As a joke, J. almost says, “So what do you do around here for fun?” but thinks better of it. I’m a real city boy, J. thinks, I’m a real jaded fuck. Eventually they clear the woods, passing first an unattended stand of native arts and crafts that seems not to have been open for some time, then a gas station and garage with a rogues gallery of cars and pickups in its lot. Arnie says they are getting close.
Content is king, they say. Rape and pillage time for the junketeer willing to put in the time to make the contacts. A whole new scale.
“This is Hinton,” Arnie says. They had rounded a turn and now came across the biggest settlement in some time. Hinton is dropped down in the middle of a valley, a marble cupped by monstrous green hands. The car is separated from the town by the murky gray river that carved the valley; J. sees the low bridge that would have taken them into Hinton if they had turned left. A flat section of the town groups along the opposite bank, he spies a shopping center and above it the buildings inch up the mountain wall, thinning, a scattering of two- and three-story buildings that are probably the original town: old and distinguished structures. Arnie doesn’t turn left. Arnie takes him right, away and parallel from the town, down the road that creeps along the river. A strip of small establishments perch on this side of the bank, a souvenir taxidermy shop, the Coast to Coast motel. Herb’s Country Style promises chicken fried steak. Between the stores, J. can make out the other half of Hinton across the river, lurking among trees like a fugitive.
Arnie has stopped humming. “I usually only work Mondays and Tuesdays,” he says, “but the festival is paying us almost double what we usually get. You staying at the Motor Lodge?”
“I’m not sure. If that’s what they told you.”
“Well, they said the Motor Lodge, so that’s where I’m going to take you. If it turns out that’s not where you’re supposed to be, I’ll wait around and take you to wherever you’re supposed to be. How’s that sound? We can go to Saskatchewan, I don’t care.” Arnie is flexible, apparently. “I heard Ben Vereen was coming. Is that true?”
“I’m not sure.”
“I love Ben Vereen,” Arnie says. “This is shaping up to be some big party.
Saying after a few years it could be bigger than the Nicholas County Spud and Splinter Festival. Good for the whole area.” Up ahead J. sees the river jump out of a gigantic dam in exuberant streams, like hair through a comb, but they veer away from it; Arnie turns left across a black bridge that takes them over the rolling water. “Talcott’s about ten miles on,” Arnie continues. “That’s where John Henry’s from. But we’re not going that far. Talcott’s pretty small, so I guess that’s why most of the stuff this weekend is being organized in Hinton. They’re like sisters.”
Past the bridge the road is unpopulated again. The road follows another branch of the river and J. looks down into tenebrous water. Trees march down right into the current and J. pictures a whole forest under the dark water, what existed before the dam raised the river. Maybe even a whole town sleeping under there. He wonders if the newspaper of the drowned town needs freelancers.
Arnie turns at a tall clapboard sign announcing the Talcott Motor Lodge. The sign has been recently repainted. He pulls up to the front door of the main building, a squat red structure with a tin roof. A statue of a railroad engineer tips its hat to all who pass.
“Here we are,” Arnie says.
J. asks for a receipt.
After the killing is over, after the gunman has slid to the ground, after the gun smoke has dissipated into the invisible, the witnesses rouse themselves into this world again, find themselves waking in warm huddles reinforcing each other’s humanity; they blink at their surroundings to squeeze violence from their eyes. Some gather their wits more quickly and run for help. A few possess a small measure of medical expertise and tend to the dying and shout reassuring words that are as much for the wounded as for themselves. There is a magnetism of families and friends, they are drawn together and inspect each other’s bodies for damage. The witnesses thank God. The witnesses share what they have seen and fit their perspectives into one narrative through a system of sobbing barter. In these first few minutes a thousand different stories collide; this making of truth is violence too, out of which facts are formed.
Facts are Joan Acorn’s trade this summer. She has recovered her purse and notepad but cannot find her pen. It is suddenly the most important thing in her life that she recover her pen. It’s a Bic. She thinks she must have sent it flying when she heard the first shot and dropped to the prone position described by the personal security consultant her sorority retained to teach them about self-defense. Keep low, he said, and recited statistics about driveby shootings in the ghetto. As she looked up at him from the couch in the living room of her sorority house, Joan imagined him as the kind of man who instructed the ROTC guys in military lore. He was really butch. Joan found him sexy. He knew how to tell people things so they remained in their consciousness. The consultant enjoyed a vogue on her campus, he was a prophet of anticrime come to deliver them from the rape scare. When she heard the first shot Joan dropped between the folding chairs and sent her pen flying.
She sees her pen a few yards away, next to someone’s lost sandal. A new wave of screaming starts; a new realization of what has happened thrashes around in traumatized skulls. Joan struggles to do what any journalist would do in this situation. The final event of John Henry Days was her first assignment, it turned out differently than expected, and she remembers instructions from last semester’s Intro Journalism class. She crammed late-night in her pajamas with a friend, deciphering her lecture notes for the final and dropping microwave popcorn. Joan is single-minded. She navigates through the overturned chairs. Everything is so bright. People congregate in groups and pat each other’s bodies. They dangle and sag. She makes her way to the sidewalk. Cars are hum still in the street, their doors open and mysterious and full of tales. It reminds her of a nuclear war movie.
She approaches an older couple dressed in identical green and red jogging suits. She identifies herself as a writer for the Charleston Daily Mail and asks them what they have seen. The witnesses point up to the bandstand. The witnesses point to the groups ministering to the dying. She canvasses the witnesses and tries to get the story. When Joan gets to the telephone outside the barbershop she tries to remember her parents’ calling card number and has a little bit of difficulty.
Joan gets through to the editorial desk and informs a man about the killing spree. She sees a tan police car enter the square. Her use of the words killing spree is questioned by the man working the Sunday slot, who asks her to identify herself and slow down. Joan is the intern for the Life section of the Charleston Daily Mail. She had been very excited early in the spring that she might get the chance to write about fashion, a desire she expressed to her parents during their Sunday evening phone call. Her father got on the phone to her uncle. Her uncle, a successful lawyer who had many influential friends, got on the horn to the sales director of the Charleston Daily Mail, who made calls of his own. Then disaster struck. Around April Joan discovered that her three best friends were going to travel in Europe for the summer. Joan fumed; she wished they had told her earlier, they were supposed to be best friends. But she had already given her word committing to the internship and her parents told her that to back out would make her look irresponsible. In addition, they had paid for her trip to Europe the summer before and did not want to spoil her. A compromise in the form of a new car to facilitate her commute between home and office restored the family to its customary state of goodwill.