The Bridges of Madison County, Page 3

  I look down the barrel of a lens, and you’re at the end of it. I begin work on an article, and I’m writing about you. I’m not even sure how I got back here from Iowa. Somehow the old truck brought me home, yet I barely remember the miles going by. A few weeks ago, I felt self-contained, reasonably content. Maybe not profoundly happy, maybe a little lonely, but at least content. All of that has changed. It’s clear to me now that I have been moving toward you and you toward me for a long time. Though neither of us was aware of the other before we met, there was a kind of mindless certainty humming blithely along beneath our ignorance that ensured we would come together. Like two solitary birds flying the great prairies by celestial reckoning, all of these years and lifetimes we have been moving toward one another.

  The road is a strange place. Shuffling along, I looked up and you were there walking across the grass toward my truck on an August day. In retrospect, it seems inevitable—it could not have been any other way—a case of what I call the high probability of the improbable.

  So here I am walking around with another person inside of me. Though I think I put it better the day we parted when I said there is a third person we have created from the two of us. And I am stalked now by that other entity.

  Somehow, we must see each other again. Any place, anytime.

  Call me if you ever need anything or simply want to see me. I’ll be there, pronto. Let me know if you can come out here sometime— anytime. I can arrange plane fare, if that’s a problem. I’m off to southeast India next week, but I’ll be back in late October.

  I Love You,

  Robert

  P. S., The photo project in Madison County turned out fine. Look for it in NG next year. Or tell me if you want me to send a copy of the issue when it’s published.

  Francesca Johnson set her brandy glass on the wide oak windowsill and stared at an eight-by-ten black-and-white photograph of herself. Sometimes it was hard for her to remember how she had looked then, twenty-two years ago. In tight faded jeans, sandals, and a white T-shirt, her hair blowing in the morning wind as she leaned against a fence post.

  Through the rain, from her place by the window, she could see the post where the old fence still circumscribed the pasture. When she rented out the land, after Richard died, she stipulated the pasture must be kept intact, left untouched, even though it was empty now and had turned to meadow grass.

  The first serious lines were just beginning to show on her face in the photograph. His camera had found them. Still, she was pleased with what she saw. Her hair was black, and her body was full and warm, filling out the jeans just about right. Yet it was her face at which she stared. It was the face of a woman desperately in love with the man taking the picture.

  She could see him clearly also, down the flow of her memory. Each year she ran all of the images through her mind, meticulously, remembering everything, forgetting nothing, imprinting all of it, forever, like tribesmen passing down an oral history through the generations. He was tall and thin and hard, and he moved like the grass itself, without effort, gracefully. His silver-gray hair hung well below his ears and nearly always looked disheveled, as if he had just come in from a long sea voyage through a stiff wind and had tried to brush it into place with his hands.

  His narrow face, high cheekbones, and hair falling over his forehead set off light blue eyes that seemed never to stop looking for the next photograph. He had smiled at her, saying how fine and warm she looked in early light, asked her to lean against the post, and then moved around her in a wide arc, shooting from knee level, then standing, then lying on his back with the camera pointed up at her.

  She had been slightly embarrassed at the amount of film he used but pleased by the amount of attention he paid to her. She hoped none of the neighbors were out early on their tractors. Though on that particular morning she hadn’t cared too much about neighbors and what they thought.

  He shot, loaded film, changed lenses, changed cameras, shot some more, and talked quietly to her as he worked, always telling her how good she looked to him and how much he loved her. “Francesca, you’re incredibly beautiful.” Sometimes he stopped and just stared at her, through her, around her, inside of her.

  Her nipples were clearly outlined where they pressed against the cotton T-shirt. She had been strangely unconcerned about that, about being naked under the shirt. More, she was glad of it and was warmed knowing that he could see her breasts so clearly down his lenses. Never would she have dressed this way around Richard. He would not have approved. Indeed, before meeting Robert Kincaid, she would not have dressed this way anytime.

  Robert had asked her to arch her back ever so slightly, and he had whispered then, “Yes, yes, that’s it, stay there.” That was when he had taken the photograph at which she now stared. The light was perfect, that’s what he had said—“cloudy bright” was his name for it—and the shutter clicked steadily as he moved around her.

  He was lithe; that was the word she had thought of while watching him. At fifty-two his body was all lean muscle, muscle that moved with the kind of intensity and power that comes only to men who work hard and take care of themselves. He told her he had been a combat photographer in the Pacific, and Francesca could imagine him coming up smoke-drenched beaches with the marines, cameras banging against him, one to his eye, the shutter almost on fire with the speed of his picture taking.

  She looked at the picture again, studied it. I did look good, she thought, smiling to herself at the mild self-admiration. “I never looked that good before or after. It was him.” And she took another sip of brandy while the rain climbed up and rode hard on the back of November wind.

  Robert Kincaid was a magician of sorts, who lived within himself in strange, almost threatening places. Francesca had sensed as much immediately on a hot, dry Monday in August 1965, when he stepped out of his truck onto her driveway. Richard and the children were at the Illinois State Fair, exhibiting the prize steer that received more attention than she did, and she had the week to herself.

  She had been sitting on the front porch swing, drinking iced tea, casually watching the dust spiral up from under a pickup coming down the county road. The truck was moving slowly, as if the driver were looking for something, stopped just short of her lane, then turned up it toward the house. Oh, God, she had thought. Who’s this?

  She was barefoot, wearing jeans and a faded blue workshirt with the sleeves rolled up, shirttail out. Her long black hair was fastened up by a tortoiseshell comb her father had given her when she left the old country. The truck rolled up the lane and stopped near the gate to the wire fence surrounding the house.

  Francesca stepped off the porch and walked unhurriedly through the grass toward the gate. And out of the pickup came Robert Kincaid, looking like some vision from a never-written book called An Illustrated History of Shamans.

  His tan military-style shirt was tacked down to his back with perspiration; there were wide, dark circles of it under his arms. The top three buttons were undone, and she could see tight chest muscles just below the plain silver chain around his neck. Over his shoulders were wide orange suspenders, the kind worn by people who spent a lot of time in wilderness areas.

  He smiled. “I’m sorry to bother you, but I’m looking for a covered bridge out this way, and I can’t find it. I think I’m temporarily lost.” He wiped his forehead with a blue bandanna and smiled again.

  His eyes looked directly at her, and she felt something jump inside. The eyes, the voice, the face, the silver hair, the easy way he moved his body, old ways, disturbing ways, ways that draw you in. Ways that whisper to you in the final moment before sleep comes, when the barriers have fallen. Ways that rearrange the molecular space between male and female, regardless of species.

  The generations must roll, and the ways whisper only of that single requirement, nothing more. The power is infinite, the design supremely elegant. The ways are unswerving, their goal is clear. The ways are simple; we have made them seem complicated. Francesca s
ensed this without knowing she was sensing it, sensed it at the level of her cells. And there began the thing that would change her forever.

  A car went past on the road, trailing dust behind it, and honked. Francesca waved back at Floyd Clark’s brown arm sticking out of his Chevy and turned back to the stranger. “You’re pretty close. The bridge is only about two miles from here.” Then, after twenty years of living the close life, a life of circumscribed behavior and hidden feelings demanded by a rural culture, Francesca Johnson surprised herself by saying, “I’ll be glad to show it to you, if you want.”

  Why she did that, she never had been sure. A young girl’s feelings rising like a bubble through water and bursting out, maybe, after all these years. She was not shy, but not forward, either. The only thing she could ever conclude was that Robert Kincaid had drawn her in somehow, after only a few seconds of looking at him.

  He was obviously taken aback, slightly, by her offer. But he recovered quickly and with a serious look on his face said he’d appreciate that. From the back steps she picked up the cowboy boots she wore for farm chores and walked out to his truck, following him around to the passenger side.

  “Just take me a minute to make room for you; lots of gear ‘n’ stuff in here.” He mumbled mostly to himself as he worked, and she could tell he was a little flustered, and a little shy about the whole affair.

  He was rearranging canvas bags and tripods, a Thermos bottle and paper sacks. In the back of the pickup were an old tan Samsonite suitcase and a guitar case, both dusty and battered, both tied to a spare tire with a piece of clothesline rope.

  The door of the truck swung shut, banging him in the rear as he mumbled and sorted and stuffed paper coffee cups and banana peels into a brown grocery bag that he tossed into the truck box when he was finished. Finally he removed a blue-and-white ice chest and put that in the back as well. In faded red paint on the green truck door was printed “Kincaid Photography, Bellingham, Washington.”

  “Okay, I think you can squeeze in there now.” He held the door, closed it behind her, then went around to the driver’s side and with a peculiar, animal-like grace stepped in behind the wheel. He looked at her, just a quick glance, smiled slightly, and said, “Which way?”

  “Right.” She motioned with her hand. He turned the key, and the out-of-tune engine ground to a start. Along the lane toward the road, bouncing, his long legs working the pedals automatically, old Levi’s running down over leather-laced, brown field boots that had seen lots of foot miles go by.

  He leaned over and reached into the glove compartment, his forearm accidentally brushing across her lower thigh. Looking half out the windshield and half into the compartment, he took out a business card and handed it to her. “Robert Kincaid, Writer-Photographer.” His address was printed there, along with a phone number.

  “I’m out here on assignment for National Geographic,” he said. “You familiar with the magazine?”

  “Yes.” Francesca nodded, thinking, Isn’t everybody?

  “They’re doing a piece on covered bridges, and Madison County, Iowa, apparently has some interesting ones. I’ve located six of them, but I guess there’s at least one more, and it’s supposed to be out in this direction.”

  “It’s called Roseman Bridge,” said Francesca over the noise of the wind and tires and engine. Her voice sounded strange, as if it belonged to someone else, to a teenage girl leaning out of a window in Naples, looking far down city streets toward the trains or out at the harbor and thinking of distant lovers yet to come. As she spoke, she watched the muscles in his forearm flex when he shifted gears.

  Two knapsacks were beside her. The flap of one was closed, but the other was folded back, and she could see the silver-colored top and black back of a camera sticking out. The end of a film box, “Kodachrome II, 25. 36 Exposures,” was taped to the camera back. Stuffed behind the packs was a tan vest with many pockets. Out of one pocket dangled a thin cord with a plunger on the end.

  Behind her feet were two tripods. They were badly scratched, but she could read part of the worn label on one: “Gitzo.” When he had opened the glove box, she noticed it was crammed with notebooks, maps, pens, empty film canisters, loose change, and a carton of Camel cigarettes.

  “Turn right at the next corner,” she said. That gave her an excuse to glance at the profile of Robert Kincaid. His skin was tanned and smooth and shiny with sweat. He had nice lips; for some reason she had noticed that right away. And his nose was like that she had seen on Indian men during a vacation the family had taken out west when the children were young.

  He wasn’t handsome, not in any conventional sense. Nor was he homely. Those words didn’t seem to apply to him. But there was something, something about him. Something very old, something slightly battered by the years, not in his appearance, but in his eyes.

  On his left wrist was a complicated-looking watch with a brown, sweat-stained leather band. A silver bracelet with some intricate scrollwork clung to his right wrist. It needed a good rubbing with silver polish, she thought, then chastised herself for being caught up in the trivia of small-town life she had silently rebelled against through the years.

  Robert Kincaid pulled a pack of cigarettes from his shirt pocket, shook one halfway out, and offered it to her. For the second time in five minutes, she surprised herself and took the cigarette. What am I doing? she thought. She had smoked years ago but gave it up under the steady thump of criticism from Richard. He shook out another one, put it between his lips, and flicked a gold Zippo lighter into flame, holding it toward her while he kept his eyes on the road.

  She cupped her hands around the lighter to hold the wind in abeyance and touched his hand to steady it against the bouncing of the truck. It took only an instant for her to light the cigarette, but that was long enough to feel the warmth of his hand and the tiny hairs along the back of it. She leaned back and he swung the lighter toward his own cigarette, expertly forming his wind cup, taking his hands off the steering wheel for no more than a second.

  Francesca Johnson, farmer’s wife, rested against the dusty truck seat, smoked the cigarette, and pointed. “There it is, just around the curve.” The old bridge, peeling red in color, tilting slightly from all the years, sat across a small stream.

  Robert Kincaid had smiled then. He quickly looked at her and said, “It’s great. A sunrise shot.” He stopped a hundred feet from the bridge and got out, taking the open knapsack with him. “I’m going to do a little reconnaissance for a few minutes, do you mind?” She shook her head and smiled back.

  Francesca watched him walk up the country road, taking a camera from the knapsack and then slinging the bag over his left shoulder. He had done that thousands of times, that exact movement. She could tell by the fluidity of it. As he walked, his head never stopped moving, looking from side to side, then at the bridge, then at the trees behind the bridge. Once he turned and looked back at her, his face serious.

  In contrast with the local folks, who fed on gravy and potatoes and red meat, three times a day for some of them, Robert Kincaid looked as if he ate nothing but fruit and nuts and vegetables. Hard, she thought. He looks hard, physically. She noticed how small his rear was in his tight jeans— she could see the outlines of his billfold in the left pocket and the bandanna in the right one—and how he seemed to move over the ground with unwasted motion.

  It was quiet. A redwing blackbird sat on fence wire and looked in at her. A meadowlark called from the roadside grass. Nothing else moved in the white sun of August.

  Just short of the bridge, Robert Kincaid stopped. He stood there for a moment, then squatted down, looking through the camera. He walked to the other side of the road and did the same thing. Then he moved into the cover of the bridge and studied the beams and floor planks, looked at the stream below through a hole in the side.

  Francesca snuffed out her cigarette in the ashtray, swung open the door, and put her boots on the gravel. She glanced around to make sure none of her neighbors’ car
s were coming and walked toward the bridge. The sun was a hammer in late afternoon, and it looked cooler inside the bridge. She could see his silhouette at the other end until he disappeared down the incline toward the stream.

  Inside, she could hear pigeons burbling softly in their nests under the eves and put the palm of her hand on the side planking, feeling the warmth. Graffiti was scrawled on some of the planks: “Jimbo—Denison, Iowa.” “Sherry + Dubby.” “Go Hawks!” The pigeons kept on burbling softly.

  Francesca peeked through a crack between two of the side planks, down toward the stream where Robert Kincaid had gone. He was standing on a rock in the middle of the little river, looking toward the bridge, and she was startled to see him wave. He jumped back to the bank and moved easily up the steep grade. She kept watching the water until she sensed his boots on the bridge flooring.

  “It’s real nice, real pretty here,” he said, his voice reverberating inside the covered bridge.

  Francesca nodded. “Yes, it is. We take these old bridges for granted around here and don’t think much about them.”

  He walked to her and held out a small bouquet of wildflowers, black-eyed Susans. “Thanks for the guided tour.” He smiled softly. “I’ll come back at dawn one of these days and get my shots.” She felt something inside of her again. Flowers. Nobody gave her flowers, even on special occasions.

  “I don’t know your name,” he said. She realized then that she had not told him and felt dumb about that. When she did, he nodded and said, “I caught the smallest trace of an accent. Italian?”

  “Yes. A long time ago.”

  The green truck again. Along the gravel roads with the sun lowering itself. Twice they met cars, but it was nobody Francesca knew. In the four minutes it took to reach the farm, she drifted, feeling unraveled and strange. More of Robert Kincaid, writer-photographer, that’s what she wanted. She wanted to know more and clutched the flowers on her lap, held them straight up, like a schoolgirl coming back from an outing.