A Kingdom in a Horse

Notable published works by Maia Wojciechowska

M
ARKET
D
AY FOR
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I
A
NDRÉ

S
HADOW OF A
B
ULL

O
DYSSEY OF
C
OURAGE
: T
HE
S
TORY OF
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LVAR
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ABEZA DE
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ACA

T
HE
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OLLYWOOD
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ID

A S
INGLE
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IGHT

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UNED
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UT

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EY
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RONG WITH
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D
ON’T
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LAY
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EAD
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AVE
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O

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HE
R
OTTEN
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EARS

T
HROUGH THE
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ROKEN
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IRROR
W
ITH
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LICE

T
ILL THE
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REAK OF
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AY

T
HE
L
IFE AND
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EATH OF A
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RAVE
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ULL

W
INTER
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ALES FROM
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OLAND

T
HE
P
EOPLE IN
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IS
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IFE

H
OW
G
OD
G
OT
C
HRISTIAN INTO
T
ROUBLE

What he liked most about traveling by train was the feeling of drowsiness that seemed to be part of the clattering of wheels against the tracks. Trains were made for daydreaming, he decided, and then smiled to himself. His father and the other rodeo men were not daydreaming; they were asleep, their long legs extended between the seats, their hats pulled down over their faces, their thumbs in the buckled belts of their jeans. It’s funny, he thought, how very alike they are, and how like them I have become.

There was a time when he was not like them at all. There was a time when he was hardly aware that he had a father and that his father was Lee Earl. He lived with his mother then, and he would hide behind her when the thin stranger with a scar running the length of his face would come to visit them. His mother would tell him that this man was his father and that his father was a very famous all-around cowboy. But that knowledge did nothing to the boy; the man frightened him, and he was glad whenever he went away.

He was only five when his mother died and the stranger he feared became the one and only person he now had. And as suddenly as his whole life had collapsed for him, a new existence began. His father became his whole world. He began to travel the rodeo circuit with him.

“I want to make people laugh and the riders safe,” his father said when he explained to him his decision to become a rodeo clown. “And besides, being a clown will give me more time to be with you.”

And now he was David Earl, Lee’s son, and that was something to be proud of, for Lee Earl was no ordinary clown. He was the greatest rodeo clown in the world. Lee Earl was a champion clown, the best, the smartest, the funniest, and the most imaginative and daring rodeo clown who ever lived. That’s what everyone said, and that’s what they wrote about him in newspapers and magazines.

The fact that his father was the very best made up for many things—things like not having friends his own age, no school to go to, and no home besides a series of dingy hotel rooms. It even made up for not having a mother.

“When you’re thirteen,” his father used to say to him, “I’ll let you come in with me. You’ll be the barrel man and I’ll be the infighter.”

“Why can’t I start now?” the boy would ask. He knew the answer but hoped, each time they talked about it, that his father might change his mind.

“Thirteen is early enough,” his father would say. “At thirteen you’ll be man enough for the job. Besides …”

Besides, thirteen was Lee Earl’s lucky number.

Waiting for that birthday was like waiting for snow in the Texas panhandle. But while waiting, he was happy because he loved everything about his life. He loved the traveling, the excitement of crisscrossing the wide expanse of the West and Southwest. He was part of the “suicide” circuit, part of men who have chosen gambling with their very lives. He loved the long evenings of sitting around with the rodeo riders, listening to them. They lied too much, smoked too much, drank too much, and were too quick of temper, but it was from them that he learned the reason why he, David Earl, would have no other life but the rodeo life.

The stories they told of the great riders and their horses, of the memorable events they had witnessed or heard about, made the natural boundaries for that life. And within the confines of those boundaries he meant to live. Always. He and his father.

While waiting for his thirteenth birthday, David was learning. He was learning how to be a rodeo clown. No one ever had to tell him what it was that the clown did. He saw that for himself. The clown was there not only to get laughs, he was there to divert the Brahman bull’s attention from a thrown rider. That was the important part, the part that was pure danger. For no man can outrun a bull bent on killing. The timing was the thing. Without timing there would be no live clowns, only dead ones.

He learned most from watching his father. While the crowd saw a ludicrous figure in an outlandish costume—a bald-headed skullcap with a red fringe on his head, exaggerated makeup on his face—gawking at a thundering ton of bull flesh with lowered horns, the boy would watch his father’s feet; he would judge the distance, he would measure the speed of the turns, the bull’s and his father’s. He knew that behind the makeup his father’s face was as tense as that of any man risking death. He knew that his father’s brain became a machine, working with the accuracy of a watch. And while the crowd was in stitches at the clowning of the man who made the death ballet seem like slapstick, the boy saw that his father was saving the riders’ lives and, in exchange, risking his own.

There had been many famous clowns before Lee Earl, and David knew what made them famous, but now his father was said to be better than any of them. Like them, he was tough and he was smart. And when he was hurt he would not show it. When one of his bones would break under the impact of an encounter with a Brahman, he would not tell anyone, not even his son. That was why the boy would watch his father sleep. If he saw him wince in his dreams, he would know that the hurt was not a minor one. He would have a doctor come in to examine his father in the hotel room early in the morning when he could not protest.

But clowning was not everything to the boy. Like his father, he intended to make his name in other standard events, the saddle-bronc riding, the calf roping, bareback riding, steer wrestling, and Brahman bull riding.

He knew as much about the horses that made the history of rodeo as he did about the men. The greatest of the “critters” was Midnight, the most magnificent bucker of the 1932-36 rodeos. He threw the best of the riders, and when he died, a cortege of three hundred men whose bones he had managed to break mourned at his funeral. And he knew about other horses who had a sudden and unending hatred of the saddle: War Paint, Miss Klamath, Yellow Fever, and Five Minutes to Midnight.

But his special love was reserved for the horses that were friends rather than enemies of man. The American quarter horse, like its master, came out of a brutal struggle for the survival of the fittest, and it had to be lithe, fast, and intelligent to win that struggle.

As the train rushed through majestically beautiful but desolate Wyoming, David was thinking’ of the horse that he would buy for himself. On his thirteenth birthday he would become a clown. That day, only eight months away, would be the day he would begin to save for that horse. He did not even want to look around for one before he could afford to buy it. He could wait. The kind of horse he would buy was the kind he would know he wanted the minute he saw it.

He had it all figured out—how he was going to board his horse, ship it from place to place, when he was going to ride it, and what he was going to teach it. He would, like his father, be a rodeo clown, but he also wanted to become a champion roper. And for that to happen he had to own a horse that was smarter than himself. A horse like Baldy. He had heard the old-timers talk of Baldy, and he knew that that horse could do anything but tie a knot. And that’s the kind of horse he was going to get for himself.

The signs were all over the small Wyoming town. Nearly ten thousand people had come for the annual rodeo, some having driven as far as eight hundred miles to see his father, the rodeo’s main attraction.