Defensible Spaces Read online

  Praise for Defensible Spaces

  “I wait for Alison Turner’s fiction the way one waits for sunlight after a long period of darkness. Defensible Spaces is a wonder. A beautiful, soul-touching ticking clock of a collection that explores—with grace and precision—all the layers and years of a former mining community in Colorado. This is a book to savor, one that carries our world, and one you’ll be reaching for again and again.”

  —PAUL YOON, author of Run Me To Earth

  “Alison Turner’s stories are embers. They spark and glow. They smolder for years, sparing some lives while devastating others when they burst back into flame.”

  —ERICA OLSEN, author of Recapture and Other Stories

  “In this masterfully woven collection, Alison Turner exposes the human kindling in a community racing to stay one step ahead of fire. The residents of Clayton, Colorado, are diverse, compelling, broken, and haunted, and Turner brings to their lives an incisive awareness of an environment’s ephemerality. Combining a tender evocation of place and a compassion for human frailty, Defensible Spaces points to the future of fiction.”

  —KATY SIMPSON SMITH, author of The Everlasting

  “Small-town life in Colorado has not been this riveting or beautifully wrought since Kent Haruf’s Plainsong trilogy. In Defensible Spaces, we meet residents from the mountain town of Clayton: post office workers and bus drivers, liquor store clerks and pregnant mothers, firewood dealers and photographers, all of them engrossed in lifelong relationships with each other as Clayton itself seems ready to catch fire at any moment. With empathy and clear-eyed tenderness, Turner invites us into their tenuous lives with all the delicacy of her carefully tended prose.”

  —BLAKE SANZ, author of The Boundaries of Their Dwelling

  defensible spaces

  STORIES BY

  ALISON TURNER

  TORREY HOUSE PRESS

  Salt Lake City • Torrey

  First Torrey House Press Edition, February 2023

  Copyright © 2023 by Alison Turner

  All rights reserved. No part of this book may be reproduced or retransmitted in any form or by any means without the written consent of the publisher.

  Published by Torrey House Press

  Salt Lake City, Utah

  www.torreyhouse.org

  International Standard Book Number: 978-1-948814-67-6

  E-book ISBN: 978-1-948814-68-3

  Library of Congress Control Number:2021952962

  Cover photo by Katie Crow

  Cover design by Kathleen Metcalf

  Interior design by Rachel Buck-Cockayne

  Distributed to the trade by Consortium Book Sales and Distribution

  Torrey House Press offices in Salt Lake City sit on the homelands of Ute, Goshute, Shoshone, and Paiute nations. Offices in Torrey are on the homelands of Southern Paiute, Ute, and Navajo nations.

  The Merrill County Fire Department is always looking for volunteers to join our team! As a volunteer, you may be asked to assist in emergency extinguishing efforts as well as ongoing mitigation programs that support healthy forests and a safe Wildlife Urban Interface environment for all Merrill County residents. Among other initiatives, mitigation efforts include the Defensible Spaces Campaign, est. 2002, that supports homeowners with removing combustible debris down to the requisite fuel density for the full radius of the Home Ignition Zone, a minimum of 120 feet from all standing structures.

  As of 2010, we are excited to offer a new volunteer opportunity to assist with community education and outreach. In an ongoing effort to increase resident compliance with fire bans, prescribed burns, and evacuation procedures, it is our hope that growing a network of informed and engaged volunteers will spark a fanning effect of fire prevention awareness and a decrease in arson and negligence across Merrill County, Colorado.

  Merrill County Fire Department Volunteer Handbook, p. 2, updated 2014

  — Contents —

  Lifted Fire Ban

  Combustible Debris

  Mitigation

  Fuel Density

  Defensible Spaces

  Home Ignition Zone

  Fanning Effect

  Wildlife Urban Interface

  Evacuation

  Prescribed Burn

  Acknowledgments

  About the Author

  About the Cover Photo

  — Lifted Fire Ban —

  1991

  We burned our history.

  Bonnie Hadford sits in a folding chair in the newly-cleared field of dirt that will soon hold the new home of someone rich from somewhere else, thinking about what her husband said. It was dramatic, as always, and without expansion. And what did he mean by we?

  She hasn’t seen him, Roy, since this morning, when she returned with the news that the headframe to the old Red Bird Mine and the neighboring museum have burned down. Red Bird started as a silver mine in the 1890s. Decades ago, they filled in the shaft and made the headframe the center of Red Bird Park; three years ago they added a mining museum next to the original structure. The Red Bird Mine is the reason Clayton, Colorado, exists.

  Two tiny and bright fires begin to sizzle. Bonnie’s daughter and her daughter’s best friend twirl while holding sparklers, encasing themselves in thin beams of light.

  “Girls?” Bonnie says.

  They do not hear her through their spinning.

  “Elizabeth,” Bonnie says.

  Elizabeth stops twirling and looks at her mother, crumbs of light falling from her stick onto the dirt.

  “Karly,” Bonnie says.

  Elizabeth’s friend stops twirling but continues humming.

  “How did you light those?” Bonnie says.

  The girls stare at her, swaying. They met in kindergarten last year and strangers assume they are sisters. They both have long hair that neither of them will let anyone brush, freckles, and natural abilities to climb trees and rocks. But they are different at their cores: it is always Karly, then Elizabeth.

  “The lighter,” Karly says. She returns to spinning, drawing electric loops. The candle lighter sits on top of the open box of sparklers near one of the totes that they, mostly Bonnie, hauled down the road. Bonnie has never taught Elizabeth how to use a lighter. More and more, Elizabeth knows things that Bonnie has nothing to do with.

  “Next time ask me first,” Bonnie says.

  “Okay,” Karly says.

  “Okay,” Elizabeth says.

  Bonnie puts the lighter under her thigh and settles back into her chair and the rhythm of Gus Lucero chopping wood. A widower with two sons and a firewood business, Gus is the Hadfords’ only neighbor, for now. He was out late last night with the volunteer fire department trying to save our history, as Roy might say. Last night, Bonnie couldn’t get to sleep until she heard the thwap of Gus’s truck door. Sometimes, when their schedules align, his ax steadies her day, the metronome for her time at the sink, at the clothesline, while putting away groceries, when staring at the grove of aspen outside the kitchen window.

  This is the wettest year in half a decade, and the first time in Elizabeth’s lifetime that they’ve lifted the fire ban, which means the town can shoot fireworks over the reservoir for the Fourth. Like anyone else living in Clayton, Bonnie knows that a fire could catch any year, no matter what the accumulated rainfall. As if to prove it, one did. This morning, while taking photos of what used to be the Red Bird, police tape kept her from getting close enough to get the shot she wanted. Half the remaining structure was a deep, velvety black in swooping curls. People are saying arson.

  Roy comes from a heritage of mining the Red Bird, and when the museum opened three years ago, Bonnie convinced him to donate his boxes of photographs, letters, and a tool or two to the collection. Now he assume
s the worst, like he always does, that everything he donated is gone. But, Bonnie tried to tell him, the strangest things survive fires. He had no response to that. He had already started wandering off with his decades-old water canteen, which maybe could have made it into the museum. When he takes the canteen, it means that no one should expect him back until evening. He hates the Fourth, anyway. Fireworks make him wince.

  The girls crouch by the tote bags, rummaging in the box of sparklers. Karly looks for the lighter while Elizabeth stares at the colors on the sparkler box. Finally, Karly says, “Can you light these?” and Bonnie does. Twirling with their new sparklers, their oversized T-shirts, navy blue on Elizabeth and lime green on Karly, billow.

  Bonnie never would have gotten sparklers. But when she picked up Karly from her grandma’s, Karly got in the car holding the long thin box and talking impossibly fast about how her grandma promised she could light them. Bonnie would have asked the other parent before making that kind of promise, but that was just one of the differences between herself and Cheryl Krane. Cheryl works at the post office with Roy, though the only thing he’s ever said about her is that she has a drinking problem but doesn’t let it stop her. She and Karly live in the trailer park and every time Bonnie picks up or drops off Karly, the lot is crowded with people smoking on steps beneath strapped-open doors or sitting in chairs in the middle of the road. Sometimes Cheryl is nowhere in sight and one of the neighbors calls Karly over and that is that. But if Cheryl is there, she traps the girl in a loud, endless hug.

  It was after coming home one day from Karly’s that Elizabeth first said I love you. Bonnie loves Elizabeth in a way that leaves her speechless, but she and Roy never said it out loud until Elizabeth did. The first day Elizabeth said it, as easy as she might say I brushed my teeth, Bonnie said it right back. Now, both she and Roy say it to Elizabeth but never to each other.

  She pulls a tote full of sandwiches onto her lap, plucks at one of the baggies, then puts the whole thing back on the ground. Bonnie invited Gus, his boys, and his visiting brother and nephews to join her and the girls in watching the fireworks: this is the last year the Hadfords and the Luceros will have their view of the reservoir, since the new house will be large enough to block it. I’ll make sandwiches, she’d said. They hadn’t said yes for sure, but she stacked the chicken, the tomato, the knife with the mayo, in rhythm to Gus chopping wood, making sandwiches until the bread ran out.

  She wants to turn around and watch through the trees Gus splitting wood, each hit like a heartbeat, but she faces the reservoir and tries to be satisfied with listening. The reservoir is still as a plate. The sun is starting to set but they still have half an hour before the mountains take all the light. Next month, loaders and trucks and construction crews will dig and drill and honk and pull up the ground she sits on. The Hadfords are 60 Tungsten Drive, the Luceros 110, and the new place, where Bonnie sits right now, will be 600. Roy says the numbers are designated by the fire service, that every 100 means a tenth of a mile from the main road. She never knows how Roy, who never talks to anyone, knows these things.

  The chopping stops. Bonnie refuses to turn to see if they are coming (a game she played as a kid and now plays with Elizabeth: hold your breath, your hand out the window in the winter, your gaze away from something you want to see, as long as you can). There is a flair of noise behind her of pretend explosions and whacks, a displacement of air that only a group of boys can make. The sun drops with incomprehensible smallness and the blue of the water deepens.

  “Don’t throw rocks.”

  Gus Lucero’s voice.

  “What’d I say?” Gus again.

  “Yes, sir.” That was Ross, Gus’s twelve-year-old son.

  She breathes out and turns. Gus and his brother, Luke, each carry a folding chair in one hand and a six-pack in the other. A dog sniffs at their feet as they walk, and the boys swarm behind, some of them still throwing rocks high into trees, half of them carrying plastic milk gallons full of water and heavy-looking bags. Gus, tall and thin, a black beard and big boots, takes long, calm strides; his brother is shorter and has bulkier muscles. They are both tidy but rugged, like you can’t scrub the work off of them.

  “Hello, Bonnie.” Luke puts out his hand and smiles. “You get some shots of the Red Bird today?”

  “Hi, Luke.” His hand is wide and has the same amount of rough as Gus’s. “I tried. It’s a beautiful mess.”

  The brothers screech open their chairs splotched with rust.

  “I bet they never catch the guy,” Gus says.

  “Probably kids,” Luke says.

  “Think they’ll keep what’s left standing?” Bonnie says.

  “I bet it collapses before they can decide,” Gus says. “When we left last night I didn’t think it’d make it to morning.”

  Bonnie craves her camera from the way the falling shadows clothe parts of Gus but leave his arms bare. She used to take pictures for herself, moments she wanted to keep for no reason but to see them again, but more and more the photos are for someone else: parents of kids on the volleyball team who want to see their athletes in the Clayton Clamour; Elizabeth when she is older, even though she already hates having her picture taken; the town of Clayton, who will want documented the end of the Red Bird Mine.

  “Ready for sandwiches?” she says, suddenly embarrassed by how many she made. She passes them each a plastic baggie before they can answer.

  A silence drops slowly but it won’t hit the ground—the memory of Gus’s wife always catches it. When Annie and Gus Lucero and a little boy named Ross built the place next door, Bonnie wasn’t working much, and whenever she felt lost and needing purpose, she often walked over to help Annie with cooking, cleaning, diapers. They talked or they didn’t talk and the days went by fast, hours turned to connective tissue between moments that were short in time but endless in other dimensions: the time they needed to squeeze into the small pantry and bring down the crockpot from the top shelf and their bodies turned to each other, almost pressing; the times sitting next to each other on the soft scarlet sofa that Bonnie can still feel in her inner elbow, her lower back, her upper neck.

  Annie died giving birth to her second son, Tyler, two years before Elizabeth was born. Bonnie still gets waves of dizziness with Annie gone, moments that sway her after eight years. She sees the swaying in Gus, too, and sometimes it steadies when they are together, as if their disorientations cancel each other out.

  “Only on the dirt, like I said,” Bonnie calls to the girls. They had moved to the far edge of the build site, still swirling with sparklers. Bonnie reaches for the lighter and it is gone—it sits on top of the sparkler box. Karly must have snuck in when Bonnie was distracted by the Luceros.

  Karly’s baggy T-shirt is now twisted up to her belly button, a bright green bikini.

  “I was wondering if they’d cancel the show because of the Red Bird fire,” Bonnie says.

  “No way,” Gus says. “They’ve already spent too much money.”

  “Roy coming later?” Luke says.

  “He’s not feeling well,” Bonnie says.

  “He still at the post office?” Luke says. The last time Luke visited, his wife also came, and Roy helped her mail medication back to someone in Nebraska, priority. Bonnie doesn’t know where Luke’s wife is now, but something tells her she isn’t waiting back home. The boys are too rowdy and Luke too tired.

  “Sure is,” Bonnie says. She does not want to talk about Roy, or how he used up his vacation days to do nothing but wander around so that now they can’t take Elizabeth to the Grand Canyon, or how last week he promised to build a tree swing with Elizabeth and got everything ready, rope, plank, hammer, nails, drill, all under the tree they’d chosen, then disappeared for the rest of the afternoon.

  She used to not care how he used his vacation days. For most of their life together, they didn’t know each other’s schedules or wait for each other for dinner if they didn’t feel like it. But it is different now that there is E
lizabeth. Bonnie has to tell him when she’ll be back and, worse, ask when he will be.

  “How are the boys?” she says. From this distance, Bonnie can barely tell Ross and Tyler from Luke’s three sons. All of them have dark, messy hair, and skinny, fast-moving limbs.

  Both men make a dismissive sound in their throats and Bonnie laughs. She moves her long ponytail over her shoulder. She hasn’t cut her hair since being pregnant with Elizabeth and she likes its increasing weight.

  “Excuse me while I instruct the children,” Luke says, standing up.

  “Luke picked up some supplies for Roman candles. A Lucero family recipe.”

  “I’m ready to be impressed,” Bonnie says. Roy would not have approved of homemade fireworks. Bonnie doesn’t really approve either, but Gus and Luke building Roman candles with their boys is better than Cheryl throwing Karly in the car with a box of sparklers.

  Luke crouches in the group of boys. Karly, then Elizabeth, run over to see, five boys and two girls wide-eyed at the cardboard tube and glass jars full of powders.

  If she were working, that would be the picture.

  Gus watches the water, which is darkening into grays as the sun falls. This would have been another shot for herself. A good picture comes when someone is lost in thoughts, not empty of them, and the photographer has a connection to those thoughts. Either the photographer or the subject has to feel something about the other: it is one shot in a hundred for it to be both and a snapshot when it is neither. This was Bonnie’s first sign that she and Roy were drifting apart: she stopped thinking, that’s the shot.

  “This place is going to be a monster,” she says.

  “The builders told me three stories tall.”

  “I wouldn’t know what to do with so much.”

  She and Roy said similar things sitting on the Luceros’ plot almost ten years ago. A few years before that, Bonnie and Roy built their place over a summer, one of the first structures on the east side of Red Bird Forest. They worked sunrise to sunset, discussing next steps during sandwich or coffee breaks, landing breathless on bedrolls over the dirt, then on a mattress, and finally on a mattress with a bedframe. As the walls and ceiling filled in around them, there was more to feel good about and less to say.