anything like his human namesake's.
I can't see Silver Star, which means he must be lying down. That's both good and bad: good, because it keeps the weight ofFhis feet, and bad because it means he's in enough pain he doesn't want to stand. Because of the way the stalls are constructed, I can't check on him until we stop and unload the other horses.
I sit across from the open door and watch the landscape pass until it gets dark. Eventually I slide down and fall asleep.
It seems like only minutes later when the brakes begin screeching. Almost immediately, the door to the goat room opens and Kinko and Queenie come out into the rough foyer.
Kinko leans one shoulder against the wall, hands pushed deep in his pockets and ignoring me studiously. When we finally come to a stop, he jumps to the ground, turns, and claps twice. Queenie leaps into his arms and they disappear.
I climb to my feet and peer out the open door.
We're on a siding in the middle of nowhere. The other two sections of train are also stopped, stretched out before us on the track, a half mile between each.
People climb down from the train in the early morning light. The performers stretch grumpily and gather in groups to talk and smoke as the
workmen drop ramps and unload stock. S a r a G r u en
August and his men arrive within minutes.
"Joe, you deal with the monkeys," says August. "Pete, Otis, unload the hay burners and get them watered, will you? Use the stream instead of troughs. We're conserving water."
"But don't unload Silver Star," I say.
There's a long silence. The men look first at me and then at August, whose gaze is steely.
"Yes," August finally says. "That's right. Don't unload Silver Star." He turns and walks away. The other men regard me with wide eyes. I jog a little to catch up with August.
"I'm sorry," I say, falling into stride beside him. "I didn't mean to give orders."
He stops in front of the camel car and slides the door open. We're greeted by the grunts and complaints of distressed dromedaries. "That's all right, my boy," August says cheerily, slinging a bucket of
meat at me. "You can help me feed the cats." I catch the bucket's thin metal handle. A cloud of angry flies rises from it.
"Oh my God," I say. I set the bucket down and turn away, retching. I wipe tears from my eyes, still gagging. "August, we can't feed them this." "Why not?"
"It's gone off."
There's no answer. I turn and find that August has set a second bucket beside me and left.
He's marching up the tracks carting another two buckets. I grab mine and catch up.
"It's putrid. Surely the cats won't eat this," I continue.
"Let's hope they do. Otherwise, we'll have to make some hard decisions."
"Huh?"
"We're still a long way from Joliet, and, alas, we're out of goats." I am too stunned to answer.
When we reach the second section of the train, August hops up onto a flat car and props open the sides of two cat dens. He opens the padlocks, leaves them hanging on the doors, and jumps down to the gravel.
"Go on then," he says, thumping me on the back. "What?"
Water for E l e p h a n ts
"They get a bucket each. Go on," he urges.
I climb reluctantly onto the bed of the flat car. The odor of cat urine is overwhelming.
August hands me the buckets of meat, one at a time. I set them on the weathered wooden boards, trying not to breathe.
The cat dens have two compartments each: to my left is a pair of lions. To my right, a tiger and a panther. All four are massive. They lift their heads, sniffing, their whiskers twitching.
"Well, go on then," says August.
"What do I do, just open the door and toss it in?" "Unless you can think of a better way."
The tiger rises, six hundred glorious pounds of black, orange, and white. His head is huge, his whiskers long. He comes to the door, swings around, and walks away. When he returns, he growls and swipes at the latch. The padlock rattles against the bars.
"You can start with Rex," says August, pointing at the lions, which
I can't see Silver Star, which means he must be lying down. That's both good and bad: good, because it keeps the weight ofFhis feet, and bad because it means he's in enough pain he doesn't want to stand. Because of the way the stalls are constructed, I can't check on him until we stop and unload the other horses.
I sit across from the open door and watch the landscape pass until it gets dark. Eventually I slide down and fall asleep.
It seems like only minutes later when the brakes begin screeching. Almost immediately, the door to the goat room opens and Kinko and Queenie come out into the rough foyer.
Kinko leans one shoulder against the wall, hands pushed deep in his pockets and ignoring me studiously. When we finally come to a stop, he jumps to the ground, turns, and claps twice. Queenie leaps into his arms and they disappear.
I climb to my feet and peer out the open door.
We're on a siding in the middle of nowhere. The other two sections of train are also stopped, stretched out before us on the track, a half mile between each.
People climb down from the train in the early morning light. The performers stretch grumpily and gather in groups to talk and smoke as the
workmen drop ramps and unload stock. S a r a G r u en
August and his men arrive within minutes.
"Joe, you deal with the monkeys," says August. "Pete, Otis, unload the hay burners and get them watered, will you? Use the stream instead of troughs. We're conserving water."
"But don't unload Silver Star," I say.
There's a long silence. The men look first at me and then at August, whose gaze is steely.
"Yes," August finally says. "That's right. Don't unload Silver Star." He turns and walks away. The other men regard me with wide eyes. I jog a little to catch up with August.
"I'm sorry," I say, falling into stride beside him. "I didn't mean to give orders."
He stops in front of the camel car and slides the door open. We're greeted by the grunts and complaints of distressed dromedaries. "That's all right, my boy," August says cheerily, slinging a bucket of
meat at me. "You can help me feed the cats." I catch the bucket's thin metal handle. A cloud of angry flies rises from it.
"Oh my God," I say. I set the bucket down and turn away, retching. I wipe tears from my eyes, still gagging. "August, we can't feed them this." "Why not?"
"It's gone off."
There's no answer. I turn and find that August has set a second bucket beside me and left.
He's marching up the tracks carting another two buckets. I grab mine and catch up.
"It's putrid. Surely the cats won't eat this," I continue.
"Let's hope they do. Otherwise, we'll have to make some hard decisions."
"Huh?"
"We're still a long way from Joliet, and, alas, we're out of goats." I am too stunned to answer.
When we reach the second section of the train, August hops up onto a flat car and props open the sides of two cat dens. He opens the padlocks, leaves them hanging on the doors, and jumps down to the gravel.
"Go on then," he says, thumping me on the back. "What?"
Water for E l e p h a n ts
"They get a bucket each. Go on," he urges.
I climb reluctantly onto the bed of the flat car. The odor of cat urine is overwhelming.
August hands me the buckets of meat, one at a time. I set them on the weathered wooden boards, trying not to breathe.
The cat dens have two compartments each: to my left is a pair of lions. To my right, a tiger and a panther. All four are massive. They lift their heads, sniffing, their whiskers twitching.
"Well, go on then," says August.
"What do I do, just open the door and toss it in?" "Unless you can think of a better way."
The tiger rises, six hundred glorious pounds of black, orange, and white. His head is huge, his whiskers long. He comes to the door, swings around, and walks away. When he returns, he growls and swipes at the latch. The padlock rattles against the bars.
"You can start with Rex," says August, pointing at the lions, which
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