Kitabı oku: «The Bridges of Madison County / Мосты округа Мэдисон»

© Шитова Л. Ф., адаптация, сокращение, словарь, 2018

© ООО «Издательство «Антология», 2018

For the peregrines

The Beginning

In late afternoon, in the autumn of 1989, I'm at my desk, looking at a blinking cursor on the computer screen before me, and the telephone rings.

On the other end of the wire is a former Iowan¹ named Michael Johnson. He lives in Florida now. A friend from Iowa has sent him one of my books. Michael Johnson has read it; his sister, Carolyn, has read it; and they have a story in which they think I might be interested. He is careful, refusing to say anything about the story, except that he and Carolyn are willing to travel to Iowa to talk with me about it.

So I agree to meet with them in Des Moines² the following week. At a Holiday Inn³ near the airport, the introductions are made, and the two of them sit across from me, evening coming down outside, light snow falling.

They insist on a promise: If I decide not to write the story, I must agree never to mention what happened in Madison County⁴, Iowa, in 1965 or other events that followed over the next twenty-four years. All right, that's reasonable. After all, it's their story, not mine.

So I listen. I listen hard, and I ask hard questions. And they talk. On and on they talk.⁵ Carolyn cries openly at times, Michael struggles not to. They show me documents and magazine clippings and a set of journals written by their mother, Francesca.

Room service⁶ comes and goes. Extra coffee is ordered. As they talk, I begin to see the images. First you must have the images, then come the words. And I begin to hear the words, begin to see them on pages of writing. Sometime just after midnight, I agree to write the story – or at least attempt it.

Their decision to make this information public was a difficult one for them. The circumstances are delicate, involving their mother and touching upon their father. Michael and Carolyn recognized that the story going public might result in dirty gossip and affect good memories people have of Richard and Francesca Johnson.

Yet in a world where personal commitment⁷ in all of its forms seems to be destroyed and love has become a matter of convenience, they both felt this remarkable tale was worth the telling. I believed then, and I believe even more strongly now, they were correct making this decision.

In the course of my research and writing, I asked to meet with Michael and Carolyn three more times. On each occasion, and without complaint, they traveled to Iowa. Such was their eagerness to make sure the story was told accurately. Sometimes we merely talked; sometimes we slowly drove the roads of Madison County while they pointed out places having a significant role in the story.

In addition to the help provided by Michael and Carolyn, the story as I tell it here is based on information contained in the journals of Francesca Johnson; research carried out in Madison County, Iowa; information obtained from the photographic essays of Robert Kincaid; and long discussions with several wonderful elderly people in Ohio, who remembered Kincaid from his boyhood days.

In spite of the effort, gaps remain. I have added a little of my own imagination in some instances, but only when I felt I had gained the intimate familiarity with Francesca Johnson and Robert Kincaid through my research. I am confident that I have come very close to what actually happened.

One major gap involves the exact details of a trip made across the northern United States by Kincaid. We knew he made this journey, based on a number of photographs published, a brief mention of it by Francesca Johnson in her journals, and handwritten notes he left with a magazine editor. Using these sources as my guide, I retraced what I believe was the path he took from Bellingham⁸ to Madison County in August of 1965. Driving toward Madison County at the end of my travels, I felt I had, in many ways, become Robert Kincaid.

Still, trying to truly understand Kincaid was the most challenging part of my research and writing. He is an elusive figure. At times he seems rather ordinary. At other times ethereal. In his work he was a consummate professional⁹. Yet he saw himself as a peculiar kind of male animal becoming obsolete in a world given over to increasing amounts of organization¹⁰.

Two other intriguing questions are still unanswered. First, we have been unable to know what became of Kincaid's photographic files. Given the nature of his work¹¹, there must have been thousands, probably hundreds of thousands, of photographs. These never have been found. Our best guess¹² – and this would be logical to the way he saw himself and his place in the world – is that he destroyed them before his death.

The second question deals with his life from 1975 to 1982. Very little information is available. We know he earned a sparse living¹³ as a portrait photographer in Seattle for several years and continued to photograph the Puget Sound¹⁴ area. Other than that, we have nothing.¹⁵

Preparing and writing this book has altered my world view, transformed the way I think, and, most of all, reduced my level of cynicism about what is possible in the arena of human relationships. Coming to know Francesca Johnson and Robert Kincaid, I find the boundaries of such relationships can be extended farther than I previously thought¹⁶. Perhaps you will have the same experience in reading this story.

That will not be easy. In an increasingly callous world¹⁷, I'm not sure where great passion leaves off and mawkishness begins. But our tendency to laugh at the possibility of deep feelings makes it difficult to enter the realm of gentleness¹⁸ to understand the story of Francesca Johnson and Robert Kincaid. I know I had to overcome that tendency initially before I could begin writing.

If, however, you manage to suspend your disbelief¹⁹, as Coleridge²⁰ put it, I am confident you will experience what I have experienced. And deep in your heart, you may even find, as Francesca Johnson did, room to dance again.

Summer 1991

The Bridges of Madison County

Robert Kincaid

On the morning ofAugust 8, 1965, Robert Kincaid locked the door to his small two-room apartment on the third floor of a house in Bellingham, Washington. He carried a knapsack full ofphotography equipment and a suitcase down wooden stairs and through a hallway to the back, where his old Chevrolet pickup truck²¹ was parked in a space reserved for residents of the building.

Another knapsack, a medium-size ice chest²², two tripods, cartons of Camel cigarettes²³, a Thermos, and a bag of fruit were already inside. In the truck box was a guitar case. Kincaid arranged the knapsacks on the seat and put the cooler and tripods on the floor. He climbed into the truck box, stepped in behind the wheel, lit a Camel, and went through his mental checklist²⁴: two hundred rolls of film; tripods; cooler; three cameras and five lenses; jeans and khaki slacks; shirts. Okay. Anything else he could buy on the road if he had forgotten it.

Kincaid wore faded Levi's, well-used field boots, a khaki shirt, and orange suspenders. On his wide leather belt was fastened a Swiss Army knife²⁵ in its own case.

He looked at his watch: eight-seventeen. The truck started on the second try, and he backed out, shifted gears²⁶, and moved slowly down the alley under hazy sun. Through the streets of Bellingham he went, heading south on Washington 11²⁷, running along the coast of Puget Sound for a few miles, then following the highway before meeting U.S. Route 20.

Turning into the sun, he began the long, winding drive²⁸ through the Cascades²⁹. He liked this country and felt impressed, stopping now and then to make notes about interesting possibilities for future expeditions or to shoot what he called “memory snapshots.” The purpose of these photographs was to remind him of places he might want to visit again and approach more seriously.

He wished for the thousandth time in his life that he had a dog, a golden retriever, maybe, for travels like this and to keep him company at home. But he was frequently away, overseas much of the time, and it would not be fair to the animal. Still, he thought about it anyway. In a few years he would be getting too old for the hard fieldwork. “I might get a dog then,” he said to the coniferous green rolling by his truck window³⁰.

Drives like this always put him into a taking-stock mood.³¹ The dog was part of it. Robert Kincaid was as alone as it's possible to be – an only child, parents both dead, distant relatives who had lost track of him³² and he of them, no close friends.

He knew the names of the man who owned the corner market in Bellingham and the proprietor of the photographic store where he bought his supplies. He also had formal, professional relationships with several magazine editors. Other than that, he knew scarcely anyone well, nor they him. Gypsies make difficult friends for ordinary people³³, and he was something of a gypsy.

He thought about Marian. She had left him nine years ago after five years of marriage. He was fifty-two now; that would make her just under forty. Marian had dreams of becoming a musician, a folksinger. She knew all of the Weavers³⁴' songs and sang them pretty well in the coffeehouses of Seattle³⁵. When he was home in the old days, he drove her to gigs and sat in the audience while she sang.

His long absences – two or three months sometimes – were hard on the marriage. He knew that. She was aware of what he did when they decided to get married, and each of them had a vague sense that it could all be handled somehow. It couldn't. When he came home from photographing a story in Iceland, she was gone. The note read: “Robert, it didn't work out. I left you the Harmony guitar. Stay in touch.”³⁶

He didn't stay in touch. Neither did she. He signed the divorce papers when they arrived a year later and caught a plane³⁷ for Australia the next day. She had asked for nothing except her freedom.

At Montana³⁸, he stopped for the night, late. The Cozy Inn looked inexpensive, and was. He carried his gear into a room

containing two table lamps, one of which had a burned-out bulb. Lying in bed, he was reading The Green Hills of Africa³⁹ and drinking a beer. In the morning he jogged for forty minutes, did fifty push-ups, and used his cameras as small hand weights to complete the routine.

Across the top of Montana he drove, into North Dakota⁴⁰ and the spare, flat country he found as fascinating as the mountains or the sea. There was a kind of austere beauty to this place, and he stopped several times, set up a tripod, and shot some black-and-whites of old farm buildings. This landscape appealed to his minimalist leanings.⁴¹ The Indian reservations were depressing, for all of the reasons everybody knows and ignores. Those kinds of settlements were no better in northwestern Washington, though, or anywhere else he had seen them.

On the morning of August 14, he sliced⁴² northeast and took a back road up to Hibbing and the iron mines. Red dust floated in the air, and there were big machines and trains specially designed to carry the ore to Lake Superior⁴³. He spent an afternoon looking around Hibbing and found it not to his liking, even if Bob Dylan⁴⁴ was from there originally.

The only song of Dylan's he had ever really cared for was “Girl from the North Country.” He could play and sing that one, and he hummed the words to himself as he left behind the place with giant red holes in the earth. Marian had shown him some chords and how to handle basic arpeggios to accompany himself. “She left me with more than I left her,” he said once to a boozy riverboat pilot. And it was true.

The Superior National Forest⁴⁵ was nice, real nice. Voyageur⁴⁶ country. When he was young, he'd wished the old voyageur days were not over so he could become one. He drove by meadows, saw three moose, a red fox, and lots of deer. At a pond he stopped and shot some reflections on the water made by an odd-shaped tree branch. When he finished he sat on the board of his truck⁴⁷, drinking coffee, smoking a Camel, and listening to the wind in the birch trees.

“It would be good to have someone, a woman,” he thought, watching the smoke from his cigarette blow out over the pond. “Getting older puts you in that frame of mind⁴⁸.” But with him gone so much, it would be tough on the one left at home.⁴⁹ He'd already learned that.

When he was home in Bellingham, he occasionally dated the creative director⁵⁰ for a Seattle advertising agency. He had met her while doing a corporate job. She was forty-two, bright, and a nice person, but he didn't love her, would never love her.

Sometimes they both got a little lonely, though, and would spend an evening together, going to a movie, having a few beers, and making pretty decent love later on. She'd been around⁵¹ – two marriages, worked as a waitress in several bars while attending college. Every time, after they'd completed their lovemaking and were lying together, she'd tell him, “You're the best, Robert, no competition, nobody even close.”

He supposed that was a good thing for a man to hear, but he was not all that experienced and had no way of knowing whether or not she was telling the truth anyway. But she did say something one time that haunted him: “Robert, there's a creature inside of you that I'm not good enough to bring out, not strong enough to reach⁵². I sometimes have the feeling you've been here a long time, more than one lifetime, and that you've lived in private places none of the rest of us has even dreamed about. You frighten me, even though you're gentle with me.”

He knew in an obscure way what she was talking about. But he couldn't get his hands on it himself.⁵³ He'd had these kinds of thoughts, a sense of the tragic combined with intense physical and intellectual power, even as a young boy growing up in a small Ohio town. When other kids were singing “Row, Row, Row Your Boat⁵⁴,” he was learning the melody and English words to a French cabaret song.

He liked words and images. “Blue” was one of his favorite words. He liked the feeling it made on his lips and tongue when he said it. Words have physical feeling, not just meaning, he remembered thinking when he was young. He liked other words, such as “distant,” “wood-smoke,” “highway,” “ancient,” “passage,” “voyageur,” and “India” for how they sounded, how they tasted, and what they conjured up in his mind. He kept lists of words he liked posted in his room.⁵⁵

Then he joined the words into phrases and posted those as well:

Too close to the fire.

I came from the East with a small band of travelers.

The constant chirping of those who would save me and those who would sell me.

Talisman, Talisman, show me your secrets. Helmsman, Helmsman, turn me for home.

Lying naked where blue whales swim.

Before I became a man, I was an arrow – long time ago.

Then there were the places whose names he liked: the Somali Current⁵⁶, the Big Hatchet Mountains⁵⁷, the Malacca Strait⁵⁸, and a long list of others. The sheets of paper with words and phrases and places eventually covered the walls of his room.

Even his mother noticed something different about him. He never spoke a word until he was three, then began talking in complete sentences, and he could read extremely well by five. In school he was an indifferent student, frustrating the teachers.

They looked at his IQ⁵⁹ scores and talked to him about achievement, about doing what he was capable of doing, that he could become anything he wanted to become. One of his high school teachers wrote the following in an evaluation of him: “He believes that 'IQ tests are a poor way to judge people's abilities'. I suggest a conference with his parents.”

His mother met with several teachers. When the teachers talked about Robert's stubborn behavior, she said, “Robert lives in a world of his own making. I know he's my son, but I sometimes have the feeling that he came not from my husband and me, but from another place to which he's trying to return. I appreciate your interest in him, and I'll try once more to encourage him to do better in school.”

But he had been content to read all the adventure and travel books in the local library and kept to himself otherwise⁶⁰, spending days along the river that ran through the edge of town, ignoring proms⁶¹ and football games and other things that bored him. He fished and swam and walked and lay in long grass listening to distant voices he fancied only he could hear. “There are wizards out there,” he used to say to himself. “If you're quiet and open enough to hear them, they're out there.” And he wished he had a dog to share these moments.

There was no money for college. And no desire for it, either. His father worked hard and was good to his mother and him, but the job in a factory didn't leave much for other things, including the care of a dog. He was eighteen when his father died, so with the Great Depression bearing down hard⁶², he enlisted in the army⁶³ as a way of supporting his mother and himself. He stayed there four years, but those four years changed his life.

He was assigned to a job as photographer's assistant, though he had no idea of even how to load a camera. But in that work, he discovered his profession. The technical details were easy for him. Within a month he was not only doing the darkroom work for two of the staff photographers, but also was allowed to shoot simple projects himself.

Robert Kincaid checked out photo books and art books from the town library⁶⁴ and studied them. Early on, he particularly liked the French impressionists and Rembrandt's use of light.

Eventually he began to see that light was what he photographed, not objects. The objects merely were the vehicles for reflecting the light. If the light was good, you could always find something to photograph. The 35–millimeter camera was beginning to emerge then, and he purchased a used Leica⁶⁵ at a local camera store. He took it down to New Jersey⁶⁶, and spent a week of his leave there photographing life along the shore.

He began keeping notes of his camera settings⁶⁷ and places he wanted to visit again. When he came out of the army at twenty-two, he was a pretty decent shooter and found work in New York assisting a well-known fashion photographer.

The female models were beautiful; he dated a few and fell partially in love with one before she moved to Paris and they drifted apart⁶⁸. She had said to him: “Robert, I don't know who or what you are for sure, but please come visit me in Paris.” He told her he would, meant it⁶⁹ when he said it, but never got there. Years later when he was doing a story on the beaches of Normandy, he found her name in the Paris book, called, and they had coffee at an outdoor cafe. She was married to a cinema director⁷⁰ and had three children.

He couldn't get very keen on the idea of fashion.⁷¹ People threw away perfectly good clothes or hastily had them made over⁷² according to the instructions of European fashion dictators.

It seemed dumb to him, and he felt lessened doing the photography.⁷³ “You are what you produce,” he said as he left this work.

His mother died during his second year in New York. He went back to Ohio, buried her, and sat before a lawyer, listening to the reading of the will. There wasn't much. He didn't expect there would be anything. But he was surprised to find his parents had accumulated a little fortune⁷⁴ in the tiny house where they had lived all their married lives. He sold the house and bought first-class equipment with the money. As he paid the camera salesman, he thought of the years his father had worked for those dollars and the plain life his parents had led.

Some of his work began to appear in small magazines. Then National Geographic called. They had seen a calendar shot he had taken out in Maine. He talked with them, got a minor assignment⁷⁵, executed it professionally, and was on his way⁷⁶.

The military asked him back in 1943. He went with the marines and slogged his way⁷⁷ up South Pacific beaches, cameras swinging from his shoulders, lying on his back, photographing the men coming off amphibious landing craft⁷⁸. He saw the terror on their faces, felt it himself. Saw them cut in two by machine-gun fire⁷⁹, saw them plead to God and their mothers for help. He got it all, survived, and never got drawn by glory and romance of war photography.

Coming out of the service in 1945, he called National Geographic. They were ready for him, anytime. He bought a motorcycle in San Francisco, then turned north to explore Washington. He liked it there and decided to make it his base.

Now, at fifty-two, he was still watching the light. He had been to most of the places posted on his boyhood walls and felt happy when he visited them.

The Lake Superior shore was as nice as he'd heard it was. He marked down several locations for future reference, took some shots to jog his memory later on⁸⁰, and headed south along the Mississippi River toward Iowa. He'd never been to Iowa but was taken with the hills⁸¹ of the northeast part along the big river.

Cutting over to U.S. Route 65, he went through Des Moines early on a Monday morning, August 16, 1965, turned west at Iowa 92, and headed for Madison County and the covered bridges that were supposed to be there, according to National Geographic. They were there all right, the man in the Texaco station⁸² said so and gave him directions to all seven.

The first six were easy to find as he mapped out his strategy for photographing them. The seventh, a place called Roseman Bridge, eluded him. It was hot, he was hot, Harry – his truck – was hot, and he was wandering around on gravel roads that seemed to lead nowhere except to the next gravel road.

In foreign countries, his rule of thumb was⁸³, “Ask three times.” He had discovered that three responses, even if they all were wrong, gradually vectored you in to where you wanted to go. Maybe twice would be enough here.

A mailbox was coming up, sitting at the end of a lane about one hundred yards long. The name on the box read “Richard Johnson, RR 2.” He slowed down and turned up the lane, looking for guidance.

When he drove into the yard, a woman was sitting on the front porch. It looked cool there, and she was drinking something that looked even cooler. She came off the porch toward him. He stepped from the truck and looked at her, looked closer, and then closer still. She was lovely, or had been at one time, or could be again. And immediately he began to feel the old clumsiness he always suffered around women to whom he was attracted.