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Showing posts with label la frontera. Show all posts
Showing posts with label la frontera. Show all posts

Wednesday, January 2, 2019

New Beginnings?

Hoppin' john, collard greens, cheesy biscuits

January 1-2, 2019
Dos Cabezas

When you think about it, the idea of a ‘beginning’ to anything is strange. I wrote those words out long-hand on a pad of yellow-lined paper on the morning of January 1st, but they were really (as I also wrote) a continuation of what had begun on my laptop screen two weeks previously as “Desert Diary,” and that was only picking up again a record of descriptions and thoughts written last winter and three years before in blog posts and letters to family and friends.

Cabin from wash on snowy New Year's Day
Was 2015, then, the beginning of all this writing and of my love for mountains and high desert? If so, why did my heart leap up when the owner of our cabin first told us about it, uttering the words “high desert,” “open range,” “ghost town,” words that thrilled me even then? 

Sarah & fence
I’d never longed to see Arizona — it wasn’t a dream for me, like the dream of seeing Paris — but the truth is that I had always, as a young, horse-crazy girl, dreamed of going West, dreamed of the West from the front porch (west-facing) of our family home on the Illinois prairie as I gazed over and past the cornfields across the road and imagined myself on horseback, riding beyond those prosaic fields, into the sunset. Out under — at last! — black skies pricked by innumerable stars, far from any city or suburb. As it always had and perhaps still does to Europeans, “the West” represented freedom to the child I was, fenced about by social rules and expectations. “No running in the house!” Could they not see that I was not running but galloping? That I was not a child but a wild horse? As I galloped, indoors or out, or dreamed on the front porch, gazing across cultivated fields, I imagined boundless wilderness, open and challenging. There were pictures in my head from television cowboy shows, but there were no sheriffs or bandits or range wars in my fantasy. I had no wish to conquer anything or anyone, only to be there, to “breathe free,” and test myself, not against adults or other children or social mores or any arbitrary will or rule, but against natural reality, harsh though it might be.

[Sidebar: Some, I know, will immediately want to compare my girlhood dreams to those of a boy, so I’ll pause here to say that I am not interested at all in that comparison. Men, usually the ones to raise the comparison questions, can only speculate about how their youthful experiences compare to what they can only imagine were those of someone now a woman. They cannot truly compare, as the only experiences they had were their own. And the only experiences I had were mine, so I cannot compare, either, but comparison is not what I’m about. I am only describing my dreams, and I can say definitely that I did not dream of surviving a Western wilderness as a girl, only of meeting the challenges of nature. Perhaps a boy’s dreams center more on becoming a man. Perhaps their dreams are more gendered. I don’t know. I suspect there are as many differences among boys’ dreams as there are among the dreams of girls, but I find questions of gender when they intrude on my experiences with the natural world, whether actual or imaginary, annoying and unwelcome, because part of what I sought to escape in my childhood imagination was just such restricting social norms.]


Back to the more interesting (to me) question of beginnings, though. Did the feelings I now have for my winter Arizona surroundings begin with a child’s dreams as that child gazed across an Illinois cornfield, imagination ablaze with Gene Autry, Roy Rogers, Dale Evans, and company? Or was the beginning further in the past, when my parents attended their first rodeo out in South Dakota while I was still in my mother’s womb? South Dakota, my birthplace and scene of my conception — would such a place not mark a child with an invisible brand, not to be erased by subsequent moves and homes? Or do I go beyond reason with such a question?

On New Year’s Eve I opened a new book that I took up again in the morning, as the new year officially began. A gift from friends who were here in the cabin for six weeks before our arrival and the most appropriate possible reading for me, here, as we usher out the old and welcome in the new far from northern Michigan, the book is Drum Hadley’s Voice of the Borderlands, poetry of his cowboyin’ experience along la frontera, the mountains and high desert of Sonora, Mexico, and Cochise County, Arizona. Names of familiar places recur in narrative vignettes: Sulphur Springs Valley, Willcox Livestock Auction, Agua Prieta, and there are mentions also of places I know only from maps, such as Guadalupe and Antelope Wells. I finished the first section, “Cowboys and Horses,” with great satisfaction as the new year began and the first snow of 2019 fell on Dos Cabezas. On the morning of January 2nd, we are under a winter storm warning still, with accumulations of eight inches possible at elevations above 5,000 feet (that’s us) and temperatures not to rise above the freezing mark until Thursday.



Beginnings, endings. Human beings designate moments, days, years as such, but are those designations anything more than mileposts we drive into time as a way to organize our stories?



Saturday, May 30, 2015

Surprisingly, Back in the High Desert





Just when I think I’m out, they pull me back in. Just when I think my head and heart have fully returned to Michigan, the Southwest borderland re-exerts its tug.

Last night it was a movie we’d seen before that I watched with new, Western-wise eyes. The opening shot was all it took. It looked like the road through Dos Cabezas to the Chiricahua Mountains – that ribbon of two-lane through golden grassland. The story was set in Wyoming, which set me to musing how many places in the West might look like Cochise County, Arizona. We watched on, caught up in the story, but I continued to eye background mountain ranges carefully.



Then it came – a sequence with Nicolas Cage driving the car, Dennis Hopper in the front passenger seat, and two other actors in the backseat: the luckless, unemployed veteran, the hired killer, the shady sheriff, and the sheriff’s wife. The car approaches a railroad crossing at high speed. Along comes a train. The driver, ordered to keep accelerating by the killer with a gun in his hand, swerves at the last minute, bumping and bouncing along parallel to the tracks and the speeding train before, overtaking it in a burst of speed, catapulting over the tracks in front of the train for a hard landing and getaway.

I come from a railroad family. Railroad safety was the gospel in our house. Scenes like this in movies always trouble me, as I think about impressionable young people seeing only excitement and not their own wrecked bodies. That’s my background.

But this time, watching the sequence, all I could think about was where it was being shot. It looked so much like Willcox, Arizona, that the make-believe of the story was suddenly secondary. There! The depot! But a big semitrailer truck strategically parked on Maley Street hide the WILLCOX sign at the end of the depot (now City Hall) from sight. And too soon the action moved to another location.








At the end of the movie, I wanted to see all the credits. Sure enough! Thanks to Willcox, Arizona! “I knew it!” I exclaimed in triumph. “I knew it was my little cow town!” Patiently, David searched back through the movie for the car-train sequence, and, like a pair of detectives carefully screening film from a surveillance camera, we watched it all again, frame by frame.


There! This scene I photographed after a rainstorm are in the movie! Even more exciting, in two different shots the twin peaks of Dos Cabezas can be clearly seen by anyone familiar with them and looking for them, as I certainly was. And finally, a local sign not hidden from camera view: Maid-Rite Feeds! The wonderful feed store east of the railroad tracks!






“Red Rock West” was made in the 1990s. The sculpture of Rex Allen was not yet in place in Railroad Park, but the park itself was recognizable, with its enormous trees, as was the block of old buildings facing the tracks. “Where’s Rodney’s?” we asked each other and were disappointed that while we could spot the tiny building in an out-of-focus background, the identifying sign was never visible. COMMERCIAL BUILDING on a corner was the only store sign we could see on the strip. But there! The sheriff’s office in the film had used the interior of one of the buildings, Railroad Park and its trees visible through the front windows!

All photographs above are mine, from our winter near Willcox. To take my tour through the ordinary little town (and to see Rodney and his place), click here. Below are some shots from early in the movie.

In the morning we returned once more to the opening sequence, certain now that it was not Wyoming and not WY 487 but my own beloved AZ 186. How could I have doubted for a moment? I took the shots of the opening scenes this morning but did not go all the way through to the car-train sequence. 

Opening shot: "Red Rock West"


Name that road!

Not its real name!

To see all the shots of old historic Willcox, you need to rent the movie, “Red Rock West.” (Roger Ebert loved it.) It will be an action-packed visit to my little cow town! And be sure to watch for the twin peaks of Dos Cabezas in the background.

Dos Cabezas, Willcox, Cochise County -- the movie made me "homesick."