David Searcy lives in Dallas and Corsicana, Texas. He is the author of the book of essays Shame and Wonder, and his work has appeared in the Paris Review, Esquire, the New York Times Magazine, Freeman’s, Harper’s, and elsewhere. His long essay The Tiny Bee that Hovers at the Center of the World will be out next year with Random House.
An essay from the Place Issue
I don’t know about this stuff. I’m not a car guy. But it seems I’ve always been aware of Yello Belly Drag Strip as a place an only child of somewhat fearful disposition would not ever want to go. I’m pretty sure, however, (odd to be uncertain, but one wishes things, one tends to make things up) I went there once when a business associate of my father’s came to town in his brand-new ’59 Impala (you don’t have to be mechanical to know that was the very best year for fins—in this case arcing, horizontal; almost practical, anticipating flight) and wanted to race it. Or, more likely, simply time it down the track.
These assemblages don’t need to be explicitly religious to suggest the spiritual potency of ordinary things. That simple things—especially things detached from ordinary meaning—may acquire a higher meaning. That these objects make no obvious representational sense makes sense. Who knows what spiritual beings look like, after all? Platonic forms?
You can hear the lonely saxophone-on-fire-escape (in principle, the instrument may vary) cry through Gershwin. Aaron Copland. You remember Sonny Rollins on the bridge (the structure varies, too, of course). So what in the world is that about?