horses – Ken Rodgers

May 3, 2013

On Mustangs, Mountain Bluebirds, Ruddy Ducks and Buckaroos

It seems like whenever I think it may be time to move on from Idaho and experience some other part of the world that moment of indecision coincides with a trip to the one-hundred-five-year-old Malheur National Wildlife Refuge and surrounding environs in southeastern Oregon. The country there is a mix of high sage and bitterbrush flats, juniper dotted ridges, and to the north and east, mountains. And in the spring, the Malheur country, or Harney County, is a place full of birds. Great Horned Owls and Burrowing Owls and Short-eared Owls.

Every year, Betty and I hit our personal high spots, the roads and fields around Crane and the Pete French Round Barn, Diamond and the Diamond Loop, the P Ranch, the Central Patrol Road that meanders parallel to the Blitzen River. Yellow Warblers and American Bitterns and Northern Shovelers and Yellow-rumped Warblers and Cinnamon Teal.

We go south of Frenchglen and check out the road into the Steens Mountain Cooperative Management and Protection Area and look for the herd of mustangs that rove there. Cassin’s Finches and Vesper Sparrows and Warbling Vireos.

We go along The Narrows and into the refuge headquarters where the cottonwood trees tower over the old masonry buildings and Coots graze on the grass and the Lewis’s Woodpeckers haunt the treetops. Cassin’s Vireo and Northern Goshawk and Dunlins and Forster’s Terns and American White Pelicans.

American White Pelicans on The Narrows — American White Pelicans at The Narrows by Ken Rodgers 2013

This year we did something different, as we do every year. For instance, last year we went around on the east side of Steens Mountain and checked out the arid Alvord Desert and then climbed up into Crane passing numerous small lakes, seeing lots of mule deer and pronghorn (or antelope as the locals call them). And of course, birds; Canada Geese and Sandhill Cranes and Cormorants. Osprey and Bald Eagles and Northern Harriers.

This year we asked around to see if anyone was working cattle since it was time for branding calves, and lo and behold, we were invited to a branding which we stood and photographed, shooting picture after picture after picture. Shooting something like a branding is different from landscape or portrait or still life photography…it’s kind of wild, the buckaroos building loops to head and heel the calves, the cows on the prod (folks are messing with their babies), the vaccinating, the branding, the tagging, the cutting. It goes on with the smoke and the dust boiling up and the scent of burned hide from the branding and the loops of lassos that float on the horizon just before they snake in and capture a calf. The shouting and laughing, the bellowing of the animals, the cutting horses twisting and turning, digging in their heel bulbs when necessary, and this is all going on at rat-a-tat machine gun speed, and if you wish to photograph this you are on your toes, so to speak, with the zoom going in and out and in and out, finding those moments when the action gets caught, like a packaged explosion just about to ignite. Vavoom! Wow!

At the Branding, Diamond Loop By Ken Rodgers 2013

What a comedown, but not a sorry one, after that experience. Then on to the tiny burg of Diamond where the poplar limbs still stood naked as if they didn’t trust the warm breaths of the breezes. We photographed old buildings and big trees and hunted for sign of White-faced Ibis and saw Sandhill Cranes and Great Egrets.

Then on to the Buena Vista ponds in search of signs of Black-throated Sparrows and Sage Sparrows. Instead, it was the haunting mating call of a male Sora from the marshes below, and Western Kingbirds darting from sage to sage catching the little creatures whose short, flitting lives come and go in the course of a few days.

Camera 360 — Buena Vista Ponds by Ken Rodgers 2013

From there it was back to Burns, and the following day we took that drive south of Frenchglen and located over forty mustangs. A lot of the Harney County ranchers hate these creatures and I understand that, for the mayhem they create on the range, but still, there is something that gets up inside my throat when I see them out there lazily grazing on the new grass down in the swales. Something primitive speaks to me about freedom and all that stuff that often gets stuffed when we start thinking in terms of dollars and cents.

While in search of mustangs we found Warbling Vireos and Cassin’s Finches and an ambiguity of sparrows that left us perplexed as we thumbed through our Sibley…is it this kind of sparrow or that? We think we saw Lark Sparrows and Vesper Sparrows and Savannah Sparrows. We know we saw White-crowned Sparrows.

Then we traveled down to the P Ranch and hiked along the Blitzen River. Two Caspian Terns circled us like fighter jets, squawking as if berating us. One showed up with a fish as it swept by and then abruptly veered overhead as if to show off the latest morsel of piscine paradise. At The Narrows again, Ruddy Ducks, Ruddy Ducks, Ruddy Ducks.

The next day, on the road home, we cut off the macadam and bumped down some dirt roads. Pickup trucks pulling trailers loaded with saddled horses sped up behind us, and we pulled over multiple times to let these earnest travelers get on their way and soon we found out where they were hurrying. A branding, but not so formal in terms of corral and pens and headquarters structures as those we encountered earlier in the week. Here, the corral was makeshift, mostly trucks pulled up end-to-end and some portable panels wired together.

A hot fire crackled in a fifty-five gallon drum turned into a fireplace. Branding iron handles stood out from the sizzling orange-red and the smell of burning calf hair filled the air, along with the dust, and the voices talking local cowpoke gossip, or the boss-man barking orders about where to drag a calf, or comments on the quality of the calf crop or who was going to be the header and who was going to be the heeler. Wild action, back and forth, and loops built and caroming off the sky and onto the dusty ground, caught on the camera screen like something you might see in a Charlie Russell painting. Yeehaw! And Mountain Bluebirds…so bluebird blue.

Betty and I drove away and headed home and she commented to me, “Pretty darned western.” And it was, and it was more, and just a part of why we stick around.

May 25, 2012

Coyotes

Several weeks ago, Betty and I camped in Malheur National Wildlife Refuge enjoying the buoyant high desert weather and all the bounty of life that accrues to two wet years in succession. Malheur is a moniker for many things in southeastern Oregon; a county, a river, a region. Not too far from Boise, we go most every year during the month of May to see the monster mule deer, beaver, shorebirds, pronghorns, water birds, the Kiger tribe of wild horses, cranes, and a lot of other kinds of life. Oh, and it’s worth mentioning, lots of coyotes.

On our first balmy evening, within a half-mile walk along the Donner und Blitzen River, we encountered three separate coyotes. One was lying in the grass, only his (or her) head and ears visible. Another was hunting something small, maybe a white-crowned sparrow or yellow-bellied marmot. It was fun watching that curious coyote leap, or is it a jump, or is it a hop?…as it hunted. A third canis latrans (that’s the scientific name for coyotes) trotted along the fence at the P Ranch headquarters where some of the rangers who manage the refuge work. All these canines showed almost no fear of us as we swatted the evening mosquitoes and tried to take photographs of coyote antics.

Later that evening, the night sounds of American robins and sandhill cranes and Wilson’s snipes and frogs and other peepers whose names I don’t know were drowned beneath the wild coyote howls that echoed back and forth between the hills that encircle the upper reaches of Malheur.

I smiled when I heard that wild singing; something about the howling of coyotes speaks to me of the tenacity of life. This is a species that in the last century-and-one-half have not been popular with the rural folk of the American west, and yet they seem to thrive in almost every environment.

The next night I was awakened by sounds more sinister. A pack of coyotes was right outside our RV, yapping and, dare I say, laughing? I am of course anthropomorphizing here, but the sounds felt ecstatic, almost dangerous, and I had a notion that outside, they were deciding who would get the first bite of the jack rabbit they had just killed.

The name Malheur is French and, among other things, means trouble, misfortune, grief, misadventure, curse, and as I lay in the rack listening to the gleeful racket (here again, I humanize the vocalizations to fit my interpretations) I thought about those notions: grief, misadventure, trouble.

When I was young, I worked in the sheep business for a while in Arizona, and in that milieu the coyote was the most dangerous, heinous, worthless creature on the face of the earth. We trapped them, shot them, poisoned them.

I toted an old World War I Mauser 98 in the cab of my fencing truck always looking for a chance to plug a coyote or stray dog. Once while traveling from Casa Blanca to Sacaton on the Gila River Indian Reservation, while the early winter sun spread its low hanging light across old alfalfa fields cut by the shadows spun by strands of barbed wire, a lone coyote, about a hundred yards out, sat on his haunches looking at me. I had a pair of binoculars in the truck cab so I stopped to get a better gander, but old coyote leaped up and began to trot east at a handsome pace. If I wanted to kill that coyote, I’d need to get closer. Yet once I started driving, the coyote stopped. This time I grabbed the binoculars as I kept moving. I could see the coyote’s yellow eyes and its tongue lolling out the side of its mouth. Something about the way the pointed ears stood up, alert, the subtle turn of the head as I got closer made me wonder about that critter, its habits, its needs, its intelligence.

I stopped to shoot it. It got up and ran. I followed it, this time with the Mauser barrel riding out the window and the rifle butt in my lap so I could get a shot before the coyote escaped. Driving, I admired the easy lope. Again, it stopped and watched me. I stopped, too and jammed the Mauser butt into my shoulder, but the coyote was already gone.

Intelligence, I thought. Intelligence. I didn’t shoot another coyote that year. Around the lunch table at the sheep camp I took a lot of ribbing from the herders about my poor aim. I dared not reveal that I’d decided not to shoot any coyotes unless I found them in the field with the sheep.

Several years ago Betty and I spent time with our late friend Trisha Pedroia at her vineyard in the Sonoma Coast hills. Just as we got ready for bed, right outside our bedroom window, a pack of coyotes churned up a litany of trills, yaps, barks, yips and short howls. Not loud, but more like a conversation…between themselves or with us, I cannot say. I remember the moment being sublime in some ways, and a little frightening that they could sneak like that, beneath our window, as if they could do anything they wanted to.

The mixture of elation and I will say it right here…trepidation, not severe, but trepidation still, made me feel very human and very exposed. Like for just a moment, instead of constantly being a predator of some kind, I had become prey. It wasn’t the first time I’ve been prey…or if not prey, having felt as if I was dinner for some creature. As if I was being hunted.

My good friend and old hunting buddy, Robert Moser, used to wax eloquently about the feeling one must have when he becomes aware that he is being stalked by something intent on eating him. The dimming of one’s brassy confidence with the realization something might be stalking him who believes he is the ultimate stalker.

Once, in the deer shooting season of 1988, Robert dropped me off at the head of a canyon on James Ridge, in southern New Mexico’s Sacramento Mountains. He drove down and got on a stand at a place called Spud Patch. I was to saunter down the draw driving any bucks down so that one of us could get a shot and hopefully a kill.

It was evening-time in mid-November and the sun was waning fast. Slants of light cut through the fir trees and oak brush, reminding me of shattered glass. In the middle of my path I found a massive mound of bear scat…steaming, still steaming. The cold of approaching night invaded the metal on my weapon and a soft breeze got up and whistled in the tops of the trees. Huge bear tracks dented the snow. Fresh, big. Chills scampered up and down my spine. My mind ratcheted high speed images of a black bear bursting from an alder thicket, or hiding around the next bend in the trail. As I walked down, rifle safety off, finger on the trigger, I turned around and around and around. Imagining where I’d better shoot him, or her, when she exploded towards me.

Not that coyotes will kill me like a bear would, but they might. It’s not unheard of. It’s not my fear of that…I think it’s more the realization that we are not bullet-proof in our existence here. There are things that can and will kill us. For dinner. We are mortal; we are in some ways the same as those yodeling coyotes we like to shoot.

February 10, 2012

On Elko

The halfway point of winter in the northern hemisphere has arrived here in Idaho with dry and warm weather. Trapped in some kind of drought, I suppose I should be saying stuff like, “We need snow in the mountains, we need rain on the flats,” or maybe I should be circling around dancing with my arms stretched towards the sky. But I am a pilgrim here from southern climes and must say that I enjoy the mild weather.

Last week we peregrinated down to Elko, Nevada for the National Cowboy Poetry Gathering and the mild days and cool nights were much to my liking. We still got to take photos of the snowy flats below Wild Horse Crossing, and the blood red and yellow-orange willows that ganged the banks of the frigid east fork of the Owyhee River. We captured images of lipstick red berries backed by river ice. We shot pictures of horses and pronghorns and starlings and eagles and the thin clouds that scraped the blue like whispered rhymes from the mouths of poets.

We took photos of poets, too, and cello players and singers. We took pictures of partiers, painters, big Stetson hats, red cowboy boots, gold-tinted neon signs and all manner of other things Elko. We listened to an array of tunes from traditional drover songs to a capella pieces redolent with the new that lives in the old west…we heard jazz, the blues, folk, cowboy music, Mexican lullabies and Crow Indian chants.

I think the number of visitors to the Gathering must have been down this year because things seemed a little less frantic in Elko as we trooped around and met with old friends and new friends. That’s one of the most important things Elko is to me….friends. An amazing compendium of styles…political, poetical, musical, philosophical and generational show up and mingle. A tolerant mood holds forth and accepts long hair and short hair, cattle rancher and sheep man, octogenarian folk singer and yodeling ten-year-old.

Elko is surrounded by mountain ranges that capture snow and shadow like a painter’s canvas. When the winter light lies down at low angles, the land seems to smother the sheen, leaving a splendidly muted scene where ice and rocks and cottonwoods meet. The long draws and dips of the foothills remind me of a soft-voiced mother singing a lullaby to her child.

There have been years when you could hardly get out of Elko because of the snow and the wind. One year I set out south to view the Ruby Mountains, but a gale got up and drove the snow so blatantly as to blind me. That year it seemed to snow every night, all night and it was a chore to clean off the windows of the car so you could make it the half mile to the venues to hear Paul Zarzysky recite his poems. Or Henry Real Bird chant in Crow, or Wallace McRae throw down a bucolic challenge to oil and mining companies ravenous for the raw fuels that percolate beneath the surface of the west.

This year, the Western Folklife Center brought in a lot of performers from the southwest and that fluttered the chambers of my innards. I lived many years in Arizona and New Mexico, so the music and the poems and the stories all delighted me, drawn from agricultural milieus flavored with the curious mingling of Spanish, Anglo and Native American.

That stuff makes my blood run hot. Takes me back to a memory home. A place I can only return to in my mind. The wild land as remembered is now homes and cars and racetracks and highways, but in my mind, my memory, I can see blankets of sheep cover the draws beneath the conical hills of the Sonoran Desert. I see the pine-clad peaks that jut up like isolated islands in a sea of ocotillo and saguaro. I can hear the songs of tamales and conquistadors, of the time before the white man, before the Native American tribes now on the land, the time before….the time of Anasazi, Hohokam and Mimbres culture…petroglyphs and rock art and primitive irrigation systems that served thousands, adobe castles crammed into the naves of canyon rock.

It was once my land, the land in which I lived, and still it’s the land of my mind.

All hail Elko…where memories rear up out of verses of poetry and song.

January 13, 2012

Canyon de Chelly

Recently Betty and I journeyed to the Southwest to show our film and visit family members who live there. On the way back to Idaho, we visited a few places that we had not seen for many years as well as a few places that were on our wish list.

One of the destinations was Canyon de Chelly on the Navajo Nation in northeastern Arizona. I was born and raised in Arizona and yet had never ventured there. My father often talked about us visiting Canyon de Chelly. (He pronounced Chelly, as Shelly, instead of the Spanishized word “Chelly,” which has been incorporated into English so that it is pronounced “de shay.” The Navajo word for the canyon is “Tseyi” which was borrowed by the Spanish as “de Chelly” and incorporated into English from there.) But we never went and I suppose it was because my father did not like to go anywhere too far from his house, his job, his business, and I also think he didn’t really want to go much of anywhere with me. My saying as much isn’t to rebuke my father, because I was a handful when young, always getting into messes in places I had no business getting into. I talked incessantly and asked a lot of questions. I had opinions—strong ones—which when expressed, often made my father’s face turn the red color of the cliffs in northern Arizona.

In the summer of 1963, I worked on the Navajo Nation in a little slaughter house that killed dry ewes. The packing plant sat on a small piece of private land outside of Window Rock, not really that far from Canyon de Chelly. But I never ventured to the canyon, just hung out trying to see if I liked smoking cigarettes, getting trucks stuck in the snotty clay of a wet summer, dreaming about sex and being scared near to death about the sin of it all, the chilling thrill.

But two days before Christmas of 2011, Betty and I met Leon Skyhorse Thomas, a Navajo guide, musician, filmmaker and native ceremonial officiate, at the visitor’s center of the canyon. We climbed into his beat-up white Jeep with our camera gear and drove into the heart of Canyon de Chelly. The walls are the color of terra cotta when the light is right, and almost orange when the light is right a different way. They shoot right up like someone cut them with a cross-cut saw, then used an adze to shape them. It was early and cold and the breeze was like Kit Carson’s saber when he drove his U S Army troops into the canyon in the 1860s to destroy the native strongholds and their beloved peach tree orchards.

The ride in was rough along roads that seemed to change like the tracks of sidewinders in a wind- driven sand. The walls were narrow and Chinle Creek was mostly frozen. I asked about the notorious quicksand of the canyon and he laughed and told me he’d buried three vehicles in the canyon. After hearing that, I seemed to sit lighter in my seat as we jounced and bounced and battered our way down the track between the narrow walls. Several times Leon stopped, got out, and surveyed which route might be the best.

There are still farms in the bottom of the canyon, and people live there in the summer. The way the light lit up the warm, south-facing walls of the canyon played against the dark walls of the cold side and we were rocking and reeling back and forth between the dark and the light.

Leon spoke Navajo to us. A lot. He sang to us in Navajo, too, and he chanted a prayer. And he took us to First Ruin and White House Ruins and to natural alcoves, one where Navajos had scratched pictographs in charcoal that documented a Ute Indian raid into the canyon. We saw Anasazi petroglyphs and Hopi petroglyphs and both ancient and more modern native pictographs. Petroglyphs are art sculpted into rock. Pictographs are painted with pigment onto rock. And the wind knifed through the bare limbs of the cottonwood trees. And the cold pelts of the resident cattle and horses were fluffed up to deflect the cut of the morning.

Once, parked next to some rock art, Leon began to explain the Navojo sensibility vis a vis the canyon. As he spoke he changed from English to Navajo. We didn’t know what the words meant but we understood the emotion of them as they flew away from Leon and married the sculpted and concave walls of the towering cliffs. His words began to echo, around and around us, through the trees, along the fence lines, and back against the walls.

Canyon de Chelly Pictograph of Ute Raid Into the Canyon

For visitors to Canyon de Chelly, there are motels with clean rooms and good food. The Navajo people are friendly and attentive. I suspect summertime is very busy and very hot. The fall might be the best time to go, because as Betty likes to say, the fall is always the best time to travel.

October 14, 2011

The Cave of Forgotten Dreams

When I was a kid in southern Arizona, I went caving and spelunking with a guy who was a middle school teacher in the town where I lived, Casa Grande, Arizona. We walked into basalt cave mouths in the Silver Bells and Silver Reef Mountains, and into our own little Sawtooths. We sniffed around for the scent of gas as he told us about canaries in coal mines. He was from coal mining country. We pitched rocks down mine shafts that had claim markers that looked like they were still maintained by prospectors. The rocks clicked and clacked and often we heard the rattle of diamondbacks climb out of the shafts. I wondered if they were albino rattlers or if they climbed out at night just like the ones we killed with forked sticks and shovels. I wondered if they captured and swallowed kangaroo rats and other small things, wrens, and such. Sometimes there were windlasses and big containers that would lower you into vertical mine shafts, but I was always frightened to go down in. The possibility of snakes scared me, and the thought of the ropes breaking scared me too, and that I might end up dying down there while the teacher and his two sons ran back to town in an effort to find someone to save me.

I have always had a primal fear of going into the bowels of the earth and admire miners with the way they go miles down into the tunnels that wind and penetrate below the surface. Likewise, I admire the men who go into caves and search below the earth for life and remnants of life.

Last Wednesday night, Betty and I went to see the Werner Herzog documentary film titled, The Cave of Forgotten Dreams. The film is available in 3D but our art house theater didn’t have that option, so we watched the film in two dimensions. Earlier this year, I heard Herzog talk about the film and one of the things he said was that it was the only film he would ever make in 3D.

But even in 2D it was impressive. The cinematography was outstanding from beginning to end with some very odd frame composition that worked, I think, to help set on end our modern arrogance about how smart we are. The cave, Chauvet, which is in southeastern France, is mostly off limits to anyone but scientists studying the geology; or the Paleolithic era information about cave bears and wolves and cave lions and horses and bison; or the astounding artwork, some as old as thirty-five thousand years. Human activity inside the cave presently is limited so the film crew was restrained as to the types of lighting and camera equipment they could employ. What they created is truly a fine work, particularly given the limited gear they could take into the cave.

All great films have obstacles that must be overcome by the characters on the way to reaching goals and in this documentary, the physical restraints and the restraints imposed by the French government become the obstacles that must be defeated. Herzog, who narrated the film, gives us this information right up front so the requisite tension to keep us interested is created.

What is on the walls of Chauvet are astounding paintings at least twice as old as anything previously discovered on this planet, and the likenesses were amazingly correct, not primitive like some of the old Hohokam rock scratchings that we used to find in the caves of southern Arizona, but sophisticated artwork displaying not only the fauna of the time, but fauna behavior that included breeding and hunting. The cave paintings included great, stunning murals of horses and bison being hunted by lions and bears; and wooly rhinos fighting each other. I think I was doubly stunned because of what the images told me about the intelligence of the people who created this ancient art. When T. S. Eliot came out from viewing the sixteen-thousand-year-old cave paintings at Lascaux, he is reported to have said something along the lines of, “We haven’t changed a bit,” and I could see that, I could see what he meant, as if Picasso or Klee or Matisse or de Kooning had been down there, painting away, or at least their spirits encaved in the bodies of Cro Magnon man.

I also liked the music in the film. It was often melodic and spiritual like the milieu it described, especially at the end, where the narration takes a holiday and lets the camera work. The fine lines of the cave drawings along with the choral voices allow us to step back into our racial memories, our racial minds, and contemplate the long run of humanity on this planet. They allow us to ponder what is possible, what might come to pass.

At one point in the film, Herzog takes us out of the cave and on a cinematic sojourn to the University of Tübingen in Germany where a large exhibit of small sculptures of Venus and animals of the Paleolithic era is housed. We get a clinical analysis of these artifacts‘ relationship to the paintings at Chauvet (evidently they are all from the same time period, give or take five thousand years) and how Cro Magnon could carry on so advanced a concept as paintings and art while his neighbor Neanderthals were not capable of creating anything of the sort. All of this was interesting, but to me, felt as if the magic created by the paintings, their rendition in Herzog’s film, and attention to the power of art were all defeated by the measuring stick-and-caliper outlook of the sciences of studying ancient peoples.

I was glad when that train of thought ended and we returned to the magnificence of the paintings, what they said about my ancestors’ intelligence, their powers of observation and creativity. Some of the paintings are five thousand years older than others, so the time frame in which the cave was used as a ceremonial site, but apparently not lived in, is as long as the history of the written word in our Homo sapiens sapiens sub-species.

Given my innate fear of caves, I sat and wondered if I would go down to look at these images and I have to say yes, I would. In the film, Herzog points out that he and his crew often felt as if they were being watched by the ancients, and he remarked that the anthropologists, the geologists, the paleontologist also had the same sensation, so maybe my old fears are not without grounding in the human psyche.

I would definitely recommend that you go see this film. It is a visual masterpiece, and to boot, stimulates the imagination. The Cave of Forgotten Dreams will force you to ponder various issues, how far apart we are from the artists who created the Chauvet paintings, and how alike we are. They were smart, as smart as the men who built the windlasses that lowered miners down into the vertical mine shafts that we investigated in my youth. As smart as we are now. Not yet with the tools that make us what we are in this time, but smart enough to understand the world they inhabited and to record and interpret what they saw.

August 26, 2011

A Day at the Races

I cleaned my office this last weekend and as I straightened the bookshelves, J Edward Chamberlain’s, Horse (Blue Ridge, New York, NY), fell on the floor. Horse is a narrative that laymen can read about how mankind and the horse have developed a somewhat unique, symbiotic relationship.

As I hefted the book, an image of the racetrack vaulted into my mind. Not just any racetrack, but the racetrack at Ruidoso, New Mexico where they specialize in American Quarter Horse racing with the distance being a quarter of a mile, the money pot being in the millions.

Ruidoso crouches beneath the shoulders of Sierra Blanca, a twelve-thousand-foot peak in the southern part of the state. A lot of big Texas “awl bidness” money hangs around the restaurants, boutiques and honky tonks. There is a ski area and more important to horse folk, a racetrack.

One of my father’s younger brothers, Hugh, and his wife Lona Beth, owned a house on the Rio Ruidoso in the older part of town. They had box seats at the race track, too. Betty and I, for a time, lived thirty miles south in the more modest village of Cloudcroft. But we got invited to the track and we sat and watched the races and we bet from the sheet and lost money until Aunt Lona Beth pointed out that one shouldn’t bet the horses. They should bet the trainers and the jockeys and the owners. I thought, but geez, that means you have to know them. She read my mind and smiled as she went back to her racing notes, and then to the window to get her winnings.

The rest of the day I imagined I witnessed(or maybe I really did see it) the jockeys on the favorite horses in particular races pulling back on the reins so that one of the other horse owners could win some money and pay a feed bill, pay the veterinarian, pay for his daughter’s wedding in Telluride or Steamboat Springs.

Right then, I understood what was meant years earlier in the palaver I heard in Prescott, AZ about jockeys holding the horses back. That was in1976 when I summer-long hung out at Bruno’s Buffet just across the main drag from the racetrack. Bruno’s was chock full of horse owners and trainers and jockeys, not to mention the other gambler denizens. I was more interested in the vintage pinball machines against the back wall and the homemade tamales and burritos and of course the Coors and the schnapps and the Dewars and water. But I do recall the men sitting at the bar winking and giggling about shenanigans at the track. Drugs to speed up a steed or slow him down, or her if she was a filly. They fought, too, bringing their competitive natures from the track into the bar where the liquor started doing the talking and then fists started cracking faces and the pointed toes of ostrich skin cowboy boots bomb-shelled into opponents’ soft groins. Humans are a competitive bunch and they sling their drive to win onto the shoulders of all kinds of things: their hands, their feet, their fellow man, their brains tied to poker hands of aces and queens, the back of a horse, a pinball machine.

Back in the early 1970s I used to hang out on Sunday afternoons outside of Casa Grande, Arizona at the weekly races sponsored by the Los Conquistadores, a local Hispanic caballero club. Cars would line up along a makeshift track, their trunks open and loaded with Corona and Dos Equis and Coca Cola and orange sodas from Fanta de Mexico, or Jarritos, and better yet, fresh tamales and burritos, lots of jalapeño and Serrano chile slices laced among the beans and meat. The kind of food that made your mouth burn and your nose run and your head sweat and goosed you so you felt like you might just get out there and run beside those elegant caballos whose owners let them strut and kick up puffs of dust to whet betting appetites. A lot of cash changed hands out there one race after another, the green hundred-dollar notes flapping in the breeze as one man agonized and another rejoiced. Sometimes the tempers flared and men threatened others, but then one of the gentes managing the race stepped in and refereed, negotiated.

Back then I used to work at a large agricultural concern out west of town in the flat Sonoran desert plain below Dick Nixon Mountain and Table Top. One of the owners’ sons, whom I will call Butch, loved racing horses and bought a fancy prancing young dun stud he hoped would win him money and fame. He didn’t ride it himself; he hired one of the hostlers who worked for the company instead. That man was a slight Vietnam Vet whose seamed and ruddy face told stories he would never relate. He sat a horse like he was part of the animal; they reminded me of a centaur. The dun stud and the hostler would lope across the flat, greasewood-pocked ground leaving their caliche clay signature on the wisps of the wind. That dun was a moody, cranky thing and the only man who could handle him was the hostler.

Late one Saturday evening a strange pickup truck and horse trailer pulled up outside the office and some Chicanos I had seen all my life, but did not know, unloaded a big dapple gray gelding who stood around and sniffed with suspicion the eighty-two-thousand head of Hereford, Brahma, and angus cross-bred cattle in the feed pens.

I asked a cowpoke what was up and he told me there was a match race for big money. Of a sudden, cars and pickups began to arrive and the hostler brought the dun out and it snorted and cavorted sideways as the hostler talked soft words of comfort in its ears that reminded me of radio antennae the way they checked out the hubbub building with the powdered dust of the parking lot.

All of a sudden too, big white Panama-hatted cowboys and long-haired hippies and Chicano dudes arrived in large groups, drinking Dos Equis and speaking Español; also a couple of Yaqui Indians who hung back, leaning against some sucker rod fence as they laughed at all the proceedings. And yes, the greenbacks started to flash and a lot of harsh talk, as if words of intimidation from one man to the next would make a difference in how a horse would run. One man had a .357 Magnum six-shooter sticking barrel first in his left rear pants pocket. I hoped it wouldn’t fall out, go off and hit me.

The jockeys jockeyed their horses to the line. A cotton farmer with a long-barreled .22 Magnum said something about the race, although I was more interested in the array of weapons I saw sticking out of boots, hanging on belts. I wondered when the war might start. Was this a horse race or were we going to invade Baja California? All the Chicanos and most of the hippies sided with the owner of the dappled gray. Most of the cowboys and some of the hippies sided with Butch, the hostler and the young dun stud.

A stocky man stomped back and forth between each group, swearing in English and Spanish as the horses snorted and jumped around as if infected with the sense of competition. The bets continued. I kept my wallet in my pocket.

The stocky man flexed his fists like he wanted to hit someone and I heard talk that he liked to drive sixteen-penny nails into railroad ties with those fists. I doubted he could do that and smiled, but only on the inside, as I thought how that might feel, to pound a nail with the fist. Why in the hell would someone want to do that unless to show somebody else up, I reckoned as I inched my way to the back of the cowboy crowd.

While I was watching the hammer-fisted dude slinging his vernacular of violence around, the .22 Magnum reported and as I stood on the toes of my boots I saw those two horses, the muscled dapple gray and the young dun stud, erupt like funny cars at the drag races. They were gone and each of the jockeys, especially the hostler, leaned off his ride, slapping at the other jockey with his quirt. A lot of the men in each crowd were busy hurling epithets at counterparts on the other side and missed Butch’s dun win the race by better than two lengths. An anti-climax, for sure.

I moved back and stood next to the Yaquis, anticipating the fireworks to come. My heart sped up with the thought of some fist fights, a knifing, a shooting; but while the winner’s crowd ganged around Butch, the hostler and the dun, the loser’s crowd quickly sneaked off, leaving a lot of hot-tempered talk about welching on bets and the like.

It’s amazing, I think, how a man and an animal can symbiotically interact and create an entire industry—horse racing—that so perfectly corrals some of the essential best, and worst, of human emotions. The horse usually being the one that does most of the heavy work. The humans creating the rest—the hubbub, the competition, the hate, and yes, the love.