Pigs in Heaven
A Novel
Barbara Kingsolver
for Camille
Contents
Spring
1
Queen of Nothing
2
A Mean Eye
3
The True Stories
4
Lucky Buster Lives
5
The Secret of TV
6
Thieves of Children
7
A World of Free Breakfast
8
A More Perfect Union
9
The Pigs in Heaven
10
The Horses
Summer
11
Someone the Size of God
12
The Twilight Zone of Humanity
13
The Church of Risk and Hope
14
Fiat
15
Communion
16
Marooned
17
Treasure
18
Natural Systems
19
Chewing Bones
20
The War of the Birds and Bees
Fall
21
Skid Road
22
Welcome to Heaven
23
Secret Business
24
Wildlife Management
25
Picking
26
Old Flame
27
Family Stories
28
Surrender Dorothy
29
The Secret of Creation
30
Six Pigs and One Mother
31
Hen Apples
32
The Snake Uk'ten
33
The Gambling Agenda
Acknowledgments
About the Author
Praise
Other Books by Barbara Kingsolver
Copyright
About the Publisher
SPRING
1
Queen of Nothing
WOMEN ON THEIR OWN RUN in Alice's family. This dawns on her with the unkindness of a heart attack and she sits up in bed to get a closer look at her thoughts, which have collected above her in the dark.
It's early morning, April, windless, unreasonably hot even at this sun-forsaken hour. Alice is sixty-one. Her husband, Harland, is sleeping like a brick and snoring. To all appearances they're a satisfied couple sliding home free into their golden years, but Alice knows that's not how it's going to go. She married him two years ago for love, or so she thought, and he's a good enough man but a devotee of household silence. His idea of marriage is to spray WD-40 on anything that squeaks. Even on the nights when he turns over and holds her, Harland has no words for Alice--nothing to contradict all the years she lay alone, feeling the cold seep through her like cave air, turning her breasts to limestone from the inside out. This marriage has failed to warm her. The quiet only subsides when Harland sleeps and his tonsils make up for lost time. She can't stand the sight of him there on his back, driving his hogs to market. She's about to let herself out the door.
She leaves the bed quietly and switches on the lamp in the living room, where his Naugahyde recliner confronts her, smug as a catcher's mitt, with a long, deep impression of Harland running down its center. On weekends he watches cable TV with perfect vigilance, as if he's afraid he'll miss the end of the world--though he doesn't bother with CNN, which, if the world did end, is where the taped footage would run. Harland prefers the Home Shopping Channel because he can follow it with the sound turned off.
She has an edgy sense of being watched because of his collection of antique headlights, which stare from the china cabinet. Harland runs El-Jay's Paint and Body and his junk is taking over her house. She hardly has the energy to claim it back. Old people might marry gracefully once in a while, but their houses rarely do. She snaps on the light in the kitchen and shades her eyes against the bright light and all those ready appliances.
Her impulse is to call Taylor, her daughter. Taylor is taller than Alice now and pretty and living far away, in Tucson. Alice wants to warn her that a defect runs in the family, like flat feet or diabetes: they're all in danger of ending up alone by their own stubborn choice. The ugly kitchen clock says four-fifteen. No time-zone differences could make that into a reasonable hour in Tucson; Taylor would answer with her heart pounding, wanting to know who'd dropped dead. Alice rubs the back of her head, where her cropped gray hair lies flat in several wrong directions, prickly with sweat and sleeplessness. The cluttered kitchen irritates her. The Formica countertop is patterned with pink and black loops like rubber bands lying against each other, getting on her nerves, all cocked and ready to spring like hail across the kitchen. Alice wonders if other women in the middle of the night have begun to resent their Formica. She stares hard at the telephone on the counter, wishing it would ring. She needs some proof that she isn't the last woman left on earth, the surviving queen of nothing. The clock gulps softly, eating seconds whole while she waits; she receives no proof.
She stands on a chair and rummages in the cupboard over the refrigerator for a bottle of Jim Beam that's been in the house since before she married Harland. There are Mason jars up there she ought to get rid of. In her time Alice has canned tomatoes enough for a hundred bomb shelters, but now she couldn't care less, nobody does. If they drop the bomb now, the world will end without the benefit of tomato aspic. She climbs down and pours half an inch of Jim Beam into a Bengals mug that came free with a tank of gas. Alice would just as soon get her teeth cleaned as watch the Bengals. That's the price of staying around when your heart's not in it, she thinks. You get to be cheerleader for a sport you never chose. She unlatches the screen door and steps barefoot onto the porch.
The sky is a perfect black. A leftover smile of moon hides in the bottom branches of the sugar maple, teasing her to smile back. The air isn't any cooler outside the house, but being outdoors in her sheer nightgown arouses Alice with the possibility of freedom. She could walk away from this house carrying nothing. How those glass eyeballs in the china cabinet would blink, to see her go. She leans back in the porch swing, missing the squeak of its chains that once sang her baby to sleep, but which have been oppressed into silence now by Harland's WD-40. Putting her nose deep into the mug of bourbon, she draws in sweet, caustic fumes, just as she used to inhale tobacco smoke until Taylor made her quit.
She raised a daughter in this house and planted all the flowers in the yard, but that's nothing to hold her here. Flowers you can get tired of. In the record heat of this particular Kentucky spring the peonies have blown open their globes a month ahead of Memorial Day. Their face-powder scent reminds her of old women she knew in childhood, and the graveyard. She stops swinging a minute to listen: a huffling sound is coming from the garden. Hester Biddle's pigs. Hester lives a short walk down the road and has taken up raising Vietnamese miniature potbellied pigs for a new lease on life after her stroke. She claims they're worth two thousand per pig, but Alice can't imagine on what market. They're ugly as sin and run away for a hobby, to root in Alice's peony beds. "Go on home," Alice says in a persuasive voice. The pigs look up.
"I mean it," she says, rising from the porch swing, her hands on her hips. "I'm not above turning you all into bacon."
In the dim light from the kitchen their eyes glow red. Pigs are turning out to be the family curse: Alice's mother, a tall, fierce woman named Minerva Stamper, ran a hog farm alone for fifty years. Alice picks up an empty flowerpot from the porch step and throws it at the pigs. The darkness absorbs it. She throws a dirt clod and a pair of p
runing shears, which also vanish. Then a medium-sized aluminum bowl. Harland ordered the Cornucopia Of Bowls from the shopping channel for their wedding anniversary, so now their home has a bowl for every purpose. She picks up another one and gives it a fling. She'll have to pick them up in the morning, in front of God and the Biddles, but she wants those pigs out of her life. She finds a galvanized watering can and lifts herself on the balls of her feet, testing her calves. Alice is in good shape, despite her age; when she concentrates she can still find all her muscles from the inside. When her first husband left her the house fell apart but she and her daughter held up well, she thinks, everything considered.
She heaves the watering can but can't tell where it's gone. It lands with a ding--possibly it struck a member of the Cornucopia. The red pig eyes don't even blink. Alice feels defeated. She returns to the porch to collect her losses.
She's not walking away from here. Who would take her in? She knows most of the well-to-do women in town, from cleaning their houses all the years she was raising Taylor, but their respect for Alice is based on what she could tell the world about their basements. On Fridays, Alice plays poker with Fay Richey and Lee Shanks--cheerful, husky-voiced women who smoke a lot and are so thankful to still be married, if she left Harland they'd treat her like she had a virus. Minerva and the hog farm are both gone, of course, the one simply dead and buried, the other sold to pay its own debts. It depresses Alice deeply to think how people's lives and all other enterprises, like life insurance, can last long enough to cancel themselves out.
A mockingbird lands on the tip of a volunteer mulberry that has grown up through the hedge. Flapping to stay balanced, he makes the long branch bob and sway like a carnival ride. His little profile flails against a horizon the color of rising dough. In the few minutes it took Alice to make an accounting of her life, dawn was delivered to this address and the automatic spotlight on Biddles' barn winked off. No matter what kind of night you're having, morning always wins.
The mockingbird springs off his mulberry branch into darkness and then materializes up on the roof, crowing to this section of the county that her TV antenna is his and his alone. Something about the male outlook, Alice thinks, you have got to appreciate. She stands with her arms crossed against her chest and observes the dark universe of the garden, which is twinkling now with aluminum meteorites. She hears the pigs again. It's no wonder they like to come here; they get terrified down at Biddles' when Henry uses more machinery than he needs. Yesterday he was using the hay mower to cut his front yard, which is typical. The poor things are just looking for a home, like the Boat People. She has a soft spot for refugees and decides to let them stay. It will aggravate Hester, who claims that every time they eat Alice's peonies they come home with diarrhea.
The neighborhood tomcat, all muscle and slide, is creeping along the top of the trellis where Alice's sweet peas have spent themselves all spring. She's seen him up there before, getting high on the night perfume, or imagining the taste of mockingbird. The garden Alice wishes she could abandon is crowded with bird music and border disputes and other people's hungry animals. She feels like the queen of some pitiful, festive land.
Welcome to Heaven.
For the first time in years she thinks of Sugar Boss: her family tie. Sugar is a second cousin and the most famous citizen of Heaven, Oklahoma. Alice has her picture put away in the scrapbook with Taylor's high school diploma and whatever else there is in the way of family papers. It's an old picture cut out of Life magazine, summer of '55. Sugar posed for a photographer with a pop bottle raised to her lips and a crown of daisies in her hair, leaning against the WELCOME TO HEAVEN sign, and was seen all over everywhere in the advertisement. Alice saw her at the grocery checkout and couldn't believe her eyes. She sent a letter, needing no more address than "Sugar Marie Boss, Heaven, Okla.," and it got there, even though by then she was no longer technically a Boss but a Hornbuckle. Sugar wrote back.
They'd spent their last years of childhood together on the farm during the Depression, along with dozens of other people who showed up at Minerva's door once they'd run out of everything but relatives. Of all the cousins, Alice and Sugar were closest, born a mere month apart. At nine they could pass for twelve and got jobs at the mattress factory, where it was all young girls, sewing up the ticking and stuffing in feathers. Their arms grew muscled and the down stuck on their hair, making them look like duck girls. Those times made bonds among people. The clotheslines ran from house to house and the wash ran between families like the same drab flag repeated over and over, uniting them all in the nation of washtubs and rough knuckles. There was love in that life, a kind of solid hope. Children ran heedless under the flapping laundry in a nation of their own. But it's Alice's impression that most of them grew up with hungry hearts, feeling sure that one day they would run out of everything again.
After their chance reconnection, she and Sugar shared their memories in long letters pressed into fat envelopes, but once they'd finished with the past, neither one had it in her to sustain the correspondence. Alice suspects Sugar's life never reached the same elevation again; in her letters there was mention of daughters prone to pregnancy. Alice pictures a rattletrap house and flowerbeds gone to jimson weed.
But Sugar once put Heaven on the map, and that has to carry some weight still. Alice stretches her legs into the pale orange morning that is taking hold around her, and it dawns on her with a strange shock that she is still the same person she was as a nine-year-old. Even her body is mostly unchanged. Her breasts are of a small, sound architecture and her waist is limber and strong; she feels like one of those California buildings designed for an earthquake. As surely as her organs are in the right places, she feels Sugar is still there in Heaven. She could write her today. She's kept feelings for Sugar, her long-lost relative who came home to her one day in the checkout line. Something like that is as bad or as good as a telephone ringing in the night: either way, you're not as alone as you think.
2
A Mean Eye
"LOOK UP, TURTLE. ANGELS."
Taylor stoops to her daughter's eye level and points up at the giant granite angels guarding the entrance to the Hoover Dam: a straight-backed team, eyes on the horizon, their dark, polished arms raised toward the sky.
"They look like Danny," Turtle observes.
"Biceps to die for," Taylor agrees. Danny, their garbage man, is a body builder on his days off.
"What do angels need muscles for?"
Taylor laughs at the thought of some saint having to tote around the overfilled garbage bags of heaven. "They made this back in the thirties," she says. "Ask Grandma about the Depression sometime. Nobody could get a job, so they had this WPA thing where people made bridges and sidewalks and statues that look like they could sweat."
"Let's take a picture." Turtle's tone warns off argument; she means Taylor will stand under the angels and she will take the photo. Taylor stands where she's placed and prepares to smile for as long as it takes. Turtle concentrates through the rectangular eye, her black eyebrows stranded above it in her high forehead. Turtle's photos tend to come out fairly hopeless in terms of composition: cut-off legs or all sky, or sometimes something Taylor never even saw at the time. When the pictures come back from the drugstore she often gets the feeling she's gone on someone else's vacation. She watches Turtle's snub-nosed sneakers and deliberately planted legs, wondering where all that persistence comes from and where it will go. Since she found Turtle in her car and adopted her three years ago, she has had many moments of not believing she's Turtle's mother. This child is the miracle Taylor wouldn't have let in the door if it had knocked. But that's what miracles are, she supposes. The things nobody saw coming.
Her eyes wander while Turtle fiddles. The sun is hot, hot. Taylor twists her dark hair up off her neck.
"Mom!"
"Sorry." She drops her arms to her sides, carefully, like a dancer, and tries to move nothing but her eyes. A man in a wheelchair rolls toward them and wink
s. He's noticeably handsome from the waist up, with WPA arms. He moves fast, his dark mane flying, and turns his chair smoothly before the angels' marble pedestal. If she strains her peripheral vision Taylor can read the marble slab: it's a monument to the men who died building the dam. It doesn't say who they were, in particular. Another panel across the way lists the names of all the directors of the dam project, but this one says only that many who labored here found their final rest. There is a fairly disturbing bronze plaque showing men in work clothes calmly slipping underwater. "Poor guys," she says aloud. "Tomb of the unknown concrete pourer."
"Working for fifty cents an hour," the wheelchair man says. "A bunch of them were Navajo boys from the reservation."
"Really?"
"Oh, yeah." He smiles in a one-sided way that suggests he knows his way around big rip-offs like this, a fancy low-paying job that bought these Navajo boys a piece of the farm.
The shutter clicks, releasing Taylor. She stretches the muscles in her face.
"Are you the trip photographer?" he asks Turtle.
Turtle presses her face into her mother's stomach. "She's shy," Taylor says. "Like most major artists."
"Want me to take one of the two of you?"
"Sure. One to send Grandma." Taylor hands him the camera and he does the job, requiring only seconds.
"You two on a world tour?" he asks.
"A small world tour. We're trying to see the Grand Canyon all the way around. Yesterday we made it from Tucson to the Bright Angel overlook." Taylor doesn't say that they got manic on junk food in the car, or that when they jumped out at the overlook exactly at sunset, Turtle took one look down and wet her pants. Taylor couldn't blame her. It's a lot to take in.