My father was to die suddenly a few years after I left, too. The aneurism in his heart burst as he stood in his yard talking to a friend; as a doctor later said, he was "dead before he hit the ground". I don't know why I always imagined a death bed scene like something from a movie, where he and I would somehow work things out before he died. What I got instead was a phone call, and a quiet six-hour drive home to Odessa, and another two-hour drive out to the remote cemetery at Paint Creek where he'd inexplicably chosen to be buried. His last resting place felt ridiculous and cliched at the time, with its dusty plots and wild flowers and lizards, and most of all a kind of desert silence that felt almost loud. But that was then, I guess. Almost twenty-four years later, I can see why it appealed to him. I suppose most people pick a burial spot with the grieving people they leave behind in mind, but not my father. He thought of himself, and the kind of place he'd like to spend eternity, as if he would be doing so sitting in a lawn chair, sipping from that old plastic cup he always carried, the one with the words "The King" written on the side, perhaps with an irony I didn't recognize at the time, in his own hand writing.
Schuyler has been asking to see her Granny for a while, and my niece had a new baby at the beginning of December, so it felt like a good time to make the drive. As a retail manager, Julie is pretty much out of commission from November to the middle of January, so Schuyler and I pick a time when her mother wouldn't be home much anyway, the last weekend of the year, and we head west together.
Schuyler is a great travel buddy at any time, but going home is particularly fun. It's been a few years since she went back, long enough that the whole experience feels new to her. She sees the things that seem old and tired to me, but with new eyes. She doesn't see the desert like I once did. Schuyler sees a place that is rare and impossibly flat and ready for adventure, as if mummies or dinosaurs are waiting just out of sight. When I was her age, living there, Odessa felt like a prison, with a desert instead of walls. I thought I'd never leave. I saw places on television and in movies that seemed exotic simply because they were green, or densely populated, or on the cusp of a much larger world. New England could have been Mars.
Odessa and the surrounding area are now in the midst of a boom, but it feels different than the one of my youth. I remember Odessa then, growing, gradually and organically, with things just generally getting a little weirder but a lot nicer as a result. Driving into town now, though, it feels very, very different this time. Housing is impossible to find, I'm told, and the lines at restaurants and local businesses are long and rowdy. The outskirts of town where my friends and I once did our drinking and lighting fireworks and making out are now built up, with lookalike strip malls and the same box stores you find anywhere in America. Passing into the town itself, things feel... diminished. The town of my childhood is still there, and it hasn't changed much except for growing more ragged. I'd hoped the new boom might save my home, and perhaps it will, in some sense. But from my eyes, those now of an outsider, it seems like new Odessa is simply building over the old. I guess that's the way it happens. Maybe that's why you can never go home.
Schuyler has lots of questions about my home and my past. She wants to see the places I grew up, particularly the schools I attended. She wants me to show her the routes I walked home from school, as if the thought of doing so was the stuff of wild adventure.
When I post photos of my old schools and other shots around the area up on Facebook, some people take the opportunity to comment on how unattractive my home is. I get that. I recognize that it must be hard for people who come from pretty places to understand how those of us who grew up in harder environments could somehow still have had enjoyable childhoods, or that we might still have fondness for those places, and even find them beautiful. It's like anything else; we make plenty of jokes about "Slowdeatha" or "Odessalation", because we lived it. We did our time. We experienced our youthful days with grit in our mouths. But if someone else tries it, our defenses go up. It's the "he ain't heavy, he's my brother" effect, I guess.
The thing is, Schuyler doesn't seem to see it as ugly, or harsh. When she sees vast dusty acres of high grass and mesquite bushes, she imagines the snakes and jackrabbits and horny toads that must be hiding out there, just waiting for discovery. Schuyler has sand in her blood, I guess. She's got her father's weird love of the desert.
When we leave Odessa to return to Dallas, Schuyler again asks about my father. We leave the interstate and head southeast, for the tiny town of Robert Lee and the remote Paint Creek Cemetery a few miles away. As we drive out past Sterling City, the wind turbines return, like giants both protecting us and beckoning us further. When I see them, I wonder if they hold vigil over my father's grave now, but the road drops into a shallow valley and the wind farms fall behind us. When we arrive at Paint Creek, it looks completely unchanged, not just since I visited last, but in all those long, full years since I watched my father lowered into the chalky ground, taking his secrets with him.
He's keeping them there still.
