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The Drive Would Not Spin: An Imagined Account Set in the Near Future

The drive would not spin for me. It held the original sensor records from three floods, and the public summary said a restored wetland had reduced every peak. The summary had become the accepted account in my county. Farmers repeated it at meetings. The water district used it in planning. A restored marsh had become the answer to an argument that still flooded people’s fields.

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The Price List Nobody Could Open

The most famous memo in American industrial history says a company counted the dead. In the fall of 1977, Mother Jones published “Pinto Madness,” and the country learned the shape of the story it would keep: a car with a dangerous fuel tank, a fix that cost eleven dollars a vehicle, and a memo that priced the burn deaths against the repair and found the deaths cheaper. The memo became the Pinto’s death warrant in the public mind, the smoking gun with a signature, the proof that a corporation had done the arithmetic of murder and filed it.

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Speeding Up to Slow Down

Sometime in the early 1980s, while researching a play, I spent an afternoon talking with a Nebraska State Trooper about the border between local law enforcement and the state patrol. We covered jurisdiction, drugs, homicide, and how causes of death get decided in a county with more cattle than people. By then he had worked those highways for twenty years. He was a careful man with a careful voice, and when the talk turned to death on the road, he lowered it. When you read about a one-car crash that kills the driver on a Nebraska highway in the middle of the night, he said, you are usually reading about a suicide. The car alone, the road empty, the bridge or the embankment at full cruise.

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Rudy’s Library Is Open

The key to the public library in Monowi, Nebraska hangs on the wall of the town’s only tavern, within reach of the bartender. Ask and she hands it over. Then the shed a few steps from the bar is yours for the afternoon: five thousand books and magazines, floor-to-ceiling shelves, and a sign painted by grandchildren on the side of an old refrigerator that reads Rudy’s Library. There are no library cards and no overdue fines, and there is no librarian at a desk, because the librarian is the woman who just handed you the key. She is also the mayor. You borrow on honor and you return when you can. That is the whole system, and it has held for twenty-two years.

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What the Spray Allowed

On the night of the fourteenth of September, 1997, in the first squall band of a blow that never got a name, a man went over the rail of a shrimp boat working the inside grounds off Cameron, Louisiana. The boat was the Coralee B, sixty-two feet of wood and rust out of Cameron, named for the captain’s mother. Junius Hebert was the man: twenty-nine, out of Hackberry, the lead deckhand, with a wife and two little girls and a laugh that carried over the engine. The sea that took him did not splash. He was working the winch on the starboard side, and the first green sea stood on the deck amidships, and the second one came over the rail where he was standing, and when the deck cleared the winch was running empty and Junius was gone.

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Raise Your Right Hand: The Blind Oath

First, swear. Then we will tell you what you are accused of. Sit with that order of operations for a moment, because the order is the whole instrument. A man is summoned before the court. He is not told the charge, because there might be no charge to tell. The summons brings him in, the book is offered, and the oath is administered before any indictment is read: swear to answer truthfully every question this court intends to put to you. After that, if anything is coming, it comes inside the interrogatories he has just sworn to answer. He has pledged his answers before the questions exist.

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Preplay: The Courtroom in the Wings

The news of my removal from my own show came from the producer. I had obtained the rights, signed us to a first-class theatrical option, and written the book and lyrics, all of it inside the year the rights contract granted to us. The director hired to stage the all-or-nothing reading was not my choice, and he was friends with my collaborator. After the failed previews, I was unceremoniously let go. When I asked my composer collaborator why this had happened, the director called me instead, and said that nobody wanted to talk to me. I had no choice but to sever the show, and my attorney fought to get me paid, credit on show. Everyone stonewalled him as well. That is the whole record, at the width the print ruling allows, because the identifying details of the production and the collaboration stay blurred in print for the privacy of the living, and the blur is logged in the specimen record beside its telling.

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