John the builder had added a simple but elegant A-frame lounge of cedar and glass to the fishing cabin, with a big fireplace at one end and views through the trees out over the lake, had improved the septic system, installed an oil-fueled generator, and put in showers and sauna and extra bedrooms, but the furnishings were plain and functional, the decorations few, the general aroma of the place that of pine, mud, and men. Once the airstrip was down, John had blocked off the main entry road with trees and boulders, though he’d left a lesser-known back route open for the man with snowplow and mower he’d hired to keep the airstrip cleared. The first time Dutch saw the place, flown up there by John in a late-summer fishing party (no women on these hometown group occasions, often as not no Bruce either), he was reminded immediately of the clubhouse they’d built as high school seniors on his old man’s property at the edge of Settler’s Woods. He divined at once therefore the full range of activities the cabin had been designed — or redesigned — for, and was not surprised to find a bidet in one of the bathrooms, which John shrugged off as a fancy of the previous owner. Even the cabin’s lone piece of art, a splotched and ripped-up canvas, hanging in shreds like something spilling from an open fly (people were crazy, what they paid money for these days), was not unlike their clubhouse’s tattered pinups clipped or torn from old magazines. For most of the men in the fishing party, if not for Dutch, it was a time up here for escaping their women and the prescripted town-bound lives those women had made for them, a time for virile reflection in the wild to which they all felt they’d been born, but from which somehow mysteriously expelled, a time to shoot and hook and kill and to eat the killed and, unnagged, drink their fill, a time to tell stories not elsewhere tellable and to test one another in all the half-forgotten ways of old. Thus, pissing, shooting, angling, and drinking contests, all-night high-stakes poker, manhood-challenging wisecracks and shower baiting. Again, Dutch thought, so like the days of the “getaway,” as they’d called their old clubhouse (and as Dutch now called his motel bar, located on the clubhouse site), except that women, still a novelty, were more important to them then, a female body, most often human, frequently the arena for their manly competitions. John, unrivaled cherry-picker with his own vast resources, was a rare participant in those gangshags of old — or “club sandwiches,” as they were called back then — though when caught up in one, as at the climax of his own stag party, an event arranged by Dutch as a wedding gift to his former Little League battery mate, he never shied from joining in, firm and upright clubman that he always was.
Bruce, best man when John, constructing story, married the builder’s daughter, was also at the stag party the night before, a reassuring event for Bruce, faced with the disturbing prospect of John’s seemingly straight-faced plunge into the wedded condition and the consequent loss of his one true companion in this ludicrous shithole of a world. Bruce, a city boy, albeit less of urb than sub, approached this remote hog wallow that day with trepidation, a stranger to its hobnail country ways, except so far as John had acridly portrayed them on their college drinking bouts, visions dancing in his booze-bruised head of desensitized TV zombies dangerously adrift on potholed junker-lined streets, of blue laws, Bible Belters, and bottle flies, and of ersatz icecream parlors crawling with pimply beauty queens and noisome brats. When asked what was the principal activity of his hometown, John had once replied: “Ass scratching. Two-handed.” John had given the real world up for this? Well, John had added: “Like every other place I know,” it’s true. It was Bruce’s world still strewn with antique values. A “diseased romantic,” John had called him once, or someone had and John had laughed, Bruce, too, admitting it was so, and adding that it was a glory ‘ole that had corrupted him — cuntamination, he called it — the first he ever knew: “Birth robbed me, buddy, of my fetal hopes and innocence, it’s been downhill ever since I slid that fucking tube.” Arrival was by rented car, John’s airport not yet built back then of course, a numbing passage through vast treeless fields and desolate commercial strips as alien to human life as anything Bruce’s grim misgivings might have led him to imagine. Yes, the worst he’d feared was true. But then, a small creek once crossed over, the humpback bridge nearly pitching him through the roof when he hit it, a little wooded patch rose up on the far shore as if conjured from the weedy soil, and on the other side of that the town appeared and showed a bit of grace: smooth tree-shaded streets with wide-porched houses sitting landscaped lawns, brightly bordered with the seasonal flower show, this followed by a cool green park leading to the town center where young women smiled at him as he passed by, the streets here lined with Lincolns, Caddies, and a Mercedes-Benz or two that put his scrap of rented tin to happy shame. The Pioneer Hotel was a musty relic with frayed linens and prewar plumbing, but all the gang were there, the antediluvian bar and lobby dust astir with their sudden booming talk and laughter. A few bolts of aged sour-mash poured by brother Waldo and an afternoon round of golf on what turned out to be inventive sunswept fairways and well-kept greens revived Bruce wholly, and after the obligatory rehearsal dinner, enlivened by brother Beans rising to toast the bride’s family with his fly vividly agape, the stag party that followed restored his faith in the human comedy and in his old boonfellow John, wired though he may have been.
That park Bruce passed, no longer there, once hosted Sunday Sousa bands, political campaigners, homemade carnivals, and horseshoes tournaments, as well as the famous Pioneers Day pageants, at one of which, a child still, princesslike in white organdy and lace, John’s wife had starred as The Spirit of Enterprise. This pageant, third and last to be penned by school bard Ellsworth, graduating senior about to flee these rustic precincts for what he called the center stage, was a centennial paean to creation, prairie-style, and so eulogized the century’s builders, not least old Barnaby, wee Enterprise’s very father, whose beloved city park now served as his encomium’s mise-en-scène and shaded him where he proudly sat. In time, his son-in-law’s civic center, newest proof of initiative’s power to transform, would concretely rise in Barnaby’s name where John’s wife once performed, its all-weather Olympic pool become her bikini’d daughter’s rock-scripted stage for performances of a more speculative sort, but on that long-ago day the old park seemed ageless, eternal, some sort of sacred site, mother to them all, even the oldtimers forgetting for the moment that it had not always been there, but Barnaby had built it. How sweet his daughter was that day as she recited, in Ellsworth’s accents, Ellsworth’s lines about the builder’s Olympian power to sow his seed upon e’en the thornéd and rocky waysides of the world and see whole cities rise defiantly like living parables of imagination’s potency, untrammeled reason’s finest crops!
Here in Reason’s beauteous grove we stand,
Its glory being: ‘Twas made by human hand!
Though most that leafy sunswept day applauded, enchanted by the pretty child, angelically aglow in the dappled light, and moved by the tears in her father’s eyes (a rich man, yes, a pillar and a patron, but old-shoe common, one of us), some grumbled that that oddball boy who wrote the thing had courted blasphemy with his foolishness, messing with the Good Book like that, then had compounded his sin by the use of an innocent child for his impieties’ transmission. They were not far from wrong, though only Gordon, privy to the throes of composition, knew to what extent his irreverent friend had with his Olympish wordplays mocked the town: the seed of the city fathers, whom Ellsworth slyly, in a rhyme with “creators,” compared to “master painters,” not so much sown as spilled, this town, he said to Gordon, a hand-job made by, of all trades, the jack-ofs. Not for me, twiddle-dee! Kiss my bum, twiddle-dum! This grinningly declaimed while sprawled in the nude, wearing a top hat and smoking a long cigar, Gordon at the easel, frustrated with the impossible translation of light on flesh into oily smears on canvas-board, saddened by his boyhood friend’s announced departure, and musing the while on the aesthetic ugliness of the dark lumpy dangle between men’s legs, as though something that should be inside had grotesquely fallen out, Gordon’s an abstract ideal of pure unblemished form, wartless, headless, hairless, truth expressed best when least expressed (the poet’s line, though it was Gordon who, in other words, first said it). Because he was leaving town forever, Ellsworth allowed his friend to photograph his poses that the paintings might someday (they both believed in art) get done, these taken with a borrowed camera, Gordon’s first essays on film, including one of a laughing Ellsworth dressed only in his high school drum major’s hat, looking back over his bony white shoulder, baton raised on high, other hand hidden, but somewhere between his hairy legs: See ya later, master painter!