Pigs in Heaven

by Barbara Kingsolver

Genres: Family Life; Literary Fiction; Native American & Aboriginal

Synopsis

When six-year-old Turtle Greer witnesses a freak accident at the Hoover Dam, her insistence on what she has seen and her mother's belief in her lead to a man's dramatic rescue. But Turtle's moment of celebrity draws her into a conflict of historic proportions. The crisis quickly envelops not only Turtle and her mother, Taylor, but everyone else who touches their lives in a complex web connecting their future with their past.

Pigs in Heaven travels the roads from rural Kentucky and the urban Southwest to Heaven, Oklahoma, and the Cherokee Nation as it draws the reader into a world of heartbreak and redeeming love, testing the boundaries of family and the many separate truths about the ties that bind.

Release date: March 17, 2009

Publisher: HarperCollins e-books

Print pages: 384

Sample

1

QUEEN OF NOTHING

Women on their own run in Alice’s family. This dawns on her with the unkindness of a heart attack and she sits up in bed to get a closer look at her thoughts, which have collected above her in the dark.

It’s early morning, April, windless, unreasonably hot even at this sun-forsaken hour. Alice is sixty-one. Her husband, Har­land, is sleeping like a brick and snoring. To all appearances they’re a satisfied couple sliding home free into their golden years, but Alice knows that’s not how it’s going to go. She mar­ried him two years ago for love, or so she thought, and he’s a good enough man but a devotee of household silence. His idea of marriage is to spray WD-40 on anything that squeaks. Even on the nights when he turns over and holds her, Harland has no words for Alice—nothing to contradict all the years she lay alone, feeling the cold seep through her like cave air, turning her breasts to limestone from the inside out. This marriage has failed to warm her. The quiet only subsides when Harland sleeps and his tonsils make up for lost time. She can’t stand the sight of him there on his back, driving his hogs to market. She’s about to let herself out the door.

She leaves the bed quietly and switches on the lamp in the living room, where his Naugahyde recliner confronts her, smug as a catcher’s mitt, with a long, deep impression of Harland running down its center. On week­ends he watches cable TV with perfect vigilance, as if he’s afraid he’ll miss the end of the world—though he doesn’t bother with CNN, which, if the world did end, is where the taped footage would run. Harland prefers the Home Shopping Channel because he can follow it with the sound turned off.

She has an edgy sense of being watched because of his collection of antique headlights, which stare from the china cabinet. Harland runs El-Jay’s Paint and Body and his junk is taking over her house. She hardly has the energy to claim it back. Old people might marry gracefully once in a while, but their houses rarely do. She snaps on the light in the kitchen and shades her eyes against the bright light and all those ready appliances.

Her impulse is to call Taylor, her daughter. Taylor is taller than Alice now and pretty and living far away, in Tucson. Alice wants to warn her that a defect runs in the family, like flat feet or diabetes: they’re all in dan­ger of ending up alone by their own stubborn choice. The ugly kitchen clock says four-fifteen. No time-zone differences could make that into a reasonable hour in Tucson; Taylor would answer with her heart pounding, wanting to know who’d dropped dead. Alice rubs the back of her head, where her cropped gray hair lies flat in several wrong directions, prickly with sweat and sleeplessness. The cluttered kitchen irritates her. The Formica countertop is patterned with pink and black loops like rubber bands lying against each other, getting on her nerves, all cocked and ready to spring like hail across the kitchen. Alice wonders if other women in the middle of the night have begun to resent their Formica. She stares hard at the telephone on the counter, wishing it would ring. She needs some proof that she isn’t the last woman left on earth, the surviving queen of nothing. The clock gulps softly, eating seconds whole while she waits; she receives no proof.

She stands on a chair and rummages in the cupboard over the refrigera­tor for a bottle of Jim Beam that’s been in the house since before she married ­Harland. There are Mason jars up there she ought to get rid of. In her time Alice has canned tomatoes enough for a hundred bomb shelters, but now she couldn’t care less, nobody does. If they drop the bomb now, the world will end without the benefit of tomato aspic. She climbs down and pours half an inch of Jim Beam into a Bengals mug that came free with a tank of gas. Alice would just as soon get her teeth cleaned as watch the Bengals. That’s the price of staying around when your heart’s not in it, she thinks. You get to be cheerleader for a sport you never chose. She unlatches the screen door and steps barefoot onto the porch.

The sky is a perfect black. A leftover smile of moon hides in the bottom branches of the sugar maple, teasing her to smile back. The air isn’t any cooler outside the house, but being outdoors in her sheer nightgown arouses Alice with the possibility of freedom. She could walk away from this house carrying nothing. How those glass eyeballs in the china cabinet would blink, to see her go. She leans back in the porch swing, missing the squeak of its chains that once sang her baby to sleep, but which have been oppressed into silence now by Harland’s WD-40. Putting her nose deep into the mug of bourbon, she draws in sweet, caustic fumes, just as she used to inhale tobacco smoke until Taylor made her quit.

She raised a daughter in this house and planted all the flowers in the yard, but that’s nothing to hold her here. Flowers you can get tired of. In the record heat of this particular Kentucky spring the peonies have blown open their globes a month ahead of Memorial Day. Their face-powder scent reminds her of old women she knew in childhood, and the grave­yard. She stops swinging a minute to listen: a huffling sound is coming from the garden. Hester Biddle’s pigs. Hester lives a short walk down the road and has taken up raising Vietnamese miniature potbellied pigs for a new lease on life after her stroke. She claims they’re worth two thousand per pig, but Alice can’t imagine on what market. They’re ugly as sin and run away for a hobby, to root in Alice’s peony beds. “Go on home,” Alice says in a persuasive voice. The pigs look up.

“I mean it,” she says, rising from the porch swing, her hands on her hips. “I’m not above turning you all into bacon.”

In the dim light from the kitchen their eyes glow red. Pigs are turning out to be the family curse: Alice’s mother, a tall, fierce woman named Min­erva  Stamper, ran a hog farm alone for fifty years. Alice picks up an empty flowerpot from the porch step and throws it at the pigs. The darkness absorbs it. She throws a dirt clod and a pair of pruning shears, which also vanish. Then a medium-sized aluminum bowl. Harland ordered the Cor­nucopia Of Bowls from the shopping channel for their wedding anniver­sary, so now their home has a bowl for every purpose. She picks up another one and gives it a fling. She’ll have to pick them up in the morn­ing, in front of God and the Biddles, but she wants those pigs out of her life. She finds a galvanized watering can and lifts herself on the balls of her feet, testing her calves. Alice is in good shape, despite her age; when she concentrates she can still find all her muscles from the inside. When her first husband left her the house fell apart but she and her daughter held up well, she thinks, everything considered.

She heaves the watering can but can’t tell where it’s gone. It lands with a ding—possibly it struck a member of the Cornucopia. The red pig eyes don’t even blink. Alice feels defeated. She returns to the porch to collect her losses.

She’s not walking away from here. Who would take her in? She knows most of the well-to-do women in town, from cleaning their houses all the years she was raising Taylor, but their respect for Alice is based on what she could tell the world about their basements. On Fridays, Alice plays poker with Fay Richey and Lee Shanks—cheerful, husky-voiced women who smoke a lot and are so thankful to still be married, if she left Harland they’d treat her like she had a virus. Minerva and the hog farm are both gone, of course, the one simply dead and buried, the other sold to pay its own debts. It depresses Alice deeply to think how people’s lives and all other enterprises, like life insurance, can last long enough to cancel them­selves out.

A mockingbird lands on the tip of a volunteer mulberry that has grown up through the hedge. Flapping to stay balanced, he makes the long branch bob and sway like a carnival ride. His little profile flails against a horizon the color of rising dough. In the few minutes it took Alice to make an accounting of her life, dawn was delivered to this address and the automatic spotlight on Biddles’ barn winked off. No matter what kind of night you’re having, morning always wins.

The mockingbird springs off his mulberry branch into darkness and then materializes up on the roof, crowing to this section of the county that her TV antenna is his and his alone. Something about the male outlook, Alice thinks, you have got to appreciate. She stands with her arms crossed against her chest and observes the dark universe of the garden, which is twinkling now with aluminum meteorites. She hears the pigs again. It’s no wonder they like to come here; they get terrified down at Biddles’ when Henry uses more machinery than he needs. Yesterday he was using the hay mower to cut his front yard, which is typical. The poor things are just looking for a home, like the Boat People. She has a soft spot for refugees and decides to let them stay. It will aggravate Hester, who claims that every time they eat Alice’s peonies they come home with diarrhea.

The neighborhood tomcat, all muscle and slide, is creeping along the top of the trellis where Alice’s sweet peas have spent themselves all spring. She’s seen him up there before, getting high on the night perfume, or imagining the taste of mockingbird. The garden Alice wishes she could abandon is crowded with bird music and border disputes and other peo­ple’s hungry animals. She feels like the queen of some pitiful, festive land.

Welcome to Heaven.

For the first time in years she thinks of Sugar Boss: her family tie. Sugar is a second cousin and the most famous citizen of Heaven, Oklahoma. Alice has her picture put away in the scrapbook with Taylor’s high school diploma and whatever else there is in the way of family papers. It’s an old picture cut out of Life magazine, summer of ’55. Sugar posed for a photog­rapher with a pop bottle raised to her lips and a crown of daisies in her hair, leaning against the welcome to heaven sign, and was seen all over everywhere in the advertisement. Alice saw her at the grocery checkout and couldn’t believe her eyes. She sent a letter, needing no more address than “Sugar Marie Boss, Heaven, Okla.,” and it got there, even though by then she was no longer technically a Boss but a Hornbuckle. Sugar wrote back.

They’d spent their last years of childhood together on the farm during the Depression, along with dozens of other people who showed up at Minerva’s door once they’d run out of everything but relatives. Of all the cousins, Alice and Sugar were closest, born a mere month apart. At nine they could pass for twelve and got jobs at the mattress factory, where it was all young girls, sewing up the ticking and stuffing in feathers. Their arms grew muscled and the down stuck on their hair, making them look like duck girls. Those times made bonds among people. The clotheslines ran from house to house and the wash ran between families like the same drab flag repeated over and over, uniting them all in the nation of wash­tubs and rough knuckles. There was love in that life, a kind of solid hope. Children ran heedless under the flapping laundry in a nation of their own. But its Alice’s impression that most of them grew up with hungry hearts, feeling sure that one day they would run out of everything again.

After their chance reconnection, she and Sugar shared their memories in long letters pressed into fat envelopes, but once they’d finished with the past, neither one had it in her to sustain the correspondence. Alice sus­pects Sugar’s life never reached the same elevation again; in her letters there was mention of daughters prone to pregnancy. Alice pictures a rattle­trap house and flowerbeds gone to jimson weed.

But Sugar once put Heaven on the map, and that has to carry some weight still. Alice stretches her legs into the pale orange morning that is taking hold around her, and it dawns on her with a strange shock that she is still the same person she was as a nine-year-old. Even her body is mostly unchanged. Her breasts are of a small, sound architecture and her waist is limber and strong; she feels like one of those California buildings designed for an earthquake. As surely as her organs are in the right places, she feels Sugar is still there in Heaven. She could write her today. She’s kept feelings for Sugar, her long-lost relative who came home to her one day in the checkout line. Something like that is as bad or as good as a tele­phone ringing in the night: either way, you’re not as alone as you think.