"Kansas afternoons in late summer are peculiar and wondrous things. Often they are pregnant, if not over-ripe, with a pensive and latent energy that is utterly incapable of ever finding an adequate release for itself. This results in a palpable, almost frenetic tension that hangs in the air just below the clouds. By dusk, spread thin across the quilt-work farmlands by disparate prairie winds, this formless energy creates an abscess in the fabric of space and time that most individuals rarely take notice of. But in the soulish chambers of particularly sensitive observers, it elicits a familiar recognition"a vague remembrance"of something both dark and beautiful. Some understand it simply as an undefined tranquility tinged with despair over the loss of something now forgotten. For others, it signifies something far more sinister, and is therefore something to be feared."
― P.S. Baber, Cassie Draws the Universe
"If you don't like the weather, just wait a few minutes." The truism has been applied to any number of places, but it is nowhere truer than in Mamie's Kansas.
A July morning can be as gentle as a newborn lamb, just jerking upright upon uncertain legs to butt at its mother's teats; by the afternoon that same sky might grow hard with a tornado, with winds ferocious enough to blow you to Oz if you're lucky, but more likely to Hell.
Mamie Clover's Kansas is a place out of time, a location of the mind as much as a point in history, a spot on a map. How she and Madison arrived there is of less interest than where they found themselves.
The prairie is unending, vast enough to allow one to see the curvature of the earth in any direction. As the blonde has said, it is a land made for hawks, who hover over the flat land, their eyesight a dome that traps everything beneath them under the terrible promise of a quick fold of wings, and a fatal stoop of claw.
The grasses are yellow with heat, draw against bare legs like razors. Here and there a sage brush, blue-green and brittle, perfumes their passage as they brush against it. Mamie wears a hat here, old jeans and her plaid flannel shirt buttoned at the cuff. Many would find the outfit stifling in this oven of a day, but it is not the temperature she fears but the direct light of the sun.
There is nowhere to hide, because this is not a land for those who need hiding. Hand in hand, the blonde and her taller brunette companion can be seen from miles away as they walk, as conspicuous as a sail on a flat sea.
Thus they can see the homestead while still miles from it. Boards silver-gray with time, it seems to hover feet above the ground, levitated by heat-haze. Mamie squeezes Madison's hand harder at the sight, increases their pace, wading through prairie as through water, the constant swish of their strides the only sound other than the rare shrill cry of a hovering raptor, the warning peeps of those little things that know the fell promise of a shadow passing over.
For a long while the little house seems to get no closer; they walk and walk, and still it hangs there in the distance, uncertain as a vision through a rain-drenched window. And then like magic they are close. A rusted chain, without a lock, looped upon itself holds the gate closed. Mamie unwinds it, the cold grind of metal sounding unearthly after hours of only the whisper of grasses.
Then they are there. Little inside save a crude table, wobbly on one short leg; a pair of chairs; a pitcher and two glasses, a plate and heavy silverware; and a mattress stuffed with straw, sage mingled with it for fragrance.
The blonde turns to her companion, speaks softly, as if the human voice is an intruder here, alien and unwelcome.
"Welcome home, baby girl," she says.
"If you don't like the weather, just wait a few minutes." The truism has been applied to any number of places, but it is nowhere truer than in Mamie's Kansas.
A July morning can be as gentle as a newborn lamb, just jerking upright upon uncertain legs to butt at its mother's teats; by the afternoon that same sky might grow hard with a tornado, with winds ferocious enough to blow you to Oz if you're lucky, but more likely to Hell.
Mamie Clover's Kansas is a place out of time, a location of the mind as much as a point in history, a spot on a map. How she and Madison arrived there is of less interest than where they found themselves.
The prairie is unending, vast enough to allow one to see the curvature of the earth in any direction. As the blonde has said, it is a land made for hawks, who hover over the flat land, their eyesight a dome that traps everything beneath them under the terrible promise of a quick fold of wings, and a fatal stoop of claw.
The grasses are yellow with heat, draw against bare legs like razors. Here and there a sage brush, blue-green and brittle, perfumes their passage as they brush against it. Mamie wears a hat here, old jeans and her plaid flannel shirt buttoned at the cuff. Many would find the outfit stifling in this oven of a day, but it is not the temperature she fears but the direct light of the sun.
There is nowhere to hide, because this is not a land for those who need hiding. Hand in hand, the blonde and her taller brunette companion can be seen from miles away as they walk, as conspicuous as a sail on a flat sea.
Thus they can see the homestead while still miles from it. Boards silver-gray with time, it seems to hover feet above the ground, levitated by heat-haze. Mamie squeezes Madison's hand harder at the sight, increases their pace, wading through prairie as through water, the constant swish of their strides the only sound other than the rare shrill cry of a hovering raptor, the warning peeps of those little things that know the fell promise of a shadow passing over.
For a long while the little house seems to get no closer; they walk and walk, and still it hangs there in the distance, uncertain as a vision through a rain-drenched window. And then like magic they are close. A rusted chain, without a lock, looped upon itself holds the gate closed. Mamie unwinds it, the cold grind of metal sounding unearthly after hours of only the whisper of grasses.
Then they are there. Little inside save a crude table, wobbly on one short leg; a pair of chairs; a pitcher and two glasses, a plate and heavy silverware; and a mattress stuffed with straw, sage mingled with it for fragrance.
The blonde turns to her companion, speaks softly, as if the human voice is an intruder here, alien and unwelcome.
"Welcome home, baby girl," she says.