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Contents ( 49)
  1. Contents
  2. Editor’s Note
  3. I
  4. Ned: The Early Years
  5. 1927–37: Stump Creek, West Virginia
  6. Hallelujah on the Bum
  7. How It Was
  8. Drunk in the Afternoon
  9. Journal IV
  10. II
  11. Ed: The Early Years
  12. From The Fool’s Progress
  13. From The Brave Cowboy
  14. Manhattan Twilight, Hoboken Night
  15. Author’s Introduction to Desert Solitaire
  16. The First Morning
  17. The Serpents of Paradise
  18. Polemic: Industrial Tourism and the National Parks
  19. Tukuhnikivats, the Island in the Desert
  20. Appalachian Pictures
  21. Appalachia, Good-bye
  22. My Life as a P.I.G., or The True Adventures of Smokey the Cop
  23. III
  24. Ed Moves On
  25. From Black Sun
  26. 1971–77: Henry in Love—An Interlude
  27. The Wooden Shoe Conspiracy
  28. The Raid at Comb Wash
  29. Death Valley Junk
  30. Meeting the Bear
  31. Aravaipa Canyon
  32. IV
  33. Postlude
  34. A Colorado River Journal
  35. From Good News
  36. Desert Images
  37. The Damnation of a Canyon
  38. Gather at the River
  39. River Solitaire
  40. Free Speech
  41. Theory of Anarchy
  42. Eco-Defense
  43. A Writer’s Credo
  44. Immigration and Liberal Taboos
  45. Abbey The Fool’s Progress
  46. Postlude
  47. A Few Words in Memory of Edward Abbey
  48. A Selected Bibliography of Works by Edward Abbey
  49. Acknowledgments

TWO MEN SIT on a rock halfway up the slope of a desert mountain. Sundown: The air is still, caught in the pause between the heat of day, the cool of evening. Doves call in twilight, testing the tentative peace. Downslope from the men a rattlesnake slides from its dark den, scales hissing over stone; the yellow eyes glow with hunger—death in its glance.

The men are roasting the remains of a small mammal—too small for goat, too large for rabbit—on a bed of mesquite coals. Their horses stumble nearby, hobbled, browsing on thorny acacia, prickly pear, bursage. The feed is scanty here and the horses look ganted and weary; like the men they have come a long way.

One man pokes at the fire with a stick and turns the meat over. “How do you want it, boss?”

The other man, staring at something far in the west, does not immediately reply. His gaze is fixed on the fires of a burning city, where towers of dark glass stand in smoke and dust against the yellow sky of sunset. “What’s that?” he says. “What’d you say?”

Patiently the first man says, “Rare, medium or well done?”

“What was it?”

“Part Airedale, maybe. Part coyote. Maybe a few other things.”

“Oh God, Sam, I don’t care. Any way you like it.”

The one addressed as Sam shrugs his bare shoulders and draws a big knife from his belt. “I’ll have mine rare, boss. This here warrior is hungry.” He lifts the roast dog from the embers with the point of the knife, lays it on the rock, slices off a thin steak, puts the rest back on the fire. Lifting the meat to his jaws he looks again at his companion. “You got to eat, boss. Keep up your strength. You’re going to need it.”

From nearby comes the clash of steel on stone. The second man says, “Those horses need it. Look at them poor devils.”

“I know, boss. We’ll take them down in the canyon after dark. Safer then.” Sam chews on his supper, grunting with pleasure. He is a short, heavy, shirtless fellow; his brown skin, smooth and nearly hairless, shines with an oily gleam; the hair on his head is blue-black, rich and coarse, bound in a club at the nape of the neck. Neither the body nor his face—a round, full, saddle-colored face, wily, wise, humorous—offers much clue to his age. He could be thirty, he could be fifty-five. He could be a shaman, a wizard, a witch doctor, altering his age from time to time to suit the circumstances.

The second man is hard to see, hard to make out. In the twilight of evening he might be a ghost. But he is clearly old, well advanced in his mortality—the sunburned beak of nose projects above a narrow, pointed, cadaverous jaw that bristles, like cactus, with stiff frosty stubble. Under the shadow of his broad-brimmed hat the eyes, set deep and wide in cavernous sockets, look out on the world with asymmetric intensity: one eye clear, bright, lifeless, the other old and dark and tired but alive, all the same, with a melancholy passion. The left eye is glass but the other—his shooting eye—is living plasm, wired to the circuits of the mind and soul.