The Lone Ranger and Tonto Fistfight in Heaven: Stories

  Ouch. That one really hurt. And this woman wanted to be my agent? Was that how agents were supposed to talk to their clients? And who the hell was I, calling myself one of the major lyric voices of our time? I was wondering if I should get business cards that identified me as such, or perhaps leave it on my answering machine.

  Hello, you’ve reached Sherman Alexie, one of the major lyric voices of our time. Please leave a message if you’re not too intimidated and I’ll get back to you, with my versatile and mellifluous voice, as soon as possible.

  Of course, these days my wife, Diane, only refers to me as “one of the major lyric voices of our time” when I stutter or mispronounce a word or say something so inane and arrogant that it defies logic. A few years ago, as we argued about the potential danger in using a cracked coffeepot, I shouted, “You can’t heat cracked glass! It will shatter! I majored in chemistry! I know glass! What do you know about glass?”

  Yep, I have just offered you scientific proof of the majorness of my voice.

  “But the thing is,” I said to the famous agent. “I think my stories are pretty good. And I hate to be repetitive, but they said I’m one of the major lyric voices of our time.”

  “These stories are not major. But you’ve got potential. I’m a great editor. If we take it slow, we can make this book the best it can be.”

  “I don’t know,” I said. “I was hoping things would go much faster.”

  “Going fast would be a mistake for you.”

  “I don’t want to go slow. I can’t afford to go slow.”

  “Then we won’t be working together. Call me if you change your mind.”

  She hung up without saying good-bye. I’d always heard of people who hung up without saying good-bye. I’d seen them on television and in movies, but I’d never talked to somebody who hung up without saying good-bye. She remains the only person I know who has ever hung up on me without saying good-bye.

  I still owe her a phone call.

  I would love to call her up and say, “Well, Miss Fifteen Percent, we published this book at the speed of the light, and it’s now in its 1,220,342nd printing, and it was the basis for a really cool movie called Smoke Signals. Maybe you’ve heard of the movie? It was released by Miramax, yes, Miramax, that’s spelled M-I-R-A-M-A-X, and the movie won the Audience Award and the Filmmakers’ Trophy at the Sundance Film Festival in 1998. Yes, that’s Robert Freaking Redford’s Sundance Film Festival! And I’ve published one million books since that first one, and I’ve hugged Stephen King and been kissed on the cheek by Ally Sheedy and sat in a big couch in Kareem Abdul-Jabbar’s living room while my feet dangled off the floor, so perhaps you were wrong about EVERYTHING! And by the way, what do you know about glass?”

  As they say, revenge is a dish best served with the introduction to the tenth-anniversary edition of a book of short stories.

  Eventually, despite my narcissism and naïveté, and thanks to the recommendations of friends, I met the agent Nancy Stauffer Cahoon, who, after reading my manuscript, said something beautiful and surprising.

  “That story, ‘Flight,’ the one about the kid and the jet,” she said. “That reminds me of James Tate’s poem ‘The Lost Pilot.’”

  “Wow,” I said, falling in literary love. “That story was directly influenced by that poem. Nobody has ever noticed that.”

  “You had me at hello,” Renée Zellweger said to Tom Cruise.

  “You had me at James Tate,” I said to Nancy.

  Okay, I didn’t really say that to her. But I was impressed that she talked to me first in artistic terms and only later in financial terms. I hired her immediately (or does the agent hire the writer?), worked with her to edit the manuscript, and immediately cut “Flight” and a dozen other stories. As a sentimental gesture, I’ve added “Flight” and “Junior Polatkin’s Wild West Show” to this edition. I think we deleted “Flight” from the original book because it sounds more like children’s literature and “Junior Polatkin’s Wild West Show” because it contains themes more adroitly covered in other stories. Read them for yourself and decide whether we should have kept them.

  After Nancy and I got the manuscript into shape, we sent it to twelve or fifteen publishers and set up an auction date. I was going to be auctioned as a literate steer! On a Friday in January 1993, six or eight publishers joined the bidding. During the auction, I updated Bob Hershon, my Hanging Loose god, and Diane, my new girlfriend (and now wife). By the end of the day, Morgan Entrekin and Atlantic Monthly Press had won the auction; then published the book in September 1993. During the twenty-seven-city book tour that followed, I worked with and became friends with, and owe many thanks to, Morgan, Judy Hottensen, Miwa Messer, and Eric Price, my original Dream Team at Grove.

  Grove won that original auction with an amount of cash that absolutely boggled my mind. My parents hadn’t made that much money in the last ten years combined. I ran outside, jumped into a snowbank, and made angels.

  I was rich, rich, rich. Okay, to be more accurate, I was middle-class, middle-class, middle-class. But that was a huge leap. I was the first Alexie to ever become middle-class and all because I wrote stories and poems about being a poor Indian growing up in an alcoholic family on an alcoholic reservation.

  This book could have easily been titled The Lone Ranger and Tonto Get Drunk, Fistfight, and Then Fall into Each Other’s Arms and Confess Their Undying Platonic Love for Each Other in Heaven Followed by a Long Evening of Hot Dog Regurgitation and Public Urination.

  When the book was first published, I was (and continue to be) vilified in certain circles for my alcohol-soaked stories. Rereading them, I suppose my critics have a point. Everybody in this book is drunk or in love with a drunk. And in writing about drunk Indians, I am dealing with stereotypical material. But I can only respond with the truth. In my family, counting parents, siblings, and dozens of aunts, uncles, and cousins, there are less than a dozen who are currently sober, and only a few who have never drank. When I write about the destructive effects of alcohol on Indians, I am not writing out of a literary stance or a colonized mind’s need to reinforce stereotypes. I am writing autobiography.

  When this book was first reviewed, people often commented on its autobiographical nature, and that always pissed me off.

  “You see the description on the book,” I would say. “It says ‘Fiction.’ That’s what this book is.”

  Of course, I was full of shit. This book is a thinly disguised memoir. I was a child at the crazy New Year’s Eve party depicted in “Every Little Hurricane.” My mother did punch another woman in the face during that party. My father and cousin did break through the basement door while playing full-contact Nerf basketball and roll down the stairs together. The best truth about that story is that my mother did stop drinking after that horrible night and has remained sober since. The worst truth? My father never did get sober. He was in residential treatment a few times, attended dozens of AA meetings, took Antabuse, made endless promises to his family and himself, but ended up on dialysis machines during his last years and lost a foot to diabetes before he passed away in March 2003. O my drunk and lovely father! He was one of the Indians who tossed his drunken friend onto the roller coaster in “Amusements.” How could one Indian have done such a thing to another Indian? I never asked my father why he did it, but I wrote a story about why I thought it happened, and even after my father read the story, I still didn’t have the courage to ask him why he did it. How lame is that?

  What else is true? My best friend, Steve, and I traveled to Phoenix to pick up his father’s ashes just like Victor and Thomas do in “This Is What It Means to Say Phoenix, Arizona,” though the fictional father was much more like my father than Steve’s. And yes, there was a flexible gymnast on the airplane during the trip who told Steve and me that she was the first alternate on the 1984 Olympic team. Is that woman out there somewhere? Does she remember two Indian guys sitting across from her on a Morris Air flight from Spokane through Salt Lake City to Phoeni
x?

  A terrified mouse did run up my aunt’s pant leg, but I wildly exaggerated the aftermath in “The Fun House.” My aunt didn’t go swimming in the creek, never felt a need to divorce her husband or leave her son, and she was mad at me for suggesting otherwise.

  “Junior,” she said. “People are going to think that really happened.”

  “But it did really happen, Auntie. At least the mouse part. It’s a true story.”

  “Yeah, but it’s truer when it’s in a book.”

  “Indian Education” is a true (and truer) account of my public school days. I still have nightmares about missing those two free throws to lose that basketball game against Ritzville. Twenty years later, I can tell you that Doug Wellsandt, Ritzville’s star, had just fouled out after he intentionally knocked me to the ground to prevent me from hitting an easy layup. While I stood at the line to shoot the free throws with six seconds on the clock, Ritzville had Keith Humphrey, John Powers, Doug Koch, Miles Curtis, and Jeff McBroom on the court while my teammates—Steve LeBret, Shaun Soliday, John Graham, and Brett Springer—were praying for me to win the game. We had come from sixteen points down in the fourth quarter! It would have been a miracle victory! But I missed those fucking free throws, clanging the ball off the rim twice. Until that point, I had been a 90 percent free-throw shooter. After that night, I was a 50 percent loser. I was a victim of a high school basketball form of Post-Traumatic Free-Throw Stress Syndrome. When I see any of my former teammates now, they still tease me about losing that game. A year after those misses, I hit two free throws and two jump shots in the last minute to win a bigger game against Ritzville, but I never dream about that. Hell, my joy in winning is always much smaller than my pain in losing.

  I’m a poet who can whine in meter.

  And just like the father-son team in “Witnesses, Secret and Not,” my father and I once traveled to Spokane because the police wanted to talk to him about a long-missing and presumed dead Indian man. And yes, my father knew who killed and buried that man, as do most of the people on my reservation. The police know, too, but they can’t make a case against the killer. I see that man now and again. He’s soft-spoken, funny, and always wears slacks and button-down dress shirts. He once ate dinner at my house while I worried what he might do with his knife and fork. But that’s a whole different story, isn’t it?

  So why am I telling you that these stories are true? First of all, they’re not really true. They are the vision of one individual looking at the lives of his family and his entire tribe, so these stories are necessarily biased, incomplete, exaggerated, deluded, and often just plain wrong. But in trying to make them true and real, I am writing what might be called reservation realism.

  What is the definition of reservation realism? Well, I’ll let you read the book and figure that out for yourself.

  As for me, in rereading these stories, some of them written when I was only nineteen years old, I feel like I’m listening to a stranger’s dreams. The younger version of me is angrier, more impulsive, and deathly afraid of physical description. Every dang Indian in this book is described as being identically dark skinned, with the same long black hair. It’s the Stepford Tribe of Indians. There might be five or six pine trees and a couple of rivers and streams, one grizzly bear and a lot of dogs, but that’s about all the flora and fauna you’re going to get. It’s simple stuff but manages to feel more concentrated rather than sparse. It’s funny, too. I laughed a few times at the old jokes, new to me after ten years. But mostly it feels sad, often hopeless, and hot with loneliness. I kept trying to figure out the main topic, the big theme, the overarching idea, the epicenter. And it is this: the sons in this book really love and hate their fathers.

  EVERY LITTLE HURRICANE

  ALTHOUGH IT WAS WINTER, the nearest ocean four hundred miles away, and the Tribal Weatherman asleep because of boredom, a hurricane dropped from the sky in 1976 and fell so hard on the Spokane Indian Reservation that it knocked Victor from bed and his latest nightmare.

  It was January and Victor was nine years old. He was sleeping in his bedroom in the basement of the HUD house when it happened. His mother and father were upstairs, hosting the largest New Year’s Eve party in tribal history, when the winds increased and the first tree fell.

  “Goddamn it,” one Indian yelled at another as the argument began. “You ain’t shit, you fucking apple.”

  The two Indians raged across the room at each other. One was tall and heavy, the other was short, muscular. High-pressure and low-pressure fronts.

  The music was so loud that Victor could barely hear the voices as the two Indians escalated the argument into a fistfight. Soon there were no voices to be heard, only guttural noises that could have been curses or wood breaking. Then the music stopped so suddenly that the silence frightened Victor.

  “What the fuck’s going on?” Victor’s father yelled, his voice coming quickly and with force. It shook the walls of the house.

  “Adolph and Arnold are fighting again,” Victor’s mother said. Adolph and Arnold were her brothers, Victor’s uncles. They always fought. Had been fighting since the very beginning.

  “Well, tell them to get their goddamn asses out of my house,” Victor’s father yelled again, his decibel level rising to meet the tension in the house.

  “They already left,” Victor’s mother said. “They’re fighting out in the yard.”

  Victor heard this and ran to his window. He could see his uncles slugging each other with such force that they had to be in love. Strangers would never want to hurt each other that badly. But it was strangely quiet, like Victor was watching a television show with the volume turned all the way down. He could hear the party upstairs move to the windows, step onto the front porch to watch the battle.

  During other hurricanes broadcast on the news, Victor had seen crazy people tie themselves to trees on the beach. Those people wanted to feel the force of the hurricane firsthand, wanted it to be like an amusement ride, but the thin ropes were broken and the people were broken. Sometimes the trees themselves were pulled from the ground and both the trees and the people tied to the trees were carried away.

  Standing at his window, watching his uncles grow bloody and tired, Victor pulled the strings of his pajama bottoms tighter. He squeezed his hands into fists and pressed his face tightly against the glass.

  “They’re going to kill each other,” somebody yelled from an upstairs window. Nobody disagreed and nobody moved to change the situation. Witnesses. They were all witnesses and nothing more. For hundreds of years, Indians were witnesses to crimes of an epic scale. Victor’s uncles were in the midst of a misdemeanor that would remain one even if somebody was to die. One Indian killing another did not create a special kind of storm. This little kind of hurricane was generic. It didn’t even deserve a name.

  Adolph soon had the best of Arnold, though, and was trying to drown him in the snow. Victor watched as his uncle held his other uncle down, saw the look of hate and love on his uncle’s face and the terrified arms of his other uncle flailing uselessly.

  Then it was over.

  Adolph let Arnold loose, even pulled him to his feet, and they both stood, facing each other. They started to yell again, unintelligible and unintelligent. The volume grew as other voices from the party upstairs were added. Victor could almost smell the sweat and whiskey and blood.

  Everybody was assessing the damage, considering options. Would the fight continue? Would it decrease in intensity until both uncles sat quietly in opposite corners, exhausted and ashamed? Could the Indian Health Service doctors fix the broken nose and sprained ankles?

  But there was other pain. Victor knew that. He stood at his window and touched his own body. His legs and back hurt from a day of sledding, his head was a little sore from where he bumped into a door earlier in the week. One molar ached from cavity; his chest throbbed with absence.

  Victor had seen the news footage of cities after hurricanes had passed by. Houses were flattened, their con
tents thrown in every direction. Memories not destroyed, but forever changed and damaged. Which is worse? Victor wanted to know if memories of his personal hurricanes would be better if he could change them. Or if he just forgot about all of it. Victor had once seen a photograph of a car that a hurricane had picked up and carried for five miles before it fell onto a house. Victor remembered everything exactly that way.

  On Christmas Eve when he was five, Victor’s father wept because he didn’t have any money for gifts. Oh, there was a tree trimmed with ornaments, a few bulbs from the Trading Post, one string of lights, and photographs of the family with holes punched through the top, threaded with dental floss, and hung from tiny branches. But there were no gifts. Not one.

  “But we’ve got each other,” Victor’s mother said, but she knew it was just dry recitation of the old Christmas movies they watched on television. It wasn’t real. Victor watched his father cry huge, gasping tears. Indian tears.

  Victor imagined that his father’s tears could have frozen solid in the severe reservation winters and shattered when they hit the floor. Sent millions of icy knives through the air, each specific and beautiful. Each dangerous and random.

  Victor imagined that he held an empty box beneath his father’s eyes and collected the tears, held that box until it was full. Victor would wrap it in Sunday comics and give it to his mother.

  Just the week before, Victor had stood in the shadows of his father’s doorway and watched as the man opened his wallet and shook his head. Empty. Victor watched his father put the empty wallet back in his pocket for a moment, then pull it out and open it again. Still empty. Victor watched his father repeat this ceremony again and again, as if the repetition itself could guarantee change. But it was always empty.

  During all these kinds of tiny storms, Victor’s mother would rise with her medicine and magic. She would pull air down from empty cupboards and make fry bread. She would shake thick blankets free from old bandanas. She would comb Victor’s braids into dreams.