T. Boyle - Drop City

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T.C. Boyle has proven himself to be a master storyteller who can do just about anything. But even his most ardent admirers may be caught off guard by his ninth novel, for Boyle has delivered something completely unexpected: a serious and richly rewarding character study that is his most accomplished and deeply satisfying work to date.
It is 1970, and a down-at-the-heels California commune has decided to relocate to the last frontier-the unforgiving landscape of interior Alaska-in the ultimate expression of going back to the land. The novel opposes two groups of characters: Sess Harder, his wife Pamela, and other young Alaskans who are already homesteading in the wilderness and the brothers and sisters of Drop City, who, despite their devotion to peace, free love, and the simple life, find their commune riven by tensions. As these two communities collide, their alliances shift and unexpected friendships and dangerous enmities are born as everyone struggles with the bare essentials of life: love, nourishment, and a roof over one's head.
Drop City

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“Fucking longhair!”

“Get out of the car, asshole!”

All in a flash, it came to him that his antagonists weren't simply the frat boy rednecks he'd taken them to be, but frat boy redneck football players, or maybe weight lifters, all puffed up like toads in their Oregon Ducks T-shirts. One of them, the guy who'd been driving, was like a monument ripped from its pedestal with two livid eyes and a blond crewcut drilled into his skull. _Son of a bitch.__ A bitter taste of impotence and rage clotted in Pan's throat, because he'd been here before and he knew what was coming. He was afraid, and then he wasn't, because all at once he was beyond fear, beyond anything, and he leaned back into the door and snatched at the handle at the very moment the meaty red hand converted itself into a fist that exploded in his left ear with a sound of wind rushing down a tunnel.

The sequel was mostly a blur, because he was dazed, that was it, though the speed was churning through him like a thousand little engines whizzing round the tracks of his veins, and he was in the car still, Star cradling his head. But Marco came round the hood of the Studebaker and slashed into the knot of them, that much he was sure of, and then Dale Murray and Sky Dog were there, and it was a scrimmage, everybody everywhere, down in the dirt and out across the lot, cursing and thumping at one another. Franklin stepped into it next, in one silent gliding motion, and put one of the frat boys down with a single blow, and now the whole bus was emptying out in a spangle of white-faced hippies and the old stick-people were sucking at their bourbon and all the flying kids gathering round and shouting in their piping attenuated half-grown voices.

Norm was the one who put an end to it. Two of the frat boys were on the ground and a whole flotilla of blunt-toed hippie boots was going at them at ramming speed, even while the third one-the driver-was engaged with Dale Murray, _slam, bam-bam,__ as if this were a heavyweight bout, when Norm stepped between them and it stopped right there, just like that. “Enough!” he said. “Peace!” and he barked it out as if he were shouting “Maim!” or “Kill!”

They were bleeding in mosaic, all three of them, shuffling their feet in the dirt and huffing like fat men going up an endless flight of stairs. They were outnumbered. They had nothing to say. But Pan did, oh, yes, his head hanging out the window of the Studebaker now, and his life in this moment as sweet as anything on this planet. “Next time you want to beat up on a bunch of hippies, you better think twice, you sorry-ass motherfuckers-”

They'd already edged back to their pickup, jeans, boots, T-shirts, muscles, and one of them, heaving still-the one with the blond crewcut and the scalp that shone through it like boiled ham-said, “Yeah, and fuck you too, all of you.” That was what he said, but it was just bravado, and everybody knew it. The three of them slammed back into the pickup, wiping grit and blood out of their eyes, licking at split lips and wondering what that ringing in their ears was, and as they put it in gear Ronnie just sauntered up to them with a shit-eating grin and flashed the peace sign. They didn't even bother to spin the tires.

Later, when the jug of wine was going round and the chicks were spreading out loaves of bread and jars of peanut butter and jelly and mixing up pitchers of Kool-Aid and everybody was congratulating themselves on the way they'd handled things there in the naked dirt of the lot, Pan sprang his surprise. On the morning before they'd left, he'd taken the Studebaker down through Guerneville and the cutover hills of the Russian River valley to Marshall, where the Pacific beat against the rocks and gave up a mist that hung in the sunlight like the smoke of a fire that never went out. The air was cold, the water colder. He waded right in in his cutoffs with Marco's hunting knife in one hand and two burlap sacks in the other.

There were gulls overhead, cormorants and pelicans scissoring the rolling green flats beyond the breakers. It was low tide, and the rocks were fortresses half-buried in the sand, every one of them glistening black with a breastwork of mussels. Pan worked under a pale sun, shivering in the wind that blew up out of nowhere and dodging the spray as best he could, and in the course of an hour he cut a hundred mussels from the rocks, two hundred, three, four, maybe even five, but who was counting? Back at the ranch, he rinsed and debearded them himself, and everybody was so preoccupied with the bus, with moving and packing and getting clear of the bulldozers, nobody even so much as glanced at him. He'd sneaked the two big sacks of mussels into the trunk of the Studebaker and set aside a pound of salted butter and half a dozen lemons from the tree out back of the pool. Now it was time to steam them. Now especially, because who wanted peanut butter and jelly on tasteless crumbling two-day-old home-baked bread, when they could glut themselves on the bounty of the sea?

Nobody said a word as he built a fire in one of the blackened cast-iron barbecue grills that grew up out of the dirt in the lee of each picnic table, but Merry-looking like two scoops of ice cream in a macramé top-drifted over when he set the five-gallon pot atop it. She handed him the nub of a joint she'd just removed from her lips, and nobody worried about that, about where the sacramental dope was going to come from through a long hard winter before they could have a chance to get a crop in the ground-nobody worried about anything, because this was the adventure, right here and now. He drew on the roach and she smiled. “What you got cooking?”

He shrugged, gave her back the smile. “Nothing. A little surprise. Something even a vegetarian could get behind.”

She poked one of the sacks with a bare toe. “What?” She smiled wider. “Clams? Lobster?”

“You'll see. In about five minutes. But you wouldn't eat anything with a face on it, would you? You wouldn't even slap a mosquito or breathe in a gnat, right?” The roach had gone out. He handed it back to her for form's sake.

“I don't know. Depends, I suppose.”

“On what?”

“On how hungry I am, and what's going in that pot. It's not meat, right?”

People had begun to set up tents in a cluster round the bus. Sky Dog, Dale Murray, Lester and Franklin were off by themselves, sitting on a picnic table in the near distance, their legs propped up on the buckled slats of the seats, and Sky Dog and Dale were strumming their guitars. A bunch of people were on the far side of the bus, visible only as lower legs and feet, and Che and Sunshine were at the center of a flying wedge of straight people's children, pale limbs, shouts, a kickball chasing itself from one end of the lot to the other.

“Would I do that to you?” Pan took a step back from the fire and glanced at the bus. The windows were down all along the near side and an invisible presence had just dropped the needle on “God Bless the Child,” a tune he loved, and for a moment he just looked out across the lot and listened to the horns feed off the vocals. Then he turned back to Merry. “Where you sleeping tonight? The bus?”

“I guess.”

“Want to sleep with me? Big seat in the back of that Studebaker. Or I might just do a sleeping bag on one of the picnic tables, like if there's no dew or rain or anything-”

“What about Lydia?”

“What about her?”

She settled into the corner of the picnic table with a shrug, one haunch balanced there, the dead roach pinched between her fingers. “I don't know,” she said. “Where's she sleeping?”

He didn't answer her, just upended the first of the burlap sacks into the big gleaming pot. It was like shifting rocks. There was a clatter and a hiss, and then he dumped the other bag in. “That's a Billie Holiday song,” he said, “you know that?”

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