tower. The grass and weeds tickled his bare calves. At this season, no
insects were buzzing, no gnats trying to sip at the sweat oil his brow.
Slowly, warily, he approached the crumpled form of his fallen wife.
III fourteen months of marriage, Naomi never raised her voice to him, was
never cross with him. She never looked for a fault in a person if site could
find a virtue, and she was the type who could find a virtue in everyone but
child molesters and ...well, and Murderers.
He dreaded finding her still alive, because for the first time in their
relationship, she would surely be filled with reproach. She would no doubt
have harsh, perhaps bitter, words for him, and even if he could quickly
silence her, his lovely memories of their marriage would be tarnished forever.
Henceforth, every time he thought of his golden Naomi, he would hear her
shrill accusations, see her beautiful face contorted and made ugly by anger.
How sad it would be to have so many cherished recollections spoiled forever.
He rounded the northwest corner of the tower and saw Naomi lying where he
expected her to be, not sitting tip and brushing the pine needles out of her
hair, just lying twisted and still.
Nevertheless, he halted, reluctant to go closer. He studied her from a safe
distance, squinting in the bright sunlight, alert for the slightest twitch. In
the windless, bugless, lifeless silence, he listened, half expecting her to
take Lip one of her favorite songs-" Some where over the Rainbow" or "What a
Wonderful World"-but in a thin, crushed, tuneless voice choked with blood and
rattling with broken cartilage.
He was working himself into a state, and for no good reason. She was almost
certainly dead, but he had to be sure, and to be sure, he had to take a closer
look. No way around it. A quick look and then away, away, into all eventful
and interesting future.
As soon as he stepped closer, he knew why he had been reluctant to approach
Naomi. He had been afraid that her beautiful face would be hideously
disfigured, torn and crushed.
Junior was squeamish.
He didn't like war movies or mystery flicks in which people were shot or
stabbed, or even discreetly poisoned, because they always had to show you the
body, as if you couldn't take their word for it that someone had been killed
and just get on with the plot. He preferred love stories and comedies.
He'd once picked up a Mickey Spillane thriller and been sickened by the
relentless violence. He'd almost been unable to finish the book, but he
considered it a character flaw not to complete a project that one had begun,
even if the task was to read a repulsively bloody novel.
In war movies and thrillers, he immensely enjoyed the action. The action
didn't trouble him. He was disturbed by the aftermath.
Too many moviemakers and novelists were intent on showing you the aftermath,
as if that were as important as the story itself. The entertaining part,
however, was the movement, the action, not the consequences. If you had a
runaway train scene, and the train hit a busload of nuns at a crossing,
smashing it the hell out of the way and roaring on, you wanted to follow that
train, not go back and see what had happened to the luckless nuns; dead or
alive, the nuns were history once the damn bus was slammed off the tracks, and
what mattered was the train; not consequences, but momentum.
Now, here on this sunny ridge in Oregon, miles from any train and farther
still from any nuns, Junior applied this artistic insight to his own
situation, overcame his squeamishness, and regained some momentum of his own.
He approached his fallen wife, stood over her, and stared down into her fixed
eyes as he said, "Naomi'."
He didn't know why he'd spoken her name, because at first sight of her face,
he was certain that she was dead. He detected a note of melancholy in his
voice, and he supposed that already he was missing her.