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      March 6, 2015from WolfeDonald Mace Williams

      Tha com of more   under misthleoþum
      Grendel gongan,   Godes yrre bær.
      —Beowulf

      When he arrived at the cave or den, the hunter took a short candle in one hand, his six-shooter in the other, wiggled into the den, and shot … by the reflection of the light in her eyes.
      —J. Evetts Haley, The XIT Ranch of Texas

      Fat Herefords grazed on rich brown grass.
      Tom Rogers watched three winters pass,
      Then, all his ranch paid off, designed
      A bunkhouse, biggest of its kind
      In that wide stretch of Caprock lands,
      To house the army of top hands
      That rising markets and good rain
      Forced and allowed him to maintain.
      At night sometimes a cowboy sang
      Briefly to a guitar’s soft twang
      While others talked, wrote letters home,
      Or stared into brown-bottle foam.
      Rogers, white-haired as washed gyp rock,
      Stood winding Cyclops, the tall clock,
      One night and heard the sleepy sound
      Of song across the strip of ground
      Between the bunkhouse and the house.
      He smiled and dropped his hand. Near Taos,
      At night, pensive and wandering out
      From camp, a young surveyor-scout,
      He had heard singing just that thin
      Rise from the pueblo. Go on in,
      A voice kept saying, but he stood,
      One arm hooked round a cottonwood
      For strength until, ashamed, he whirled
      And strode back to the measured world.
      Strange, how that wild sound in the night
      Had drawn him, who was hired to sight
      Down lines that tamed. So now, he thought,
      Winding until the spring came taut,
      This clock, this house, these wide fenced plains,
      These little towns prove up our pains.
      He went to bed, blew out the light
      On the nightstand, said a good night
      To Elsa, and dropped off to sleep
      Hearing a last faint twang.
      From deep
      In the fierce breaks came a reply,
      A drawn-out keening, pitched as high
      And savage as if cowboy songs,
      To strange, sharp ears, summed up all wrongs
      Done to the wilderness by men,
      Fences, and cows. With bared teeth then,
      Ears back, the apparition skulked
      Across the ridges toward the bulked,
      Repulsive forms of house and shed,
      Till now not neared. The next dawn’s red
      Revealed a redder scene. The pen
      Where calving heifers were brought in
      In case of need lay strewn and gory,
      Each throat and belly slashed, a story
      Of rage, not hunger; nothing gone
      But one calf’s liver. His face drawn,
      Rogers bent close to find a track
      In the hard dirt. Then he drew back,
      Aghast. Though it was mild and fair,
      He would always thereafter swear
      There hung above that broad paw print
      With two deep claw holes a mere hint,
      The sheerest wisp, of steam. He stood
      Silent. When finally he could,
      He said, “Well, I guess we all know
      What done this. No plain lobo, though.
      I’ve seen a few. They never killed
      More than to get their belly filled.
      This one’s a devil. Look at that.”
      He toed a carcass. Where the fat
      And lean had been flensed, red and white,
      From a front leg, a second bite
      Had crushed the bone above the knee.
      By ones and twos men leaned to see
      With open mouths. A clean, dark hole
      At one side punched clear through the bole.
      “That’s no tooth, it’s a railroad spike,”
      One cowboy breathed. Or else it’s like,
      Tom Rogers thought, a steel-tipped arrow
      Such as once pierced him, bone and marrow,
      Mid-calf when, riding in advance
      Of wagons on the trail to Grants,
      Attacked, he turned and in the mud
      Escaped with one boot full of blood.
      At least the Indians had a cause,
      He thought. This thing came from the draws
      To kill and waste, no more. He spat
      And said, “I’ll get hitched up.” At that,
      Two cowboys jumped to do the chore
      While from the pile by the back door
      Others, jaws set, began to carry
      Cottonwood logs onto the prairie
      Where horses dragged the grim night’s dead
      Like travois to their fiery bed.
      Rogers, with hands in pockets, stood
      And said, “That barbecue smells good.”
      But the half-smile he struggled for
      Turned on him like a scimitar
      And cowboys, sensing, kept their eyes
      Down and said nothing. By sunrise
      Of the next day the word was out
      By mouth and telegraph about
      The beast that crept out of the dark
      And slaughtered like a land-bound shark,
      Evil, bloodthirsty, monstrous. Soon
      The story was that the full moon
      Caused that four-legged beast to rise
      On two feet and with bloodshot eyes
      To roam the plains in search of prey
      Like some cursed half-man. In one day
      Three of Rogers’ good cowboys quit,
      No cowards but not blessed with wit
      To fathom the unknown, and more
      Kept glancing at the bunkhouse door
      At night as if, next time, the thing
      Might burst inside. “Hey, man, don’t sing,”
      One said as a guitar came out.
      There did seem, thinking back, no doubt
      That music must have been what stirred
      The anger out there. Some had heard
      The answer. They agreed the sound
      Came after Ashley’s fingers found
      The highest note of that night’s strumming.
      “Play it again you know what’s coming,”
      Said one named Humphrey. Ashley, who
      Like Humphrey had seen Rogers through
      The hard first years of ranching there,
      Loyal and lean, kept guessing where
      The thing would strike next. Every night
      He rode out to some downwind site
      Deep in the wildest breaks and waited.
      Nothing. But then, as if so fated,
      Homeward at dawn, on this high rim
      Or in that gulch he found the grim
      Fang-torn remains of cow or calf.
      Before long Rogers’ herd was half
      What it had been. If half his hands
      Had not already found the bands
      Of loyalty no longer served
      And drawn their pay and left, unnerved
      By these unholy deeds, their boss
      Would have no choice, with nightly loss
      Of his best stock, but cut his force
      Like cutting calves out with a horse.
      Ashley, of course, would always stay
      Though everything else went its way.
      Those two had cowboyed in all weather
      And for a while had fought together
      Against the Indians’ dwindling ranks,
      Ending between the steep red banks
      Of Palo Duro, that brief fight
      That put the tribes to final flight,
      Horseless and foodless. The next day,
      Colonel Mackenzie took the way
      Surest to keep the foe from turning
      Back to his killing, theft, and burning.
      He gathered his captains about,
      Said, “Take these Indian horses out
      And shoot them.” Rogers was the head
      Of Ashley’s squad. The soldiers led
      Horse after snorting horse away,
      A thousand head to kill. They say
      The white bones made, in later years,
      A heap like bent and bleaching spears.
      They might as well have been spears. Shorn
      Of their chief means of war, forlorn,
      Hungry, and whipped, the sad tribes found
      The long paths to that plotted ground
      Decreed as home for them, no more
      To hunt and plunder. From that store
      Of battle memories, of thirst
      And weariness they shared, of worst
      And best, noncom and soldier grew
      To boss and hand when they were through
      Clearing the way for settlement,
      Theirs and the thousands like them, bent
      On owning, taming that wild land.
      Now, one had grown a wise top hand
      In middle years, tough, and yet given
      To strumming music, sometimes driven
      To ride out when the moon sat round
      And dark on the far rim and sound
      A sadness he could not explain,
      As if pity and guilt had lain
      Unknown through the long interval
      Since the last moon had hung that full
      Of melancholy, even fear.
      But Rogers, finding year by year
      That sitting on a horse straight-spined
      Was harder, most days stayed behind
      While cowboys went out riding fence
      Or pulling calves. His recompense
      For his lost saddle was a chair
      On his long, screened-in back porch, where
      He rocked and watched his herd on grass
      That not long back felt no hooves pass
      But buffaloes’, there where the brim
      Of Palo Duro Canyon, dim
      And distant, showed. He was content.
      Then came the night marauding. Bent
      Or not, he started work again,
      Helping fill in for the lost men
      Who left for where no ghostly thing
      Came from the jumbled breaks to bring
      Slaughter and ruin. So it went,
      The kills still coming, no trap meant
      For wolf or bear seeming to draw
      Even a glance. One cowboy saw
      A skulking form outlined at dusk
      Once, and he claimed the creature’s tusk
      Far off flashed like a polished blade.
      He left. A dozen, shaken, stayed.

      from #30 - Winter 2008

      Donald Mace Williams

      “In the episodes of Beowulf on which I have modeled ‘Wolfe,’ Hrothgar, ruler of the Danes, builds a mighty beer hall. The sounds of revelry from the hall infuriate the monster Grendel, who raids the hall, carrying off thirty thanes. He continues the raids for years. Then Beowulf, a young Swedish warrior who has heard of the raids, arrives to help Hrothgar. He waits for Grendel at night, wrestles with him, and tears off the monster’s arm. Grendel flees, mortally wounded. Hrothgar rewards Beowulf richly. But then Grendel’s mother comes to avenge her son and kills Aeschere, the close friend of Hrothgar. Beowulf seeks her out in her den under the sea, struggles with her, and, though his trusted sword fails him, eventually kills her. Honored as the deliverer of the Danes, he goes home to a life of fame. I have conceived of Tom Rogers as the ranchland equivalent of Hrothgar (the name Roger is derived from Hrothgar). Other more-or-less matched characters are Aeschere and Ashley, Wealtheow and Elsa, Unferth and Humphrey, and of course Beowulf and Billy Wolfe. The monsters, though I have refrained from identifying them too closely, have some similarities to the dire wolf, which became extinct at least ten thousand years ago. In keeping with my purpose of modernizing the Beowulf episodes, I have used rhymed couplets rather than the Old English alliterative verse forms. Most lines are tetrameter, but some passages are in hexameters, just as in Beowulf the four-stress lines occasionally give way to six-stress ones.”