Everything's Eventual

   Perhaps, I thought, she is alive. Singing "Tie a Yellow Ribbon" at The Jailhouse in Ely or "Take a Message to Michael" at The Rose of Santa Fe in Hawthorne. Backed up by a three-piece combo. Old men trying to look young in red vests and black string ties. Or maybe she's blowing GM cowboys in Austin or Wendover—bending forward until her breasts press flat on her thighs beneath a calendar showing tulips in Holland; gripping set after set of flabby buttocks in her hands and thinking about what to watch on TV that night, when her shift is done. Perhaps she just pulled over to the side of the road and walked away. People do that. I know it, and probably you do, too. Sometimes people just say fuck it and walk away. Maybe she left Frank behind, thinking someone would come along and give him a good home, only it was the Axe Man who came along, and . . .

   But no. I met Lulubelle, and for the life of me I can't see her leaving a dog to most likely roast to death or starve to death in the barrens. Especially not a dog she loved the way she loved Frank. No, L.T. hadn't been exaggerating about that; I saw them together, and I know.

   She could still be alive somewhere. Technically speaking, at least, L.T.'s right about that. Just because I can't think of a scenario that would lead from that car with the door hanging open and the rearview mirror lying on the floor and the dog lying dead and crowpicked two rises away, just because I can't think of a scenario that would lead from that place near Caliente to some other place where Lulubelle Simms sings or sews or blows truckers, safe and unknown, well, that doesn't mean that no such scenario exists. As I told L.T., it isn't as if they found her body; they just found her car, and the remains of the dog a little way from the car. Lulubelle herself could be anywhere. You can see that.

   I couldn't sleep and I felt thirsty. I got out of bed, went into the bathroom, and took the toothbrushes out of the glass we keep by the sink. I filled the glass with water. Then I sat down on the closed lid of the toilet and drank the water and thought about the sound that Siamese cats make, that weird crying, how it must sound good if you love them, how it must sound like coming home.

The Road Virus Heads North

I actually have the picture described in this story, how weird is that? My wife saw it and thought I'd like it (or at least react to it), so she gave it to me as a . . . birthday present? Christmas present? I can't remember. What I can remember is that none of my three kids liked it. I hung it in my office, and they claimed the driver's eyes followed them as they crossed the room (as a very small boy, my son Owen was similarly freaked by a picture of Jim Morrison). I like stories about pictures that change, and finally I wrote this one about my picture. The only other time I can remember being inspired to write a story based on an actual picture was "The House on Maple Street," based on a black-andwhite drawing by Chris Van Allsburg. That story is in Nightmares and Dreamscapes. I also wrote a novel about a picture that changes. It's called Rose Madder, and is probably the best read of my novels (no movie, either). In that story, the Road Virus is named Norman.

Richard Kinnell wasn't frightened when he first saw the picture at the yard sale in Rosewood.

   He was fascinated by it, and he felt he'd had the good luck to find something which might be very special, but fright? No. It didn't occur to him until later ("not until it was too late," as he might have written in one of his own numbingly successful novels) that he had felt much the same way about certain illegal drugs as a young man.

   He had gone down to Boston to participate in a PEN/New England conference titled "The Threat of Popularity." You could count on PEN to come up with such subjects, Kinnell had found; it was actually sort of comforting. He drove the two hundred and sixty miles from Derry rather than flying because he'd come to a plot impasse on his latest book and wanted some quiet time to try to work it out.