On the late-night swing at the office — the one my coworkers call the “presidential death watch,” standing by just in case something major develops — I wait for the product to churn. When it does, I hear once more the locomotives rolling into Union Station overhead, their rumbling through concrete walls as my grandmother returns from Detroit or Fort Wayne. It’s the same rolling thunder I hear later in Manhattan, in the pavement of Lexington Avenue, under the taxis and human footsteps. Tonight these trains roll along spider webbing.

Although I now live in desert, my office resembles offices everywhere. In the morning, chubby wheeler-dealers strut into the room and bark orders. In this case, they’re Texans clad in polyester and strings ties. More gyrating rolls spit out headlines under the ceaseless deadline.

At times I long for an appointment as serene as a winter pond. Make an offer. The owners want more. They grin and demand, boy. Watch the shit.

I ask Kokopelli, “Why do people avoid bare truth? What virtue is found in complication? Why can’t I simply stick to the steps of the Way? How much opportunity slips away when entanglements dim my view of my Guide? What will be my first big break? Or three?”

“How the hell should I know,” he grins.

He knows, all right. No doubt about it.

~*~

When I arrive home, she greets me with a mischievous grin: “I’ve only lied once or twice in my life and this is the third time. Welcome to the split-pea patch of my existence.”

For more insights from the American Far West and Kokopelli, click here.

Initially, I regard the mountain as another slumber-induced fantasy. Its climax appears pristine, boundless, haughty, mesmerizing, even eerie. Over time I behold its hideousness and terror as well. Such beauty may suddenly turn fatal. Timberlands netted with trails and campsites, plus unfettered wildlife, extend from its ivory helix. These opportunities are my primary rationale for migrating to this corner of the nation. But these woodlands border desert, and none of my maps alert me to the consequences. Not even Georgia O’Keeffe’s brilliant renderings of New Mexico, artwork I long admired, hint at its harsh thirst. Rather, the paintings emerge as another kind of dream to be savored, confined to a gallery or oversized pages. Besides, my definition of desert would have required camels, or at least organ barrel cactus, neither of them found in the cheat grass and sagebrush foothills surrounding my new home and workplace.

A glacier-glad mountain resembles a foaming waterfall. It is, after all, an endlessly frozen cataract. Below it, in late spring or early summer, breastworks are laced with plummeting streams racing toward September irrigation in desert to the east. On the clearest days, Rainier’s ice sparkles; its beacon flashes sixty miles to the orchard where we dwelled. At sunset the inactive volcano’s shadow is a finger reaching toward the rising full moon. It points as well to places we’ve abandoned.

The predominant mountain is also the moodiest feature of the vista. Everything’s arrayed in reference to this pillar. To observe it over time is akin to regarding one’s beloved. Neither the zenith nor one’s honey is as immovable as one presumes. They are not the divinity. They’re more accurately repeated dreams, where some episodes fade out over the years while others intensify. Sleep visions of the soul, having one foot in the dreamer’s past and the other in the present, dance on water. Sometimes they drown. Even a mountain.

You should see the way Kokopelli makes it dance before sunrise.

For more insights from the American Far West and Kokopelli, click here.

On scattered reservations, a few elders rise before dawn each day and summon the sun to return. Don’t scoff. When I, too, get up in the dark and meditate, I feel my own self-confidence rising. Watch the world awaken. Light a wood fire, something I sit beside and watch for hours, its flames more imaginative than television. Bask in the radiant warmth.

Kokopelli, night owl that he is, still slumbers.

My wife, in another room, rolls toward the wall and finally rises to join me.

There’s a science, and then there’s an art. In the pyre, paper first chars, then shrinks, and finally explodes. Only then do flames engulf it. “Consider the bomb a ream would create,” I grin at her.

“Now who would you want to bomb, Buzzard?”

But I also know how difficult igniting that ream would be, and how difficult to keep it burning. Watch carefully and misconceptions turn to ash.

In the continuing drought of that fall and winter, I explore national forest well into February. Areas that should be buried in a half-dozen feet of snow are instead bare. Atop one mountain, I look over a cliff. “I think it’s dolomite.” Maybe it isn’t. Maybe the identification isn’t earth-shaking important, but learning the names of places and their minerals, fauna, and flora adds dimensions to a place. Improves your chances of survival, too, if put to the test. For now, I scramble on the scree and realize that white painted stones at the cliff’s edge marked out a heliport. Far below my feet, a table of forest spreads into basins that are invisible from my vantage, and other places I’ve already been. I trace Forest Service roads, such as they are — 1707 from Raganunda to the top or 601 down to Willy Dick’s. “Keep elk gate closed,” the sign reads when I came out, passing a few back country ranches to the highway’s rush and debris. Far above all that, I sing out: “God bless a bloody rib cage above gray fuzz. Perhaps we’ll have rain in the morning! We shouldn’t be kicking this dust.”

In a zero-degree fog, the sun rises as white as the moon.

“Let our liquid flow again despite this desiccation!” I cry in my dreams. “Why is it so difficult to recall the thoughts rainstorms instilled?”

“You put too much value on sorrow,” Kokopelli tells me. Even in my sleep, that old guide’s still at work.

For more insights from the American Far West and Kokopelli, click here.