American Elsewhere

by Robert Jackson Bennett

  She blinks. The Charger stands before her. She has not seen this car in fifteen years, and yet it has not aged a day. It is as if it has just fallen out of a memory. Not even the dust can taint its vibrant red color, which seems to fill the unit with a merry glow.

  She moves to touch it, wishing to confirm that this moment is indeed happening, when her toe catches one of the cardboard boxes and sends her tumbling over. She falls so fast she does not even have time to cry out or try to stop herself, and the cement floor flies up and cracks her on the forehead.

  It is a solid hit, and for a moment she sees nothing but green bubbles of light bursting in a sea of black. Then one light begins to grow steadier, and she hears the Maglite clattering on the floor nearby. Forms calcify in the darkness, blank gray faces all stacked in a column, and on one of the faces is a word: LAURA.

  She realizes she is lying on the dusty floor with her cheek on the cement and her feet up on a crushed box. The Maglite is caught in the tarp and shooting a spotlight on one box in a tower of them. But it is the box below it, the one with the word LAURA written on it in Sharpie, that Mona is most interested in. That, and the state of her head.

  She sits up and touches her brow. There is a leak of blood forming there, and her fingers shine wetly. “Fuck,” she says, and looks around for something to stanch it. Seeing nothing useful, she tears off a corner of dust-covered newspaper and slaps it to her head. It sticks.

  She has entirely forgotten the Charger behind her. She removes the boxes on top of the LAURA one, and pulls the lid off.

  She blinks again. Her head is beginning to pound and everything feels woozy. It is hard to see into the box in the dark. She grabs the Maglite and shines it in.

  It’s all papers, like the rest of the storage unit. But these are not papers she thinks her daddy would ever normally have. They are too official, too… technical. She sees the initials CNLO in a lot of the corners, next to some kind of corporate logo, and some of them are copies of graph paper with a lot of numbers and equations on them.

  Then Mona spies something at the edge of the box. It is a glossy corner of a photo, she is sure. She pulls it out and examines it.

  It is a photo of four women on a back porch, seated around a wrought-iron table. They are all well dressed and holding up cocktails and laughing at the camera, which, judging by the hazy shadows and soft colors, was some kind of old Polaroid. Behind the women is an impressive vista: there are tall pines mere yards away, and behind those is a wall of immense pink crags, striated with dusky crimson.

  Mona does not know three of the women. But the fourth she recognizes, though never in her life did she see that face in a look of such happiness. For Mona that face was always fearful and sad, the eyes constantly probing the room as if expecting to spy some invisible intruder. But the person in the picture is definitely her mother, decades younger than when Mona knew her, perhaps lives younger, free of years of illness and sour marriage.

  Mona turns the picture over. On the back, written in loopy blue ballpoint, are the words: MOUNTAINS ARE PINK—TIME TO DRINK!

  She turns it back over and examines the faces. The idea of her mother, a trembling creature who needed dark, empty rooms more than life itself, having a casual cocktail with friends is beyond bewildering.

  Mona digs farther into the box. There are more photos, evidently from the same roll of film, documenting the same afternoon party. They are all taken around the same house, and at first she thinks that the house is made out of stone or mud before remembering that they have adobe houses out there, don’t they? She catches only corners and stray walls of the place, but in one photo where her mother, clad in a tight, appealing blue dress, hugs a new arrival on the front walk, Mona manages to see part of the front.

  She holds the picture closer. There is a number on the wall beside the front door. She squints, and though the light in the unit is bad and the camera renders everything fuzzy, she believes it reads 1929.

  “Nineteen twenty-nine Larchmont,” Mona mutters. She flips back through the photos, taking in the people, the view, but especially her mother and the big house she apparently owned far away from here in some beautiful country, surrounded by happy friends.

  Mona’s house, now—if she can get to Wink in time. She has not really realized it until this moment, but now that she has a picture of the thing rather than some vague, ancient papers, she understands what it is she’s walked into. Though she has never laid eyes on this house or even known it existed before, it could belong to her. To Mona, who has had a bad couple of years and has been migrating and renting a lot—and once, in Corpus Christi, even living out of her goddamn truck and bathing in a gas station restroom—the idea is absolutely crazy.

  There is a knock at the door of the unit. The storage center attendant looks in warily. “Everything okay in here? Thought I heard a shout.”

  Mona looks up at him, and he withdraws a little to see this short, dark-haired, dust-covered woman glaring at him with a shred of newspaper and a trickle of blood on her forehead. Mona does not know it, but the shred of newspaper blares AUTHORITIES APPALLED.

  “Doing good,” she says, and her voice is raspy from the dust. She nods at the Charger. “Where can I get some gas and a mechanic for that?”

  It takes most of the day to take care of Earl Bright’s last possessions. A lot of it she’ll leave for the attendant to trash. Most of the papers are about land purchases, as her father apparently tried to elbow into the speculation racket, with poor results. There are a shocking number of bowling trophies, none of them for first place. There are also some photos. Most of them are of him and his family. These Mona throws away. The pictures of him, Mona, and her momma she keeps, at least for today: she promises herself she’ll toss them too, in the morning.

  She manages to sell her old truck for 250 dollars, and in her frank opinion the buyer overpaid, though she definitely does not say so. The Charger takes minimal work at the mechanic’s to get it running like a charm. God can damn her father for a whole host of things, but he was handy with a car. The only sticking point is the tires: naturally, a mechanic’s in Big Spring doesn’t have the stock to service a classic car like this, and Mona’s not interested in waiting around, so after grilling the mechanic rather mercilessly she purchases a set that should be “serviceable” until she can find a place that can get her something real. She’s pretty sure that will eliminate most of the small pile of cash she’s just inherited, but feels certain it will be worth it. When the mechanic’s done, she loads her meager possessions into the car, and she moves the most important ones last: her Glock 19, its holster, and a box of rounds.

  By the time the sun sets Mona is richer than she’s been in years. Not only does she have over a thousand dollars, she now owns a flashy car, a box of her mother’s papers and photos, and a goddamn house in New Mexico.

  She sits in the driver’s seat and does some thinking.

  Eleven days left. Maybe fewer. She’ll have to seriously book it.

  That night at the motel she orders takeout from a barbecue joint and sits on the bed eating and reading her mother’s things. Lots of them—most of them—she doesn’t understand. They look like data reports from some old computer system—the kind, she imagines, whose screen is rendered in black with dark green letters. There are reams and reams and reams of data, and sometimes there are words but she doesn’t understand a damn lick of it—“cosmic bruising” gets tossed around a lot, as well as “aphasic,” and there’s a lot of talk about “binary states,” which Mona doesn’t get. There are also some other papers, interoffice memos, all of which originate from the same laboratory: CNLO, Coburn National Laboratory and Observatory, whose name is always paired with the same corporate logo, an atomic model of an element (hydrogen, Mona guesses) encased in a drop of water, or possibly a ray of light.

  And it appears her mother was once employed there, probably as some sort of engineer. She sees “Alvarez” on several of the memos, even “Dr. Alvarez.” Mona’s
been getting surprised all day, but this surprises her most of all: she cannot imagine her mother having a PhD in anything, especially advanced stuff like this.

  She looks at a few old family photos from her father’s belongings. The one she lingers on the most was taken in front of their old cinder-block house. The house is as small and white and drab as she remembers, drenched in sun and dust. Mona, Earl, and her mother stand before the front door, smiling a little, a snapshot taken on the way to church. Mona cannot imagine who took the picture—maybe a neighbor?—but even in this moment, early in their family’s history, Mona thinks she can detect some brittleness in her mother’s eyes, something ready to break.

  Mona can still remember the last time she saw her mother. Alive, that is. It took place right there, on that step in the photo. She remembers the hot, red day when her mother ventured out onto that front step—her first time outside in months—and called to Mona, playing in the yard, hardly seven years old. Her mother was wearing a teal bathrobe and her hair was wet, and Mona remembers how embarrassed she was when the wind rose and the bottom of her mother’s bathrobe lifted up and Mona saw coarse pubic hair and realized her mother was nude under that robe, just naked as a jaybird. Her mother called to her to come, and when Mona obeyed her mother knelt and whispered into Mona’s ear that she loved her, she loved her more than anything, but she couldn’t stay here, and she was so sorry. She couldn’t stay because she was not from here, not really, she was from somewhere else, and she had to go back now. Mona, terrified, asked where it was, and was it close and could she visit, and her mother whispered that no, no, it was far, far away, but she said not to worry, everything would be fine; one day she would come and get her little girl and everything would be fine. Then her mother said to stay in the yard, to just stay there until the ambulance came and took care of everything, and with one last profession of love she kissed Mona and walked back inside.

  Mona’s last memory of her mother is of her walking down the long, dark hallway, teetering uneasily on pale, skinny legs, her hands mindlessly probing her ears. After that, though Mona was not there to see it (having minded her mother), Laura Bright wrapped her head in two towels, climbed into the bathtub, shut the curtain, put her husband’s shotgun to her chin, and painted the aquamarine tiles of the shower with the wet, simple matter that composed her mind and soul.

  Judging from her mother’s preparations, she had evidently tried to make a clean job of it, but the grout kept a pink stain that never went away, no matter how her father scrubbed. Mona hated the house after that, and she was thankful when her father moved to a new job. And to this day Mona has never forgotten the way her mother looked when she apologized to her on that front step: she looked more sensible and saner than she had in many years. It was not until later, when Mona became a cop, that she learned how unusual it was for a woman to kill herself with a firearm, especially one as devastating as a shotgun. To this day, it still bothers her.

  She keeps forgetting that in eleven days it will have been thirty years ago. Even though all of her adult life has occurred after that moment, it still feels as if it happened only yesterday, like Mona is still waiting on the front lawn, waiting for her mother to tell her to come back inside.

  She remembers almost nothing of her mother apart from that moment and brief snatches of other memories that amount to nothing. Yet in this dingy motel room, with the sounds of Jeopardy! bleeding through the bedroom wall, Mona is confronted with the fact that her mother was much more than that sad, confused woman. How she got to West Texas and into Earl Bright’s life is something Mona cannot imagine.

  Yet it is something Mona decides she will find out. She will go to this town in New Mexico and find out what her mother was doing there and what turned her into the weeping wreck of a human being Mona knew. And after all, Mona has no reason to stay in Texas: she’s had a rocky couple of years since her divorce, and though after her resignation the Houston PD made it obvious they’d welcome her back, she does not feel like being a cop anymore. She has become comfortable with drifting, with the endless chain of cheap motel rooms and the scents of diesel gas and watery beer. God only knows how many W2s she’s filled out for a month’s or two months’ wages. She has been all over Texas and Louisiana and, in one rock-bottom fit, Oklahoma, and though she has seen many miles she is now unsure if she’s actually found anything during her sojourn. Certainly never a house, or a car, or the ghost of her mother’s history.

  Mona shoves the papers aside and starts trimming and filing her toenails (she has always taken very good care of her feet), and she watches the curtains change color with the neon lights outside.

  She wonders how she will get there. She wonders what Wink is like, and why she’s never heard of it before. And she wonders if she will find any more to the stranger she has just unearthed in this little cardboard box.

  CHAPTER THREE

  On the outskirts of Wink, nestled in the western side of the mesa so it is shielded from the worst of the midday sun, there is a narrow, wandering canyon that is curiously treeless and silent. It is almost hidden within a thick thatch of pinyon pines, yet none of them has managed to penetrate this canyon despite having successfully invaded far harsher regions. It is mostly invisible to the town itself, but if the inhabitants wished, it would be an easy thing to climb down to the forest and hike their way over. Yet despite the canyon’s scenic appeal and accessibility, none of the residents of Wink ever enters. At least, not without an invitation.

  Because this is where Mr. First resides, and Mr. First values his privacy.

  It is early morning, and pink hues are just beginning to seep into the dark sky above, blanching out the stars. A flock of sparrows suddenly takes flight from the forest in a rush, and they wheel about before settling on the opposite side of Wink. A family of white-tailed deer also flees the mesa’s shadow, springing through the pines as if startled by a hunter, yet there is none. Even a pack of coyotes hurries away, an anomaly if ever there was one, as they’d normally be asleep by now.

  Soon a heavy silence pervades the forest. There is no sound but the wind in the pines. For Mr. First is waking, and most creatures around the mesa know it’s wise to make themselves scarce at such times.

  This occurrence is unusual, and Mr. First realizes this, for it is not his time to wake. He observes that it is morning, not evening, and more so he has set a very rigorous schedule for himself, and if he’s gauged the current date correctly he is well short of his appointed time. He should still be slumbering here, hidden from the raw, new world in the many rocky folds of the canyon. It is very curious.

  Something must have awoken him, he decides. This is concerning, for few are the things that can awake Mr. First. So, in a series of slow, complicated movements, he unfurls himself and begins to examine his surroundings: he tastes the air, the moisture, the sandy canyon floor, and many other things besides.

  It is this ability for perception (along with his seniority) that differentiates Mr. First from his many siblings. For example, while his family is unique in a variety of ways, only he is able to perceive the shape and shift of time itself: he can glimpse ahead and make out the rough, tumbling shape of things to come, like looking down into the sea and discerning a swell of silver and identifying it as a school of fish—and, if he concentrates very, very hard, he might even be able to make out the form of things that could have happened (or even should have happened) but did not.

  Now, trembling and quaking in the cool morning air, Mr. First realizes this is what awoke him: the shape of the future has just violently shifted. A multitude of possibilities were eliminated, and everything has just been forced onto a single track. He exercises his talent for perception, and peers ahead at the blurry shape of future events, and sees…

  He stops almost immediately. If Mr. First had eyes to widen, they would be quite wide right now.

  He thinks about what he has just seen, and two thoughts enter his mind:

  One is that someone has been murdered.
This is unprecedented, and rightly so: such a thing should be impossible here. Yet merely by glancing at the next few hours, he can see it is true.

  The second is far more confusing, far more ominous, and totally perplexing to Mr. First. Yet he knows what he saw, and though it was as vague and shadowed as all glimpses of things yet to come, it is clear as day to him:

  She is coming.

  Mr. First hunches down in his canyon, withdrawing utterly until there is nothing to distract him. He begins thinking, very hard and very fast, which is difficult for him, for his thoughts usually proceed with the pace and implacability of tectonic shifts.

  Things are changing. They are changing here, in a place that should not ever, ever change. Even he, eldest of his siblings (give or take), could never have anticipated this.

  Should I tell them? he asks himself. He extends his attention to the tiny town threaded through the valley before the mesa. They are all still asleep, for the most part.

  No, he decides: they will know soon enough, and besides, it would make no difference.

  But his own preparations will have to change, he knows. They’ll have to be sped up, for one. That is all he can do. And soon he will have visitors, and he will have to get ready for them.

  He sighs a little. He was quite enjoying it here. They all were. But such things happen, he supposes.

  CHAPTER FOUR

  Anyone who wants to rhapsodize about the beauty of nature should drive from Texas to New Mexico, Mona thinks. There is about a hundred-mile stretch of nothing, genuinely nothing, no crops or buildings of any kind, though of course it’s hard for her to tell how big it is because it all looks the same. It is just flat, gray, sunbaked scrub, flatter than any land Mona’s seen before. She’s pretty sure that if she were to pull over and stand on the hood of her car she’d be able to see for miles in every direction. There are barbed-wire fences everywhere, but Mona can’t figure out for the life of her what they’re fencing out.