Ten

My tenth birthday was the first I celebrated after my father died.

I’ve been shuffling through old pictures and think I’ve found one from that day. My grandfather sits beside me at the formica kitchen table, his big, working-man’s hands folded in front of him. Behind his glasses, his eyes are kind; his bald head shines. He’s trying to look happy, though he was never one for ceremony, never one for gatherings. He liked the plain facts of the prairie better. And, too, he was heartbroken. His beloved son-in-law, goddamnit, had gone and died.

I’m wearing a t-shirt with the sleeves cut off, my dishwater hair a mess. I’m not there yet but getting close to as big as my grandfather (in just a few years I’ll be taller, wider in the shoulders—my grandfather, the one father I had left, beginning to shuffle and stoop.) I’m smiling big, I’m just starting to unwrap a present. I was finishing, that spring, the fourth grade.

My mother isn’t in the picture because she was, I’m sure, taking the picture. Because she was doing what she had to do. Because she was making, despite loss and poverty and drought, a way out of no way. Because she was, even then, building the foundation that would allow her oldest son—at twenty-three, five years of university education in his rearview, an engineering degree in hand, all kinds of economically lucrative possibilities in his front pocket—to claim he wanted to be a poet.

And you know what she told me? God I wish I was half as kind and wise and strong.

“A poet,” she said, “how wonderful!”

Every Sky at Home will be the first book I’ve published since my mother died. It is, I’m realizing, my tenth: two novels, a memoir, five books of poetry, a textbook, and, now, a book of essays. She liked them all—she was always my mom—but she would have loved this one.

I hope you like it too.

The Tilt

It’s not that you write alone, exactly, but there are the many hours spent scribbling in journals and clacking at the keyboard and pouring a third cup of tea and sometimes even just turning circles in your kitchen because you are indeed all alone and wrought up in a story. And as much as I love that solitary time to reckon and deeply feel, one of the great joys of releasing a book into the wild, I’ve discovered, is the chance to make connections, the gathering that happens—and has happened for millennia—around the sharing of a story.

I met Megan Torgerson in an online class for Hugo House a number of years ago, and Megan emailed me afterward, to follow up on some ideas from class and to mention that she produced a podcast, Reframing Rural, that I might like.

Reader, I’ll tell you right now, I took a listen and liked it a whole heaping bunch.

​​​​​​The fate of rural America matters to everyone, no matter where you live. —Reframing Rural founder, Megan Torgerson

So I was thrilled to get the chance to be a part of this ongoing conversation Megan has built and continues to curate. We talked last summer, about my latest novel The Entire Sky and so much more, and Megan has just released our conversation as a companion piece to this season’s focus on farm succession.

If you would have told me, when I was young and just beginning to understand the delineations and vastnesses between the world I was from and the worlds I saw in books and on television—if you would have told me that some forty years on I’d get the chance to sit down with another eastern Montana kid and take it all seriously, our primal places and the places we’ve been since, well, I might not have believed you. But it’s true.