Late that night, some of the hands sit on the porch to dip snuff and drink bitter cups of coffee. My father sits with them, silent on the steps. When he is with people he often finds pockets in the noise that he can crawl into and fill with his own thoughts, soft, familiar thoughts with worn, rounded corners. At this particular moment he is turning an old thought of Eula Parker over and over in his mind: he is going to marry her. If he goes so far as to conjure dark-haired children for them, I don't know, but he does build a house where they sit together on a porch, a vast and fertile farm on the other side of the river, and on this night, a shed full of bright chrome tractors, twice as big as the ones that rest still warm and ticking in his father's mule barn. He plants a flower garden for her at the foot of the porch; he buys a big Victrola for the dining room and a smaller, portable one for picnics. Guiltily he touches just the edges of one of these picnics: Eula's hair loose and wild, a warm blanket by a creek, cold chicken and hard-boiled eggs, drowsiness, possibility.
In a moment his pocket of quiet is turned inside out; the hands roar with laughter at the punch line of a joke and the screen door clatters as my grandfather comes out to the porch. "You all ever gonna sleep?" he asks them, and smiles. He is an old man, nearing seventy, and the thin length of his body has rounded to a stoop, like a sapling loaded with snow. But his eyes are still the eyes of a young man, even after years in the sun, and they are bright as he smiles and jokes. My father stands up and leans against a post, crossing his arms. His father winks at him, then waves his hand at the men and steps back into the house, shaking his head and chuckling.
* * * *
My grandfather understood mule power. He celebrated it. He reveled in it. He always said that what makes a mule a better worker than the horse or the donkey is that he inherited the best from both of them: strong hindquarters from his dam and strong shoulders from his sire. He said, The gospel according to mule is push and pull. When his wife died young of a fever, it was not a horse but Orphan Lad who pulled her coffin slowly to the burying grounds, a thing the prouder men of the county later felt moved to comment on in the back room of the feed store. My grandfather was a man who never wore a hat, even to town. Uncover thy head before the Lord, he said, and the Lord he believed to be everywhere: in the trees, in the water of the creek, under Calumet cans rusting in the dirt.
Eula Parker is a slippery and mysterious girl, and my father's poor heart is constantly bewildered by her fickle ways. Like the day he walked her home from church and she allowed him to hold her cool hand, but would not let him see her all the way to the front door. Or the times when she catches him looking at her, and drops her eyes and laughs - at what, he cannot guess. With a kit he burns her name into a scrap of oak board and works up the courage to leave it at the door of her parents' house in town; when he walks by the next day and it is still there, he steals it back and takes it home to hide it shamefully beneath his bed. At church she always sits with the same girl, fifth pew back on the left, and he positions himself where he can see her: her hair swept up off her neck, thick purple-black and shining, the other girl's hanging limply down, onion-paper pale. Afterward, when people gather in the yard, the other girl always smiles at him, but he never notices; he is watching to see if Eula smiles, because sometimes she does and sometimes she doesn't. His love fattens on this until it is round and full, bursting from every seam.