All posts by Eric Robert Nolan

Eric Robert Nolan graduated from Mary Washington College in 1994 with a Bachelor of Science in Psychology. He spent several years a news reporter and editorial writer for the Culpeper Star Exponent in Culpeper, Virginia. His work has also appeared on the front pages of numerous newspapers in Virginia, including The Free Lance – Star and The Daily Progress. Eric entered the field of philanthropy in 1996, as a grant writer for nonprofit healthcare organizations. Eric’s poetry has been featured by Dead Beats Literary Blog, Dagda Publishing, The International War Veterans’ Poetry Archive, and elsewhere. His poetry will also be published by Illumen Magazine in its Spring 2014 issue.

“The Disappearance of Little Tommy Drummond,” By Eric Robert Nolan

[First published by Dead Beats Literary Blog, November 5, 2013]

A town could die from the inside out.

That was what Kira Manning thought as she gazed absently out from the wide front window of Manning Hardware in Willibee, Massachusetts. A single loss close to its heart can reverberate throughout a town, in the same manner that a malignant cancer flourishes throughout a body.

On the surface, things might look the same. Main Street beyond her window still held the same cars and passersby. Eddie Berenger, the town drunk, still ambled along with his big, dark green Army knapsack, ever laboring under the misconception that nobody knew it held a 12-pack. Anna Mirren walked smartly along with her arms full of choir notes for the Willibee First Baptist Church Adult Choir. And the prim Mrs. Bell still strolled like royalty along the sidewalk, her corgi keeping perfect pace with her like a diligent squire.

But that was the surface. Today, Willibee was a changed place. On a telephone pole just outside the store window, a poster broadcast a word in bold black letters:

MISSING

Below that was a photograph. A handsome 11-year-old boy with closely cropped black hair smiled broadly out at passersby. That smile suggested a soul who had never seen a rainy day in his life. If the boy himself had been standing there on the sidewalk, the smile would have been contagious.

But he wasn’t there on the sidewalk. Little Tommy Drummond had been missing since May 9th, 2013. He had been playing with two friends at Falcon’s Wing (or just “The Wing,” to many locals), a twisting ravine among the piney hills along Willibee’s western edge. The Wing had been a favorite place for the town’s children – a steep, sharp rift, full of thick vines, with a sandy trail winding along the bottom. Lined by coniferous ridges, it was actually quite close to town, running alongside it. Yet it was tucked firmly under the forest’s endless canopy of pines.

Tommy had been playing with two friends – John Paulson and Troy Bristol – and they were the last two people to see him alive. And now, as the calendar crept into the waning days of a humid June, a growing consensus held that they would always be the last to have seen him.

Tommy Drummond never returned home that night. And the only sign of him the following day had been a single, bright red, left sneaker, sitting askew in the ravine’s vines.

Kira turned away from the window. She was a slender 32-year-old in a red flannel shirt, with a cascade of curly walnut hair tied back in a ponytail. She had much work to do. It was inventory day at Manning Hardware, and she preferred to run a tight ship. Besides, she was only one woman, and the store was hers alone. She liked to run a tight ship because life had taught her that she needed to do so. She’d been orphaned by a car accident when she was 14, and she was far too independent to have ever married. She was one of those uncommon people who truly treated industry as a virtue. And so she resumed counting the rows of squat green Kohlemen Lanterns on an overhead shelf.

Still, like so many others in Willibee, her thoughts returned to what the newspapers had dubbed “The Drummond Case.” Willibee was a logging community of about 2,000 souls, and the possibility of a kidnapping or murder had monopolized – no, fundamentally altered – the town consciousness. Nobody could forget the pageant of grief that was the local news coverage: Cynthia Drummond, the mother, weeping openly on television; the worn, frightened look of Sean Drummond, that father; the shell-shocked expressions of his two younger sisters.

And nobody could forget the singular nature of the case’s strangest clue. On May 11, two days after the disappearance, someone in the search party noticed a single word carved into one of the great, tall pines lining The Wing:

NERO

Police determined that it had been made with a pocket knife, and neither of Tommy Drummond’s playmates had placed it there. And nobody had a firm idea how it might relate to the boy’s disappearance. Nearly all opined, however, that it had something to do with it. The tree sat at a high pass that overlooked nearly all of Falcon’s Wing; whoever had put the message there could easily see where Tommy and the other boys had been playing. The FBI had been called in from the Boston Field Office (kidnapping is a federal crime), and their forensics experts had determined that it had been carved at about the same time the boys had been there.

Nero. What did that mean? Was it a name? If so, was it a name the abductor called himself, or was it an appellation given to him by others? A minority in the town held that it wasn’t a name at all, but a reference – “Nero fiddled while Rome burned.” Was that how the message was intended?

But while Rome burned, a chill settled over Willibee. The effect on the town was difficult to fully describe. Certain changes were predictable: people locked their doors at night, schools cancelled outdoor activities, parents admonished their children never to talk to strangers. And, of course, children no longer played along Falcon’s Wing.

The real effect of the disappearance, however, ran far deeper; the chill over Willibee permeated its very bones. A sense of danger can invade a place. It can occupy a town like an opposing army. It can change the nature of every single subsequent moment for the people living there. Willibee was a small town, and like many small towns, it was no stranger to provincialism. Residents there had once credited themselves for living lives that were simpler and safer than those who lived in big cities. The Drummond Case robbed them of that. The sense of safety was gone now, leaving a gap that was as painful as a roughly extracted tooth. And the most venomous aspect to all of this was a suspicion – that the crime had been committed by one of Willibee’s own. The small town was not a tourist destination, and had few visitors. Some of the lumberjacks were seasonal workers from elsewhere, but the police had investigated them with no real leads.

The possibility – the very notion – that “Nero” could be a local was not only terrifying, it also destroyed the town’s sense of identity. It was a different place now – the old Willibee was dead, while this new and frightened community had fallen, trembling, in its place. With Tommy Drummond’s loss, the town had died from the inside out.
After a solid day’s work, Kira closed Manning Hardware just a little early at 4:50 PM. Skipping her usual cup of coffee at the Bumblebee Diner, she proceeded directly home. Her left turn on Willows Street took her past one of the immense and solid walls of pines that lined the town like ramparts. Not far away was Falcon’s Wing.

She too had played along The Wing as a girl, in those forever-ago days when she had parents. Her favorite game was hide and seek, and she had been good at it. She remembered how each tree seemed like a friend and a teammate, concealing her flight from her pursuers. She remembered how the fallen pine needles on the forest floor made her footfalls silent.

Now the trees felt like a presence once again. Here, in yet another humid June evening, they stood sentinel over the secret of Tommy Drummond’s fate.

A girlish, irrational thought crossed her mind – “Maybe the pine trees took him.” She could imagine them thinking, conspiring once again, but this time as confederates with whatever dark soul had stolen away with the lost boy.

Shivering a little, Kira continued home.

(c) Eric Robert Nolan, 2013

 

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Photo credit: By Pit1233 (Own work) [CC0], via Wikimedia Commons

“The Parable of Two Wolves,” author unknown

Okay, if you have an Internet connection, then chances are you’ve read some variation of “The Parable of Two Wolves.”  But of course I had to run it at least once on this blog.

What I find interesting is that there appears to be little consensus about the story’s origin.  I prefer to think of it as the Cherokee oral tradition to which most people attribute it.  But other people sharing it point to supposed authors as diverse as Billy Graham and George Bernard Shaw.

****

 

An old Cherokee chief was teaching his grandson about life…

“A fight is going on inside me,” he said to the boy.
“It is a terrible fight and it is between two wolves.

“One is evil – he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, self-doubt, and ego.

“The other is good – he is joy, peace, love, hope, serenity, humility, kindness, benevolence, empathy, generosity, truth, compassion, and faith.

“This same fight is going on inside you – and inside every other person, too.”

The grandson thought about it for a minute and then asked his grandfather,
“Which wolf will win?”

The old chief simply replied,
“The one you feed.”

 

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Fritz von Uhde’s “In Thoughts,”1902

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Downtown Roanoke, Virginia, March 2017 (2)

Market Street and its vicinity.

 

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Downtown Roanoke, Virginia, March 2017

These were taken along South Jefferson Street.

 

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A review of “Logan” (2017)

I’m not sure I agree with quite all of the accolades that “Logan” (2017) has been receiving.  (It’s being compared with Christopher Nolan’s “The Dark Knight,” for example, as well as Frank Miller’s medium-altering 1986 graphic novel, “The Dark Knight Returns.”)  It’s still a damn good movie, though, and easily among the best of Fox’s “X-Men” series.  I’d give it a 9 out of 10, and I’d firmly recommend it.

This absolutely doesn’t feel like a “comic book movie.”  It feels more like a brutally violent, sometimes introspective, road-trip drama — though all of the comic book elements are still there.  I’d caution comic book fans that “Logan” was actually much darker than I expected — and, no, it wasn’t just because of the visceral violence that could only be afforded by this movie’s unusual “R” rating.  There was a lot more that went on here that got under my skin … I just can’t say more for fear of spoilers.

There is one thing I can tell you — there is none of the escapism of past “X-Men” films.  (C’mon, for being about a supposedly oppressed group, those movies always made being a mutant look fun as hell, and even glamorous.)  This film follows an aging, ailing Wolverine, and an even worsely afflicted Professor X — subsisting in secret in the Mexico desert.  What’s more, they and their aging friend, Caliban, appear to be among the last of their kind, thanks to an unexplained, decades-long absence of new mutant births.  And what little exposition is given about the other X-Men suggests that they are dead.  If you’ve been a fan of these iconic characters for a long time, then seeing Wolverine and Professor X being so painfully not larger than life is jarring, and even sad.  No matter what is the outcome of its story, this movie’s plot setup alone can make an “X-Men” fan a little despondent.

The action is damned good.  The movie surprised me by how smart it was, too.  Its examination of violence and its consequences is unflinching.  Also, we’ve been instructed through so many “X-Men” movies that humans should not seek to contain the mutants out of fear … yet “Logan” adroitly and subtly questions such one-sided moralizing.  The acting, across the board, is extremely good — predictably from Hugh Jackman and Patrick Stewart, and surprisingly from 11-year-old Dafne Keen.  She’s perfect as the young, imperiled, yet ferocious Laura.

My complaints with “Logan” were minor.  One thing that irked me was my own confusion about whether it was “canon.”  Are we to assume that this takes place in the “X-Men” movies’ “main continuity?”  Or is this a parallel universe or a different timeline?  The feel of this film is so radically different that I found it difficult to imagine it following the previous films (although the post-credits sequence in 2016’s “X-Men: Apocalypse” seems to set up “Logan.”)  I thought that this was based on Marvel Comics’ “Old Man Logan” storyline … wasn’t that an alternate universe story?

Maybe adding more to my confusion, “X-Men” comic books actually exist in the universe of this film.  Laura carries a bunch of them, and they are a minor plot point.  Does this mean that the humans in this universe have finally accepted mutants, enough to create comic books about them being heroes?  How did that come about?

My second criticism of “Logan” is that the character of Laura is thinly rendered.  Saving her is the plot device for the entire film, and Keen is absolutely talented.  Shouldn’t we know more about her, and about her relationship with Logan and Charles?

All in all, this was a superb film, though — with an unexpected tone and a surprisingly sober, risk-taking approach to Jackman’s avowed last appearance as Wolverine.  If you like the “X-Men” movies at all, then you should definitely see it.

 

 

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Captured WWI German Field Gun, Salem, Virginia

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Attributes of Beg-tse in a Tibetan rgyan tshogs banner.

Detail of a bull, a horse and an elephant.

L0030399 Attributes of Beg-tse in a Tibetan "rgyan tshogs"

F.I.R.S.T. Robotics Competition at Blacksburg High School, VA, March 2017

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Southwestern Virginia between Salem and Blacksburg, March 2017

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