In My Day: Cold Feet and Hot Coffee

Ξ November 19th, 2009 | → 0 Comments | ∇ In My Day |

It’s just before Thanksgiving and with any luck, we’ll get enough snow to help the deer hunters track their prey, but not so much that it makes walking in the woods difficult. I’m not a deer hunter, which isn’t a significant distinction in much of the country, but is one of two possible states of being when you’re from the upper Midwest. I was a deer hunter at one time, however.

Deer hunting was phenomenally popular with my friends when I was growing up. Even those who mocked the standard greeting of “Got your deer?” felt the pressure of getting their deer before the season ended, staying in the fields until dusk or getting up at ungodly hours to increase their chances of placing their tag on a deer and driving it around to show off. I’m not sure how they would have felt to have tried but failed to fill that tag. I couldn’t imagine feeling failure over that, and that led me to lose interest in the yearly ritual.

What drove me to pin a compass to my jacket and stuff rifle shells in my pocket — we didn’t wear blaze orange or camouflage when I hunted — was spending time with my Dad, who clearly loved going out in the woods and, I could tell, wanted his son to shoot a deer and be proud of it. Before I was old enough to carry a rifle, Dad would hunt with his buddies, who would all return in the early afternoon to smoke and review the morning strategy. My dad would usually go to work at that time, going on his fuel delivery route, which must have been exhausting. Then, if there was time when he returned, they’d head off for a quick drive before sunset.

Whenever the guys pulled in the yard, it was customary for my mom to step out onto the porch and say, with some degree of sarcasm, “Clean your deer for ya?” From the porch, you could see whether there was a carcass in the back of the pickup, so you could adjust your sarcasm accordingly. After I went through the required gun-safety course, my Dad would take me out and put me “on stand,” giving me every chance possible to shoot a deer. I’d stand there in the cold and pray to God that I wouldn’t have to.

I’d killed rabbits and partridge, and didn’t have a problem with killing, per se. But I was a bad shot, and what I usually shot was no longer fit for eating, which is the only reason I could think of for hunting. I didn’t want to shoot a deer and have to endure the gutting in the field, cutting open the stomach from the windpipe all the way back to (oh God) the genitals, pulling out the entrails and getting blood all over my hands. I would’ve rather be at home, memorizing the batting averages on the back of my gum-stained baseball cards. Besides, I preferred hamburgers and frozen pizza to the often stringy and gamy venison.

But Dad kept at it with me, shaking me by the shoulder at 4 in the morning, with a whispered call of “Daylight in the swamps!” We’d eat oatmeal, brew some coffee, and head out in the cold, the edges of the sky just turning pink and orange. We’d drive down some gravel road and park, and he’d position me on some hillside, my back at the trees, with a long view of a field where the deer were likely to cross. He would double back and walk through the woods, trying to startle a few deer into running out into the open, where I and my fuzzy eyesight and shivering aim would shoot them just behind the shoulderblade from 500 yards away.

Walking through the woods sounded like fun. Being on stand was cold and nervewracking. Every noise, every crackle of leaves sounded like a 24-pointer charging through the still silence. I feared shooting at another person. It happened in northern Wisconsin every year, it seemed, often with fatal results. It was usually blamed on “buck fever.” I was going to make sure that what was cracking through the brush had four legs and wasn’t smoking a pipe. Eventually, my dad would emerge from the woods, and we’d discuss the tracks nearby or a thick group of trees where he thought for sure a few deer had bedded down. We’d walk back out to the road, and I would secretly wish that he would give up for the morning and head home.

We would unwrap our olive-loaf sandwiches and crack open the thermos of coffee. We’d pour out a swallow at a time and share the red thermos capful. I’ve never had better coffee than that — brewed hours before and mellowed and cooled a bit before we drank it. We continued discussing strategy, the weather, whatever had led us to fail in bringing down a trophy buck on that particular cold morning. At some point, he’d say, “Well, let’s try that other field.” I’d go along, because it was my dad, and I didn’t want to disappoint him.

Here’s a photo I have of him as a young man, standing in the snow in front of a 1940s-era car with a deer hanging over the big shiny front grill. Dad’s has a look on his face that says, “This son of a bitch? Yeah, I shot him.” I knew this was the feeling he wanted me to experience, but I doubted I would. If I’d shot a deer, I might have shown off my kill to friends, but would be haunted by the glassy eyes and the lolling tongue on the head hanging off the truck.

Once we’d tried a new field or another approach, we would drive home, still discussing the conditions of the hunt. My dad would then begin his workday, way behind schedule, often not finishing until after dark. By the end of hunting season, we both had lost our drive, and I could sleep in on those frosty mornings, and he could get caught up on work.

Years later, we were reliving those cold mornings, and I had to confess to him that I never enjoyed getting up and going out into the cold, and that I dreaded the thought of shooting a deer with all the bloody dismembering that would follow. I told him the only reason I did it was because he loved it so much. He wasn’t surprised as much as confused — it wasn’t his idea to be dragged out into the woods early every morning. In fact, it was always hard to get his work done during hunting season because he had to take me. He was doing it only for me. We both agreed, looking back, that we’d rather have stayed in our warm beds, eaten a leisurely breakfast, and done something else with our day.

That lack of communication is typical between fathers and sons, but I hope that the motivation behind those early morning awakenings are familiar to everyone. Sometimes you have to get up and do something, not necessarily because you want to, but because looking back, you’ll be glad you did.

 

Movie Review: Homicide

Ξ November 17th, 2009 | → 0 Comments | ∇ Movies |

1991.  Starring Joe Mantegna and William H. Macy. Written and Directed by David Mamet.

I may have forgotten when I put Homicide on my Netflix list that it was written and directed by David Mamet. I knew that it was a new release from The Criterion Collection, and there are few films among them not worth watching. And I knew it starred Joe Mantegna, who also starred in House of Games, a particular favorite of mine, also released by Criterion. But I should have realized that Homicide, like House of Games, was written and directed by Mamet, and it always takes me a while to warm up to his films.

Mamet, any movie review will feel the need to remind you, is primarily a playwright, and in doing so prepares you for the awkward, stilted dialogue so packed together and overlapping and filled with unlikely statements and responses that it will seem like a dubbed foreign film or filmed amateur performance. Characters in his films either speak with no emotion, rapid-fire and without subtlety, or they over-react, with stagy conversation and what seems like a clumsy delivery. Of course it’s not. These are great actors, and wouldn’t turn in such a performance, unless directed to in pursuit of the director’s particular style.

I’m not saying that Homicide is a bad film; it may be a difficult one. You can’t spend half of the film acclimating yourself to Mamet’s rhythm — the distraction will lead you to miss the development of the story. Try watching Glengarry Glen Ross a week before watching this. It’s a great film, absorbing, with a few enormous roles that typify Mamet’s style. Alec Baldwin and Al Pacino and Jack Lemmon turn in iconic performances, not to mention Ed Harris, Kevin Spacey and Alan Arkin. . .

Anyway, I was talking about Homicide.

Mantegna plays Bobby Gold, a Jewish homicide detective — always “the first through the door” despite his assignment as a hostage negotiator, which his cop buddies seem to regard as a weak role. He’s partnered with Tim Sullivan (William H. Macy) on a high-profile case to track down a cop killer after the FBI has struck out. The pair have the inside track on the fugitive, thanks to a prior case, and are ordered to close the case as soon as possible. Before they can check on their inside contact, Gold gets reassigned to the case of an elderly Jewish woman’s murder in her black-neighborhood candy shop. Gold begs to pass on the case, which he believes is a simple robbery, but is ordered to change his priorities, and believes that “downtown” Jewish powers are getting in the way of his policework.

There’s enough internal conflict here to cause spontaneous combustion. Gold is reminded by the family of the murdered shopkeeper that he’s Jewish and has an obligation to respect the culture and know his history, and is reminded by fellow police officers that his obligation is to his professional oath and his partner. He feels like an outsider, a man without a country, an officer valued in his unit because he understands how the fugitive feels. He faces the question of “Who am I?” with every turn in the case.

While investigating a reported gunshot at the home of the shopkeeper’s family, he finds evidence that causes him to believe that the murder was a hate crime and leads him to a shadowy group of Jewish anti-fascist fighters, and forces him to confront a few unresolved issues about his identity. I have to admit that this is where Homicide lost my interest for a while.

But don’t let it shake you off the trail. There’s something about the internal struggle that drives Mantegna’s character and changes the usual police procedural into an existential sleepless night for Detective Gold. Mamet is pulling the strings all along, like a good playwright should, and you’ll want to watch Homicide until the final shots are fired, the cards are turned over and the case is wrapped up. At the end, the missing piece changes the entire subject of the puzzle.

 

  • About The Author

    Jeff Scharlau lives in Minneapolis.