I posted this late at night, and woke up knowing I had to make it clear that these are sections cut out of the manuscript. This material does go along with the storyline, and is, itself, edited. I can’t seem to stop myself.
I say “these” because I also did some moving of paragraphs. Joey in the parking lot:
Chulo knew the truth.
The truth is Chulo jerked the wheel and moved over far enough that the Jesus Saves bus went into the ditch. I stopped. I backed up, ready to go around the bus and see what happened with my father. Chulo had a better view. He motioned me on. I knew it was fucked up, that I was in more trouble. I knew my mother was ahead of me and had seen her husband pass her. I knew my father would be fine. Angry, but fine. He was always fine.
I am not offering excuses. My father hated excuses. “There is no such thing as a good excuse.” Second part. “Even the best excuse is a bad reason.”
Nine-twenty-seven. Time in the sun had not cleared the water from my watch. It had converted it into fog on the inside of the glass. I was dressed for work; chinos, a light blue shirt with a collar, short-sleeve, not yet tucked-in, off-white Levis cords, slightly bent-over-at-the-heel leather shoes. My surfboard was inside the Falcon at an angle, the nose against the back of the passenger side of the front seat. I moved the notebooks from the towel but left them on the hood. I draped the towel over the board. My trunks were half-hung on the fin of my board. I pulled up the tailgate, rolled up the back window, and locked the back door.
The red notebook, with two pages for February 27, 1969, on the hood, was still open, but face down. I stuck my hand under one side and flipped it closed.
I looked around to see which car full of tourists or families who sometimes went to the beach, or which surfers, looking for a first or second session, might want my spot. Surfers, three, in the car, four boards on the rack, stickers on the window from Chuck Dent and Harbour. L.A. surfboards. No, not them. I pulled a green apron from the back of the front seat, passenger side. A circular logo with “San Elijo Grocery” and “Cardiff by the Sea” and “Since 1956” was silkscreened in white. “Jody” was stitched on the front, pocket high on the left chest side, in yellow. I put the apron on, let it hang, and walked to the edge of the bluff.
Choppy. Crowded. I looked down at the stairs. Julia Cole and Duncan Burgess were two stairs above the landing, their boards leaning against the fencing at the ninety-degree corner. Julia had her omnipresent gray bag on the deck and her camera resting on the railing. She was aiming a telephoto lens toward the surf break.
Duncan, not too involved in the camera work or what was happening in the water, looked up and at me. I didn’t step back. Duncan tapped Julia Cole. She shook him off, he tapped her again, she looked around and up. I stepped back from the bluff.
I looked up, toward but not into the sun. Just for a second. Just long enough that I saw a few blinks of red. I took another step back, blinked. Okay.
There was the truth of what happened on the road just east of the Bonsall Bridge. There was what I saw in flashbacks: The low sun in my eyes, the red, spinning light and the car coming straight at me. My mind, I theorized, might put events that passed by so quickly into slow motion, into crystal focus.
It didn’t. Rather, it hadn’t.
I flipped the red notebook open, looked at what I had written. I closed the red notebook. It didn’t matter. Everything else I wrote in there for February 27 was a lie. For the next four days I wrote nothing. Mourning. Excusable.
I thumbed through the pages for the days before February 27. Notes and little sketches of cartoon teachers and classmates, cartoon waves, psychedelic lettering for various surf spots. “Grandview.”
That was enough. I visualized. I would be happy enough to admit I was merely remembering if it wasn’t that, eyes open or closed, I could see what I had seen. If it wasn’t reliving the moments, it was more than just remembering.
Nine-thirty-nine. I set the red notebook down on the towel and turned back toward the water. I looked at my watch, walked over to the bluff. A set of waves, four, ruffled the horizon. The waves moved toward the point, each one growing in the rough water beyond the fields of kelp. The first wave cleaned up, picked up sparkles along the top edge and a sky-reflecting line two-thirds of the way down the face. A darker horizontal line, the wave’s true color, widened, lengthened, moved up, became a shadow version of the true color, as the wave steepened, and a definite peak formed. Another bright line, reflecting the flat, clean water inshore, appeared, three-fourth of the way up the wave. The lines became other shapes, irregular, but balanced and moving. The dark line became almost black, the topmost line almost white. Energy against gravity, tripped by underwater fingers of ancient rock. Explosion. Shades of green and blue on crazed white, the true wave color moving down the line, the explosion following it.
One of four surfers in the water paddled for the second wave, pulling with two even strokes, pushing off and up as she and the board dropped down. She. It had to be Julia Cole; smooth, graceful, goofy-foot. At the bottom of the wave, her legs compressed, her upper body straight, she raised her right arm and leaned back. Her left arm low, her right hand and arm were tracing the shape of the wave as she moved up into a position high on the wall. She shifted to more of a parallel stance and crouched. The wave, at the highest point, just below the lip, was almost transparent. Julia Cole was flying.
There are an infinite number of ways to tell any story. So many choices. This is undoubtedly my biggest problem in completing “Swamis.” Somewhere between a sketch and a rendering is a novel.
I’m getting there.
“Swamis.” copyright 2020. Erwin A. Dcnce, Jr. All rights for original work in realsurfers.net are held by the author/artist.