Of course, it took more than Robbi’s job offers to bring Johanna and me out here to the marijuana farm. Should I write about this part in any sort of detail? Will I be defying my own vow to keep such things relegated to the realm of “backdrop?” Should I discuss how, in 2006, I found myself living in my parents’ house in suburban Chicago for the first time since I was seventeen, this time with Johanna in tow, due to my mom’s diagnosis? How, after having lived in Alaska, Italy, Key West, New Mexico, Arizona, and a failed attempt in Vermont, that reentering Buffalo Grove, Illinois gave me the alcoholic shakes, the soothing drink to quell them being the swallowed desire to flee to some distant mountaintop, some beach bungalow, some bomb shelter in which I could grow, with impunity, a wizard’s beard beneath which to hide? Oh shit, oh shit. This is one of those stories, isn’t it? No. No. It’s just the establishment of context, right? I can’t say “backdrop,” and not give the stage-curtain a color, right? Right?

Also: I did not change the names of the places I lived. Those are accurate, as is the Buffalo Grove admission, which I’m still a little leery about. I’ve tried for most of my life to shuck that place, for better or for worse. But, hell, I played enough Four Square and Running Bases, and chased enough fieldmice, and ate enough bad food in that town that I shouldn’t fear claiming a small ownership.

Of course, this descent (for Johanna) and re-descent (for me) into B.G. crept into us like nausea with a remarkable intensity, and then, for the most part, kept quiet. We were Haleakalā, Mount Edgecumbe, Chato Volcano, and Paulet Island: dormant. (Keeping this list short was a labor—the desire to include Mount Bachelor, Mount Elephant, and Pelican Butte, was fierce, but I didn’t necessarily want you picturing bachelors, elephants, or pelicans, but, well, it seems I’ve now fucked this up. Oh well. As the gay rabbi who bar mitzvah’d me used to say to his congregation in times of Judaic woe, …and let us all say: Son of a bitch).

At the crest of my mother’s therapy, when she was (as she was so often then) sleeping, my father, never one for overt emotion, called me into his bathroom—the chamber in which he sat for hours staunching the… No. I’m gonna spare you that. I will tell you though that it was in that bathroom, after a shower, that I discovered on the blue padded laundry hamper, centrally-located in my father’s stack of subscribed-to Playboy magazines, the December 1984 issue that featured Karen Velez, who was single-handedly responsible for my later shunning of breast implants, and who forever changed the way I used and reacted to the word pendulous.

Walking quickly, I passed the walls lined with his Howdy Doody and Hopalong Cassidy memorabilia, what my mother would call, “his childhood cemetery.” He was standing next to the toilet, hair less curly than it used to be, new totem pole tattoo clinging bright to his left shoulder, staring into the blue wastebasket, shaking his head. Few sights are more pathetic than one’s father, nervous beyond reason, standing next to a toilet. Karen Velez, and the flightiness by which I defined myself up to that point, were long gone, hopefully commingling in the bottom of the same mid-Eighties dumpster. I had to slow down. I had to look. Like at a car accident on the highway. Inside, I saw a mound of her brown hair, enough it seemed to cover the floor of a barber shop, one that over-compensated by including a (misleading) superlative in its title: Supercuts. Fantastic Sam’s. Like I’m one to talk about over-compensation. I can’t seem to keep my damn mouth shut about this, breaking promises, contracts. I might as well commit here, include some remembered dialogue, milk the cow.

“Why do you want to show me this?” I asked him, my throat reacting as it would have to a sliver of black peppercorn.

He snorted softly. He looked confused.

“I think you should share in this,” he said.

****

Many times, Johanna and I delved into understandable selfishness, lamenting our loss of sanctuary, our rhythms, this wet cloak clinging to our skins, stirring our hearts to a perpetual flutter. Let me rephrase: we were pissed off. Distraught, sure, but pissed. We were solitude fetishists. A quiet evening at home, just the two of us, was our autoerotic asphyxiation, a bad late night action movie (see: Tier One: anything by Lorenzo Lamas, Brian Bosworth, or Dolph Lundgren (save for “Rocky IV”); Tier Two: anything by Jean-Claude Van Damme, Steven Seagal, or Eric Roberts; Tier Three: anything by Schwarzenegger, 1970-1988; Tier Four: anything by Schwarzenegger, 1989-2003 (with the exception of the—heavy on the quotation marks—“comedies,” “Junior,” for example); Tier Five: “Rocky IV”), our silk stocking. For you aficionados: This list is heavily abridged. And the logician in me wants to qualify: Order of tiers inversely proportional to alcoholic drinks consumed. The realist in me wants to counter: Order of tiers, interchangeable. These were films that Johanna initially dismissed as “a load of shit,” but by month two, she was just as addicted as I.

Many times we would go for midnight walks to the neighborhood park—the site of my first tornado slide, little league baseball games, after-school fights, the place where I lost my third tooth, falling from the tire swing, the place where I tried, and succeeded at, eating a woodchip—and sit on the swing-set, sometimes silent, sometimes raging with the urge to flee. Part of me wants to say something about the stars here—a specific constellation even (Andromeda, my favorite—it has something to do with the sea monster)—but I’m gonna pull back.

We would complain about the way the city lights dampened the night sky, about the ever-listening ears of the neighbors, likely descendants of the Original Yenta. We would talk about how my mother would surely heal, overusing the words strong and pull through, and about the many options that lie ahead for us, which looked then, when I closed my eyes, like an endless chain of yellow center highway lines, the lane separators, some even-more-scary version of David Lynch’s “Lost Highway” trailer. On that swing-set, in that park, we approached each option with equal disinterest. Then, we would go back to the house, undress in my old bedroom, and listen to my parents cough half the night. Am I really going to write about this shit in any sort of detail? Hell, no.

****

About eight months later, when it looked as if all may turn out well with my mom, my wife and I, lost and insane with the thirst for solitude and a measure of cleansing, received Robbi’s phone call and decided to take these seasonal jobs. Then, we had no idea about the Residents’ Camp and communal meals, and tent livin’, and strange showers in which we felt compelled to wear our rubber shoes for fear of contracting all things fungal… No, at the time, after a stint in Midwestern realism and all of its spiritual bratwurst, California seemed to us the physical manifestation of a cosmic high-colonic. And Robbi had worked for Lady Wanda before, so we were welcomed with hefty open arms, without much interrogation.

****

Johanna and I often talk of Chicago during our pre-dinner walks, but we don’t tonight. We’re too hungry. For the season, Lady Wanda has set up a white canvas carnival tent on the east side of her substantial house, under which three meals a day are served. From the fields, Johanna looks longingly toward the tent’s three white peaks as if they were as snow-covered and as insurmountable at the Himalayas. Sometimes, when we’re craving meat, they are. After a day of massage, when she’s hungry, Johanna can get irrationally poetic about food.

“I hope they shoe-horn some lamb into that vegetable mass tonight,” she growls.

Meals on Weckman Farm are typically vegetarian, but, I must admit, wonderfully prepared. Alex, Emily, and Antonio are the three full-time chefs under Lady Wanda’s employ, and just so you don’t invest too much in them, they will not be major players in this tale. That doesn’t mean I can’t try to describe them, though. And later on, I may even tell a story or two about them. It depends on how I’m feeling, benevolent or smart-ass; both moods likely disingenuous and forced for the sake of the narrative. (Insert your favorite proper noun that includes the word, liar, here. I’ll choose, “Fellini: I’m a Born Liar”). But for now, consider Alex and Emily pseudo-hippie wallpaper, and Antonio a bookshelf-bound and balloon-cheeked bust of Buddha. Sorry for all the B-word there. I get lost sometimes…

Alex and Emily, a married couple in their upper-twenties, are culinary school graduates who cut their teeth at a pair of well-known Napa Valley restaurants (he as a sous chef, she as a pastry chef), before finding their way to Weckman Farm. They both wear cat’s-eye glasses and beads in their hair and have a flair for breakfasts. This morning we had sea-palm (a local seaweed) quiche with caramelized onion and feta cheese. I tried to like it, and eventually did. Johanna, not the world’s biggest fan of ocean-born green stuff, bitched. She decorated the edges of her plate with these lovely little blobs of rejected magnesium.

Antonio, a fifty-year old man from Veracruz, Mexico with a robust fifty-year-old paunch, is theirsous chef, trained in his mother’s restaurant, perfecting such dishes as last night’s dinner ofenchiladas suizas stuffed with roasted mushroom and topped with a tomatillo cream sauce. Though meatless, we both adored it, and, if I remember correctly, Johanna may have clapped once.

Their kitchen is housed in a large blue-roofed shed in Lady Wanda’s backyard and includes four ranges, an indoor grill, a chest freezer, a commercial mixer and a walk-in refrigerator. Johanna speculates that not a single piece of this equipment has ever had the luxury of housing so much as a sliver of lamb.

“I think they fear real protein,” she whines, enumerating the oft-repeated list of the exotic meats she enjoyed as a girl growing up in Northern Sweden. As always, as if for emphasis, or to subvert the cute and the Christmas-y, she ends her rant with, “…reindeer!” (Not true, but it was a similar beast, and I couldn’t resist the holiday reference).

I reach for her hand again as we watch Alex, Emily, and Antonio carry plastic-wrapped aluminum food bins from the rear of the house to the picnic benches under the tent. We can hear Antonio grumbling to his chefs de cuisine, “If you two don’t stop French-kissing when you’re supposed to be shucking corn, we’re going to be here all night.” He rockets a string of what must be the most marvelously obscene Spanish I’ve ever heard, yanking the plastic wrap from the food. This, it must be admitted, happened nightly, though I confess I was occasionally turned-on by their public displays of affection. I’m a voyeur. Johanna’s fully aware of this. Sue me.

Johanna’s hand, which hasn’t lost any of its oil from a day of rubbing people, squeezes mine. The aromas of something entirely vegetal float from the tent, infiltrate the breeze, and strike my wife with a leafy disappointment. She sighs the sigh of a woman who is having something green (again!) for dinner; who is living outside for a season in a Coleman Cimarron tent—a Coleman Cimarron amid sixty others in the Residents’ Camp. This is not necessarily what we had in mind when chanting the word “sanctuary!” on that swing-set back in Chicago.

The Residents’ Camp sits like a shantytown village on the opposite end of the property from Lady Wanda’s house. Unless the weather turns to rain, or becomes the California version of cold, it’s uncommon to see a male crewmember wearing a shirt in the Residents’ Camp. The few women who make up Lady Wanda’s crew have been known to forgo the occasional shirt as well. Johanna and I are probably the Camp’s most clothed crewmembers, though we do feast our eyes on the only meat—some more well-done than others—served here at Weckman.

For a shantytown, amenities abound. Or, if not amenities, an amenity. Lady Wanda has constructed a pair of shower sheds in the Camp, replete with hot water. They are a pot farm version of clean, which is to say, dirty, and, as I said, Johanna and I don our rubber sandals with enthusiasm. When we first arrived at Weckman Farm, one shed was for the boys, the other for the girls. As the season progressed, things became a bit more co-ed. The curtains are mercifully (again: depending on who you ask) opaque. I’m thinking of Charlie the Mechanic here.

“The world’s goin’ to shit,” Lady Wanda says to the crew after the workday, “but I run my generator on vegetable oil. Enjoy your showers!”

Lady Wanda is a self-proclaimed permaculturalist. I’m not sure that word exists east of the Continental Divide. Oh: Well. Pardon my presumptuousness—I just found out that the permaculture movement began in the 1970s in Australia. I mean, like, literally ten seconds ago. The word, in print, tends to keep company with the word synergy, and who am I to deprive it of its life partner? Anyhow: praise Wikipedia.

As such a permaculturist, she has, in Weckman Farm, attempted to create a self-sufficient mini-society that avoids dependence on the many amenities of industry. She sings the financial praises of her role as ecologically- inclined businesswoman. Her vegetable oil powered generator costs her forty cents per gallon.

For a first-time Picker, this self-sufficiency can carry with it the side-effects of claustrophobia and stench. Every crewmember who arrives by car is instructed to park in an open grassy lot on a spur road off the main gravel drag that leads to Weckman Farm. We have access to our vehicles only in cases of emergency. Often, I picture our reddish Kia Spectra, lying dormant, collecting the spoiled smells of our abandoned road snacks. I think we may have ditched a half-turkey salad sandwich beneath the front passenger seat, due to Johanna’s distaste for the celery brunoise suspended in it. At night, in the tent, I would often think of this sandwich, and bugs, and become anxious and unable to sleep. Look, I’m a suburban Chicago Jew at base. What can I tell you?

Lady Wanda collects lists of her crew’s favorite products. She then sends a team of faceless shoppers into the nearest small town (not very near) to gather these items. She labels the resulting paper bags with our names in black magic marker, so we can have access to our Vidal Sassoons, our AquaFreshes, and our SpeedSticks without ever having to leave the premises. If we must send out mail, Lady Wanda collects it and has another faceless messenger truck it to the local (not very local) post office every three days. She even pays our postage. This way, a Picker has very little to do but work; this contained, sustainable world a constant fluctuation between field, food tent, and the Residents’ Camp.

The Residents’ Camp faces Lady Wanda’s mansion as if at the opposing heads of a medieval table, we workers constantly facing the nighttime queenly stare of her lit upstairs windows—a royal and intimidating job interview. The atmosphere in the Camp is surprisingly courteous, many of the workers putting away their acoustic guitars, jimbe drums, and laptop stereos early into the night. After all, many of us are working longer hours than an investment banker.

Johanna and I walk from the pungent crops to the warm mouth of the food tent. The sun has nearly dipped out of sight, only its red scalp hanging on the horizon above the rows. The air is heavy and without definitive season. It can be January or June. It can only be California.


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Preparing the Ghost: An Essay Concerning the Giant Squid and Its First Photographer (W.W. Norton: Liveright), Pot Farm, and Barolo (both from the University of Nebraska Press), the poetry books, Warranty in Zulu (Barrow Street Press), The Morrow Plots, and Sagittarius Agitprop (both from Black Lawrence Press), and the chapbooks, Four Hours to Mpumalanga and Aardvark. Recent and forthcoming work appears in The New Republic, Field, Epoch, AGNI, The Iowa Review, Gulf Coast, The Kenyon Review, Seneca Review, Crazyhorse, The Normal School, DIAGRAM, Indiana Review, North American Review, Pleiades, Black Warrior Review, Quarterly West, Crab Orchard Review, The Best Food Writing, The Best Travel Writing, Creative Nonfiction, Prairie Schooner, Hotel Amerika, Gastronomica, and others. After spending over 17 years of his occupational life in restaurant kitchens—from fast-food chicken shacks to fine-dining temples of gastronomy—he now teaches creative writing in the MFA Program at Northern Michigan University, where he is the Nonfiction Editor of the literary journal, Passages North. This winter, he prepared his first batch of whitefish liver ice cream. It paired well with onion bagels.

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