Ice and Sand

ISN’T THAT ENOUGH?” Norval called.

“No!” Richard yelled, running ahead to Badwater Creek.

Norval and Lawrence followed with all the buckets.

It only took one smash of Richard’s pickax to shatter the skin of ice that had already formed over their dipping hole. “Come on, hurry,” he barked. He filled his buckets and lugged them back up the bank.

Norval and Lawrence grumbled at the cold but followed orders.

“This track needs more, over here,” Richard said.

Norval swung his buckets as he crossed the first rail. Water slopped onto his canvas trousers. He shuddered at the frigid bite of soaked cloth against his skin.

The three twelve-year-olds poured creek water over the ice formed by earlier bucketfuls.

“Where we gonna hide?” Norval asked.

Richard pointed up the gentle slope. “Behind those sagebrush clumps. A perfect blind!”

He should know. Norval envied his friend’s hunting skills. Richard Comas could bag a rabbit with just one shot.

19th century painting
Train in the Snow at Afgenteuil,” 1875, by Claude Monet (1840-1926)

The friends hunkered behind sagebrush. Norval stuck hands into armpits to try to thaw them out. Gloves didn’t do much good when sopping wet.

From their hiding spot the boys could just see the roundhouse across the creek and down a ways. They didn’t have long to wait. Richard knew his father’s schedule well.

Smoke plumed from the roundhouse’s gaping doorway. Chuffs sounded, crisp on the icy air. A steam locomotive nosed out of the shadows. It moseyed into position, merging onto one of the side tracks, then backed to a long string of cars. Couplings clunked and clattered.

Smoke billowed. Wheels screeched on metal as the iron beast leaned into its task and slowly built momentum.

“Here it comes!” Richard crowed. No need to keep voices down, not with the racket of the approaching train.

The locomotive crossed the trestle over the creek and began laboring up the gentle slope, a powerhouse dragging a long, burdensome string of cars. When the steam engine reached the ice-encrusted rails, though, it lost its grip. Metal slid uselessly on ice.

“Lookit them big wheels spin!” Lawrence laughed.

“And hear ’em roar!” Norval added. That locomotive was going nowhere.

The engineer, Mr Comas, leaned out for a look at the rails, then shrugged.

“Now watch this!” Richard cried.

In Norval’s own words: “His father pushed a lever in the cab of the engine, and it dropped a stream of sand on the rails in front of the big spinning wheels. The sand digging into the steel wheels and rails shot out behind a shower of fiery sparks. Then the train picked up speed and went on to Casper. Richard’s dad waved to us! He knew what had happened.”


19th century painting
Train in the Snow or The Locomotive,” 1875, by Claude Monet (1840-1926)

Another story from my father’s childhood in rural Wyoming in the early 1940s. This took place a few miles northeast of Shoshoni at the tiny train town of Bonneville. My father lived on a homestead about 12 miles to the north, within reasonable biking range for a rural youngster. Casper lay 100 miles to the east. Steam engines were still in use until the 1950s.

text: © 2023 Joyce Holt

artwork: 19th century paintings, listed as in public domain. Public domain info here.

The Cure

NORVAL PEDALED THE LAST STRETCH HOME with weary legs. A short-legged mutt trailed behind with tongue hanging and tail drooping. “Don’t blame me, Fritz,” Norval told the exhausted dog. “I tried to make you stay home. Remember?” As the boy circled the barn to the dugout cabin’s door, Fritz veered off to the watering trough in the goat pen.

The twelve-year-old counted horned heads. “Oh no, not again.” He tipped his laden bike against the old farm truck and dashed toward the kitchen garden. “Bonnie!” he yelled, spotting the brown-and-white nanny among the bean plants. “Get out of there, you thief!”

Bonnie threw him one mocking glance, then leaped the barbed wire fence in a bound. She pranced toward the barn, bleating laughter. Fritz made a half-hearted attempt to chase, then flopped in the shade.

Two Goats in a Yard,” by Abraham van Strij (1753-1826)

Norval surveyed the slaughtered bean plants. Mama would have a fit!

As he went back to his bike, he saw his father’s legs worming out from under the truck. “That goat again?” Oscar asked, wiping smudges of oil from his hands. He tossed the rag onto his tool box.

“Yep. The beans, this time.” Norval lifted the saddlebags from his bike. “No mail this week, but I got the sugar rations.”

Oscar glared after the vanishing goat. “I’ll fix her,” he muttered and stalked off after the mischief-maker.

Norval took the sugar bags inside, then dashed to the barn.

Bonnie was nowhere in sight. Oscar stood at his workbench, hammering away at something with the clang of metal on metal. He held up a crude heavy-duty hook linked to the end of a short chain. “I’ll cure that goat. Catch her, and we’ll teach her not to jump the fence.”

Norval dumped grain into a bucket and sauntered over to the goat pen, shaking the bucket with a rattle. “Hey, Billy! Hey Nan! Come on, come on.”

The goats crowded up to the fence, ears pricking, tails flicking, bearded chins bleating in a chorus.

Sure enough, Bonnie appeared out of nowhere, eager for her share. She didn’t pay any mind when Norval grabbed her horns, so long as she could hog the grain bucket.

Oscar buckled an old belt around the mischief-maker’s neck, a collar threaded through a link of chain. The hook dangled just below knee level.

detail from “Satyr Playing Flute,” ca. 1640, by Jacob Jordaens (1593-1678)

Norval didn’t have long to wait to learn what his dad had in mind. From a hiding spot behind the old truck he watched Bonnie deftly open the garden gate, this time heading for the cabbages.

Norval jumped up, let out a holler, and ran for the gate.

Things didn’t go quite the way his dad planned.

Years later Norval would retell the story: “That goat threw up her head, bleated, and took a running jump. She went over that fence, and that hook caught, and it pulled that wire back just like the bowstring on an archery bow, and that iron hook broke loose and went flying across the garden. And was I glad I wasn’t close to it!”


Another true tale from my father’s childhood in rural Wyoming in the 1940’s. In the summertime, he volunteered to make the 30-mile round trip to town by bicycle to pick up mail and war-time rations. Fritz refused to stay behind. (I don’t know if they named the goat, but Bonnie and Clyde sprang to my mind…)

text: © 2023 Joyce Holt

artwork: 17th and 19th century paintings. Public domain info here.

Tower of Pirou

19th century painting
detail of “Small Minaret and the Ruins of the White House,” 1874, by Aleksey Savrasov (1830-1897)

UPON A ROCKY HEADLAND on the coast of Normandy
a mighty tower of stone stood ever watching out to sea.
In the shadow of the tower, where the seaward breezes blew,
dwelled the gentle-hearted people of the fishing town Pirou.

One day the tower watchman felt a sudden lurch of dread
for from the north sailed Viking ships, each prow a dragon-head.
Broad sails for wings, the dragon ships sped swiftly over the waves.
The loot these raiders sought for wasn’t gold but human slaves!

The village folk in panic gathered ’round their Druid sage.
The old magician riffled through his lore-book page by page,
then off they dashed together to seek refuge in the tower
and there the wise man read aloud the ancient words of power.

The tower’s oaken gate withstood the batter of a ram —
but not the bonfire kindled at the foot of door and jamb.
The flames gnawed deep, and deeper still. It seemed a certain doom!
Through smoldering beams the Vikings leaped — into an empty room.

Transformed by sorcery to wild gray geese, the folk took flight.
Through window-slits they flurried to escape their dreadful plight.
The Norse berserkers raged and fumed and lived up to their name
and set the town and tower of Pirou to axe and flame.

A fate of ash and cinders for the book of magic lore!
The spell to dis-enchant the geese was lost forevermore.
Above the ruined tower, soaring through the autumn skies,
you still can see the wild gray geese and hear their mournful cries.

19th century painting
Romantic Landscape with Ruined Tower,” 1836, by Thomas Cole (1801-1848)

My translation of lyrics of a Norwegian song produced in 2004.

A straight-across translation is called a “derivative work,” and copyright remains with the original writer.

However it took particular skill to render the song poetically in a different language. It wasn’t just phrase by phrase translating. If this qualifies my lyrics as “transformative work” inspired by, rather than derived from, another person’s creation… then I can claim copyright.

transformative text: © 2023 Joyce Holt

artwork: 19th century paintings. Public domain info here.

19th century painting
detail from “Goose Girl,” ca 1890, by Camille Pissarro (1830-1903)