Big-City Backyard into a Farm
A Cautionary Tale
Manny Howard
SCRIBNER
A Division of Simon & Schuster, Inc.
1230 Avenue of the Americas
New York, NY 10020
www.SimonandSchuster.com
Copyright © 2010 by Manny Howard, Inc.
All rights reserved, including the right to reproduce
this book or portions thereof in any form whatsoever.
For information address Scribner Subsidiary Rights Department,
1230 Avenue of the Americas, New York, NY 10020.
First Scribner hardcover edition March 2010
Excerpts from The Art of the Commonplace: The Agrarian Essays of Wendell Berry copyright © 2003 by Wendell Berry. Reprinted by permission of Counterpoint. Grateful acknowledgment for excerpts from
Conversations with Wendell Berry, Morris Allen Grubs, Editor,
University of Mississippi Press, Jackson, Mississippi, 2007.
SCRIBNER and design are registered trademarks of The Gale Group, Inc., used under license by Simon & Schuster, Inc., the publisher of this work.
For information about special discounts for bulk purchases,
please contact Simon & Schuster Special Sales at
1-866-506-1949 or business@simonandschuster.com.
The Simon & Schuster Speakers Bureau can bring authors
to your live event. For more information or to book an event contact
the Simon & Schuster Speakers Bureau at 1-866-248-3049
or visit our website at www.simonspeakers.com.
Designed by Carla Jayne Jones
Manufactured in the United States of America
1 3 5 7 9 10 8 6 4 2
Library of Congress Control Number: 2009033502
ISBN 978-1-4165-8516-9
ISBN 978-1-4391-7166-0 (ebook)
Frontispiece courtesy of Jason Lee
Photo on page 132 courtesy of Jos Howard
Insert photos courtesy of the author, except where indicated
For Lisa
If the land is to be used well, the people who use it must know it well, must be highly motivated to use it well, must have time to use it well and must be able to afford to use it well. Farmers must tend farms they know and love, farms small enough to know and love, using tools and methods they know and love, in the company of neighbors they know and love.
—Wendell Berry
CONTENTS
Prologue: The Raft
What Are People For?
Next Actions
The Stranger
Founding Fish
When the Going Was Good
The One That Got Away
The Control of Nature
The Good Worker
Meat Rabbit
The Ramp
The Man Who Would Be King
The City Is a Crust
Tackling Daylight
Ω = (n1 + n2)!/(n1! n2!)
Taking from Trespasser
Chicken Run
A Chicken Named Crazy
Get Out
Collapse
The Price of Chicken
Rabbit Season
The Voice from the Whirlwind
Yard Bird
The First Supper
The Restraint of Beasts
The Winter Palace
Epilogue
Acknowledgments
PROLOGUE: THE RAFT
Fifteen minutes gone that we can never get back and all we are doing is staring through the wrought-iron railings of the Promenade fence out over the East River, two eight-year-olds just stuck inside a day. There are no bullies to run from in the park, no rats to stalk in the undergrowth beyond the playground. Though, it’s true, we have never, either of us, ever seen a black party balloon before, still we ran out of good stuff to throw at the one stuck in the tree above us almost right away. Our bikes haven’t turned into police motorcycles yet. This is not an adventure at all.
A soot-smeared orange ferry on its way to Staten Island drifts out of its decrepit, oxidizing dock at the Battery. A tugboat with a gravel barge stuck to its nose pushes its way against the current and, ever so slowly, upriver toward, and eventually beyond, the Brooklyn Bridge. We lay limp against the fence, both unable to imagine how we will survive this endlessly dull day ahead, but both too polite to complain to each other.
Hey, wait. There it is right in front of us. We aren’t pressing our faces up against the fence rails anymore; suddenly these are the twisted bars of a great, dark cage, and right there, staring back at us, is Adventure. “Let’s build a raft,” I breathe, too excited to speak the words.
Chris’s eyes strain against the side of his skull, trying to see my face, gauge my intention without taking his head away from the sun-warmed metal bars. “A raft out of what?”
“Wood,” I say, not certain that rafts can be built from anything else.
“Where would we go?” my friend asks.
“There.” I point with my arm fully extended through the bars out across the river, north of the Fulton Fish Market, to the only visible sliver of beach on Manhattan Island.
“Where will we get the wood?” asks Chris, quickening to the plan.
“I’ll show you,” I reply, the plan coming together as I gallop the few yards to my bike. It is yellow, has a black banana seat, and best of all it has three speeds. The gear shifter looks just like one in a cool muscle car. Rather than being on the chrome handlebars, it’s mounted on the crossbar. The selector has a pommel grip you pull toward you as you work through the gears. It shows the gear you’re in with a red line next to each number, one, two, three. If I pedal hard enough, I have convinced myself, sparks will shoot out of the pipe at the back just behind my seat where the chrome plastic cap has fallen off and left an exhaust-pipe kind of hole. We mount our bikes and make our way north along the Promenade, fly down Suicide Hill to Old Fulton Street and the abandoned cobbled streets beyond, under the noisy roadway of the Brooklyn Bridge and down New Dock Street, which ends hard against the East River. Beyond the low guardrail that we are scrambling over, the river has long since swept the tar-flecked wooden mooring posts and concrete docking into a chaos of enormous, jutting, broken teeth. It functions as a maw, catching the flotsam of a river at its environmental nadir. Collected here among the filth is everything two eight-year-old boys in search of adventure could ever need to build a raft.
The rest of the day and—because Chris is sleeping over and then my mom says it is okay for us to spend the whole day—the next were filled scrambling across the collapsed pier, collecting odd lengths and diameters of rope and faded scraps of plastic—once umbrellas, municipal office-furniture upholstery, buckets, a red flip-flop. We pry planks and boards of waterlogged, tar-streaked wood from between the concrete slabs, slipping in up to our knees in the filthy, whirling eddies as the current first ebbs, then flows.
At the end of the second day when we return home near what we estimated to be dinnertime, Chris’s dad, Mr. Dupassage, is waiting for us outside my apartment building. He leans impatiently against his orange BMW 2002, arms folded until we come to a tire-screeching skid a few feet from him. I’m sure that the orange BMW is the first European car I’ve ever seen. Chris says his dad can go a hundred miles an hour in it. Mr. Dupassage wants to know what is all over our clothes. Chris does not tell him that the tar on our hands and faces and shoes and jeans and our nearly
identical terry-cloth polo shirts is from the wood we salvaged for the raft we are going to build.
Chris says he does not remember what it is. I straddle the crossbar of my yellow banana-seat bike, studiously watching the derailleur move when I shift gears. I think that Chris might be ashamed of our raft adventure.
Opening the trunk of his orange European car, Mr. Dupassage tries another tack, asks Chris where the stuff all over his clothes came from. Chris says he does not remember that either.
Mr. Dupassage takes a lime green towel from the trunk and shakes white paint flecks off it onto the faded gray asphalt of the street and, draping it over the supple, beige leather passenger seat, warns Chris that he is going to have to sit right on the towel and not move a muscle the whole way home or he might get that stuff on his clothes all over the upholstery of the orange European car.
I wonder if sparks come out of the back of Mr. Dupassage’s orange car when he goes one hundred miles an hour in it. Mr. Dupassage smiles when he says good-bye to me. He tells me to be careful not to touch the walls in the halls or in the elevator on my way upstairs, then he gets into his orange car. I think the car must be going almost one hundred miles an hour when it reaches the corner, but from where I am standing, still straddling my yellow banana-seat bike, I can’t see any sparks flying out behind it.
Chris is French, or his parents are, or his father is. I wonder how long it takes to get to France from Pierrepont Street. My mom calls from the window on the second floor where we live. She wants to know if I know what time it is. I look at the red LED readout on my Texas Instruments watch and I tell her it is eight fifty-six.
In the elevator, when I lean against the wall, some of the tar from the raft wood wipes off my shirt onto the brown-and-white-flecked enamel wall. I suppose that French people must not like rafts very much. French people like river barges better than rafts.
When my mom tells me to explain how I got myself covered in tar, I tell her that Chris and I are building a raft to sail across the East River.
The East River is not, in truth, a river. It is a tidal strait that joins with the Harlem River, also a part of the same tidal strait that was painstakingly, over twenty years during the nineteenth century, hollowed out to accommodate ship traffic. This strait connects the Long Island Sound up north to New York’s Upper Bay and the Atlantic Ocean beyond to the south. Because the narrow waterway joins two such whopping great bodies of water, the tide roars up during the flow tide, then twelve hours later, down during the ebb tide. In its narrower stretches the tide moves at speeds approaching six knots. Manhattan turned the riverbank to stone on its western bank, as did Brooklyn and eventually Queens on the opposite shore, so now, call it a tidal strait or a river, it is more a sluice than a naturally occurring body of water. People who fall or dare to jump in it have few places where they can pick their way out. The East River hosts a handful of accidental drownings every year.
For this and many other reasons, the East River is no place for an eight-year-old to play. Another person’s mother might have made this point immediately after her son announced his intentions to cross it on a raft that he and his buddy Chris Dupassage planned to build from found material piling up on the tide line along its rocky banks and fetid beaches. Not my mother. She supported every insane notion or scheme I ever presented to her. It was a conscious—determined, really—effort to shield what she considered my creative gift, to protect my imagination, my notion of the possible, from the crush of practical reality.
The lower reaches of the East River have teemed with traffic since the earliest Dutch settlements in the 1670s, and I spent most of my childhood living up on the bluffs above Old Fulton Street, the site where, in 1814, Robert Fulton inaugurated regular steamboat-ferry service between Brooklyn and Manhattan and made Brooklyn boom. The ferry kept Brooklyn’s economy running, fueled its growth from Dutch farming village to throbbing Anglocentric factory town and international port until 1924, forty-one years after the Brooklyn Bridge was completed. The cobblestone streets bustled and the town became a city. The horse-drawn construction of the Eagle Warehouse and all the other warehouses and towering factories put an end to any doubt that Brooklyn was rising just as confidently as its neighbor across the river. By the 1970s, though, those factories and warehouses were slipping into decrepitude, creating a vacant canyon land where packs of dogs and kids on bikes from the various bordering neighborhoods competed for territory among the low-slung, Civil War–era brick warehouses with rusting, arched iron doors that still smelled of the pepper they once housed. Here on the flats stood a dozen monolithic, white cement factories built at the turn of the nineteenth century by the Scottish-born king of the cardboard box, the industrialist Robert Gair. In 1926, Gair moved his light-industrial empire upstate to Piermont. By the 1970s, “Gairville” had become a collection of empty or emptying monuments to the slow death of urban manufacturing.
A week passes and Chris still hasn’t returned to fix our raft. During that gap I check on our pile of salvaged raft material at least twice a day. If, when I get down to the river’s edge, any other kids happen to be hanging around on the north side of New Dock Street, in the paved lot long since gone to seed, forsaken by its owner, or the city or whoever abandons the vast spoiled tracts in the landscape of my childhood, I wait for them to leave, to leave without molesting our raft pile. I position myself a calculated distance from our pile. Not so close that I will draw attention to the salvage, but near enough so that if some nosy kid does notice the pile, he’ll know it is mine and that I am watching him. I worry a lot about what I’ll do if the nosy kid who does notice our raft-makings also wants to build a raft and sail it across the East River. I worry especially about what I will do if that nosy kid who shares my nautical ambitions is much bigger or more aggressive than me. But I stay at my post by the pile all the same. I lie on my back on the sun-baked pavement, my shoulders propped against a discarded tire—hundreds and hundreds of tires are heaped behind the concrete wall of the Sanitation Department depot on the south side of New Dock Street. I lie on the hot sidewalk, my chin resting on my chest just like James Coburn in The Magnificent Seven. His shoulders on his saddle, his chin on his chest, his back in the dust of that West Texas cattle station, he reclines, unconcerned and unmoving, while dangerous men fuss needlessly around him.
Time passes slowly out here on the river. I catalog the hours. I count the days. Try to calculate the minutes until Chris returns to the raft. While I am not picking over the ingredients of our unmade raft, I am filling a composition notebook. It is a diary of the project, an account of the project and a fable of the adventures to come, with meticulously drafted plans for The Raft’s construction. Chris never does return.
I am grown now. I am still restless. Often uncomfortable in my husk, feeling it tighten around me when the world falls quiet. Those who know me well have grown used to both grand gestures and grim antics. I come through in a pinch if a spasm of physical strength (and, on the rare occasion, bravery) is required. I fall down on the job if the most rudimentary clerical precision is called for. My mind is a whirl; concocting stories, nursing regret, scheming, and—more often than I like—suspecting the worst. I talk too much and I listen intently.
This past February, suffering through a three-month hangover, the result of a failed effort at a career change, I am untethered, undone really.
Years of magazine writing had taught me to trust that after a requisite period of inward-aimed anger, doubt, and pity, inspiration always returns. The plan had been to bide my time, await the rebound strategy, the plan for renewal or reinvigoration that has always been just one good night’s sleep away.
If only I could sleep.
WHAT ARE PEOPLE FOR?
During the crisis of these last months I have satisfied my ambition by delivering the children to school—consistently twenty minutes late—retiring to a diner where I read three newspapers over a breakfast of sausage and bacon, two eggs any style, and buttered rye toast,
all the while discovering new avenues of self-torture. An accomplished self-loather, I am rarely as fulfilled as when I cannot stand the thought, never mind the sight, of myself.
But after forty years, for the first time, now that I’m a father of two children—perfect, to my mind, in every way—my system, diligently honed over years of practice for self-destruction, suddenly fails me. Sitting bolt upright in bed on a predawn winter morning, I blurt, “I need to get a job!”
My wife, Lisa, does not stir. Never mind that the notion would not have produced the same horror in her that it has in me. Lisa can hold a job. I have never met a person who succeeds at one job all the while gracefully fielding ever-better offers of bogglingly well-paid alternatives as they stack up like airliners into La Guardia Airport after a summer storm.
Lisa is a successful and talented businesswoman who works hard for a privately held publishing empire producing the glossy magazines whose titles are shorthand in the vernacular of Western popular culture. For the most part, they are the very magazines I have spent nearly two decades scraping out a living writing for. Her day is spent constructing and negotiating deals that make millions of dollars for the publishing company. I don’t believe that she will ever be paid what she is worth. That said, she is compensated exceedingly well.
Because of the money that these talents earn, we live in this three-story mansion with our two small children in a garden district behind Prospect Park in Brooklyn. If the home, dubbed Howard Hall by visiting friends from Montana, were not showing some of its 106 years, it could fairly be described as immodest. Standing at the window of our second-floor bedroom, an icy breeze drifting over my bare and mildly distended torso from between the original windowpanes, I watch nothing happen on the dead February street. The hoarfrost on the cars and the asphalt street, the century-old, dormant trees, are all as still as the night.