When America at last joins the world conflagration, Frank Hoel is sent to France with the Second Cavalry Regiment. He makes his nine-year-old son Frank Jr. promise to keep taking pictures until his return. It’s a year for long promises. What the boy lacks in imagination he makes up for in obedience.
Pure, dumb fate leads Frank Sr. out of the cauldron of Saint-Mihiel only to liquefy him with a mortar shell in the Argonne, near Montfaucon. There isn’t enough left to put in a pine box and bury. The family makes a time capsule of his caps, pipes, and watches and sinks it in the family plot, under the tree that he photographed every month for a too-short while.
. . .
IF GOD HAD A BROWNIE, He might shoot another animated short subject: blight hovering a moment before plunging down the Appalachians into the heart of chestnut country. The chestnuts up North were majestic. But the southern trees are gods. They form near-pure stands for miles on end. In the Carolinas, boles older than America grow ten feet wide and a hundred and twenty feet tall. Whole forests of them flower in rolling clouds of white. Scores of mountain communities are built from the beautiful, straight-grained wood. A single tree might yield as many as fourteen thousand planks. The stocks of food that fall shin-deep feed entire counties, every year a mast year.
Now the gods are dying, all of them. The full force of human ingenuity can’t stop the disaster breaking over the continent. The blight runs along ridgelines, killing off peak after peak. A person perched on an overlook above the southern mountains can watch the trunks change to gray-white skeletons in a rippling wave. Loggers race through a dozen states to cut down whatever the fungus hasn’t reached. The nascent Forest Service encourages them. Use the wood, at least, before it’s ruined. And in that salvage mission, men kill any tree that might contain the secret of resistance.
A five-year-old in Tennessee who sees the first orange spots appear in her magic woods will have nothing left to show her own children except pictures. They’ll never see the ripe, full habit of the tree, never know the sight and sound and smell of their mother’s childhood. Millions of dead stumps sprout suckers that struggle on, year after year, before dying of an infection that, preserved in these stubborn shoots, will never disappear. By 1940, the fungus takes everything, all the way out to the farthest stands in southern Illinois. Four billion trees in the native range vanish into myth. Aside from a few secret pockets of resistance, the only chestnuts left are those that pioneers took far away, to states beyond the reach of the drifting spores.
FRANK HOEL JR. keeps his promise to his father, long after his father fades into blurry, black-and-white, overexposed memories. Each month the boy lays another photo in the balsam box. Soon he’s an adolescent. Then a young man. He goes through the motions the way the extended Hoel family keeps celebrating St. Olaf’s Day without remembering what it is.
Frank Jr. suffers nothing from imagination. He can’t even hear himself think: It’s very possible that I hate this tree. It’s very possible that I love it more than I loved my father. The thoughts can mean nothing to a man with no real independent desire, born under the thing he is chained to and fated to die under it, too. He thinks: This thing has no business here. It’s no good to anyone unless we chop it down. Then there are months when, through the viewfinder, the spreading crown seems to his surprised eye like the template for meaning itself.
In summer, water rises through the xylem and disperses out of the million tiny mouths on the undersides of leaves, a hundred gallons a day evaporating from the tree’s airy crown into the humid Iowa air. In fall, the yellowing leaves fill Frank Jr. with nostalgia. In winter, bare branches click and hum above the drifts, their blunt resting buds almost sinister with waiting. But for a moment each spring, the pale green catkins and cream-colored flowers put thoughts into Frank Jr.’s head, thoughts he doesn’t know how to have.
The third Hoel photographer keeps on taking pictures, just as he keeps going to church long after deciding that the entire faithful world has been duped by fairy tales. His pointless photographic ritual gives Frank Jr.’s life a blind purpose that even farming