Chuck Palahniuk - Stranger Than Fiction (True Stories)

• Название: Stranger Than Fiction (True Stories)
• Автор: Chuck Palahniuk
• Жанр: Контркультура

"Full of wonderful moments…Palahniuk's voice is so distinctive and intimate-he writes as though he is recounting a great story to a close friend." — Los Angeles Times

"Step into Palahniuk's dark worldview and watch for what crawls out. These stories are true to him and no one else." — The Oregonian

“One of the oddest and most oddly compelling collections to come along for some time.” —The Milwaukee Journal Sentinel

“In Chuck Palahniuk’s world, the ride is fast, often disturbing, and there is never any holding back.” —The New Orleans Times-Picayune

“Eccentric, idiosyncratic, and often entertaining.” —The Onion

"Priceless grace notes from an exceptionally droll and sharp-eyed observer." — The New York Times

“Rarely does a collection of essays continually resonate with a main theme and accumulate a weight that would lead you to call it a great book. . This is a pretty great book.” —The Seattle Times

"The book's lurid appeal rests largely on being let in on Palahniuk's secrets, the raw material for much of his fiction. . Acts that give spice to his novels are made more menacing when encountered in the real world." — Black Book

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After removing the scaffolding "put logs," Roger filled most of the small holes with square stones. Some he left open as vents.

In order to keep building all winter, he enclosed his construction platform in a plywood shed to protect himself from the high mountain wind and snow and the fact he was working on a sheer wall that rose five stories above a steep hillside.

"When it was five degrees outside," Roger says, "I kept laying stone all winter."

He and a second man lifted the long, eight-by-eight rough-cut Douglas fir beams-one end at a time-into the beam slots. He studded the inside walls with chunks of semiprecious stone. Amethyst. Citrine. Rose quartz. Green calcite. Clear quartz crystals. He hand-carved decorative patterns in the kitchen cabinets and embedded stained-glass mosaics in the masonry walls. On the second floor, he points out a metal statue on the fireplace mantel.

"See the dragon?" Roger says. "A castle has got to have a dragon."

In the bright mountain light, the narrow stained-glass windows blaze bright as red, blue, and yellow neon. In some windows, the colored glass panels are sealed between the layers of clear double-paned windows. Other windows, the stained glass is the only glass in the frame.

"Some windows," Roger says, "I had to go back to the traditional, where I just had to touch the stained glass. The double-paned I try to stay away from as much as I can. When you look at the moon, you can kind of see a double moon. If I can just use solid glass, you can see the moon the way it is."

Battlements are lined with sharp spires of Columbia River basalt. The ceilings are twelve feet high. All the windows are built into pointed Gothic archways in the stone walls.

"You follow the windows with the stones until you get to the point the stones are going to fall down," Roger explains. "Higher than that, the stones are just propped up by sticks. A bigger window, when I get to the top I actually make a small form to do the peak on. A few sticks will hold some rocks, but it's much faster to use a form. You can stack the stones up, and just pull the form out."

He adds, "If you bump one of the sticks, then… the rocks will start coming down."

From the windows to the stonework to the built-in vacuum cleaner system to the wood shingles on the conical tower roofs, Roger DeClements did it all. He wrote his name and the date on the trusses inside the roof. And he followed the ancient mason's tradition of sealing his chisel and trowel inside the walls when he was done laying stone. But by accident. The tools actually fell between the two layers of stone and he buried them with the concrete he poured to fill the space in the permanent form.

Still, despite all this work, Castle Kataryna isn't quite done. There's still the drawbridge to build. Another twenty pallets-thirty-two tons-of stone will soon be delivered by a Canadian quarry. With enough money, Roger plans to build a "great hall" farther uphill, behind the current castle, then connect the two buildings with battlement walls that will enclose a courtyard similar to Jerry Bjorklund's castle plan.

Beyond that, Roger DeClements is already looking for new land for a fourth castle. He wants to learn ironworking, and build a medieval village around his next project.

"The first three were mostly just castle keeps," he says, "where the king and queen would live. I haven't been able to build the big courtyard walls and the big entrance towers and gates to make a castle twenty thousand square feet. The next time, I want to have a big great hall with timbers like a cathedral. And courtyard walls going around. I've got the plans in my head and a little bit down on paper."

He adds, "We looked on the Oregon coast and it was out of our budget."

And Roger DeClements isn't the only person looking to build his dream castle. Since posting a website for Castle Kataryna on the Internet, he's become the nation's guru for private castle projects. People from every state have contacted him for advice about how to build their own fantasy projects.

"With the Web," he says, "I'm getting all these people contacting me. I never realized there were so many people with the passion for castles. They love them. Lots of people say, 'It's been my dream for years to build a castle. And it's not just men, it's the women, too, who have this same dream."

As the point man for the new American castle movement, he says, "The attraction is a love of the romantic era of castles people envision. The better life they picture back then. There's a whole group called the SCA [Society for Creative Anachronism] that like to create the medieval times as they thought they should've been. Not as they were, but as they picture these times in their minds, their fantasies. Also, the movies and the Disney castles have inspired people to want castles, too."

As a practical building contractor, he says, "Besides, the lifespan of so many houses is getting smaller and smaller with the new materials being invented."

Now people from Alaska to Florida are learning from his mistakes.

"When I originally put this castle on the Internet, on a website, I was flooded with orders to build castles all over the United States. There are very few people who have the patience and the time to stack all that stone. And have the knowledge to do it right.

"There are a lot of people who are building castles for themselves, the way I first did. You build a block or concrete shell and then fur it out and insulate it, but I don't recommend that at all. It's just a basement that ends up smelling damp."

In response, Roger does what he can. "People often call me to ask questions and tell me about their projects," he says, "and I try to coach them, but most of them will go back to the old way because they have to cut cost. It just really hurts them in the long run, because then they find out the hard way."

He adds, "So I end up doing a lot of consulting on castle problems."

Despite the castle's million-dollar price, the DeClements family isn't rich. Roger works as a real estate agent with Windemere Realty, at the nearby ski resort, and during most of this last castle's construction the family of six-his kids are three, six and ten years old, plus his wife and a child from her previous marriage-have lived on just the second floor, sharing about a thousand square feet of living space.

Roger says, "My kids are kind of getting tired of all the other kids poking fun at them, wanting to come up and see their castle. They kind of want to be in a normal house so it doesn't attract so much attention." He adds, "My wife, she gets a little bugged with people always coming up. Because it attracts people. But I love talking to them. What strikes me is how many of them say, 'We've just been to Europe looking at castles… I don't know if that's just coincidence or if I'm just attracting more of that type."

It seems odd, but for three men with such similar passions, living relatively close together, Jerry Bjorklund and Roger DeClements and Bob Nippolt have never met. They've never seen each other's castles. It's only a few hours' drive from castle to castle, but they've never even heard about each other.

Working in a mental hospital, Carl Jung noticed that all insane people drew their delusions from a limited stock of images and ideas. These he called «archetypes» and argued these images are inherited and held in common by all people over all time. Through Jung's writing and painting, and later his own castle building-his "confession in stone"-Jung was able to examine and record his subconscious life.

None of these three castle builders has ever heard of Carl Jung.

Near the Columbia Gorge, the border between Washington State and Oregon, about seven miles up from the mouth of the White Salmon River, another castle looms among the mountains. Unlike the DeClements castle, this one rises from a rocky point in a valley floor, at a bend in the rushing, white-water river. It's sixty-five feet tall, four floors rising from a basement dug into the bedrock. A vertical maze of stairs and balconies with a secret room.

Retired from the military and a second career as a commercial jetliner pilot, Bob Nippolt has a full head of thick white hair. He's a slight figure wearing jeans and tennis shoes and black-framed glasses. These days, after years of climbing the castle stairs, he walks a little stiff-legged. His ancestors were Irish, and he practices the bagpipes. Summer nights, he sleeps outdoors on the castle terrace above the river.

In the living room of his castle, a framed black-and-white photo sits on a side table. It shows a building made of rough stone.

"My great grandfather came from around Cork in Ireland," Bob says, holding the photograph, "and he built this house out of stone in North Dakota. He must've come out to North Dakota in the 1870s. It is since in ruins, but the historical society is trying to restore it."

About his own building project, Bob says, "I don't know why I wanted to build a castle. I just saw some pictures of some gatehouses. And I'd seen some gatehouses in Ireland and Scotland, and I thought it would be kind of fun. Then I got carried away. I went crazy."

Beginning in 1988, he built his 4,800-square-foot castle out of rough-faced concrete block. Rising four floors with a basement, the walls are twenty inches thick, consisting of two rows of eight-inch-thick block with a space of about four inches between them. For reinforcement, a grid of three-quarter-inch steel rebar holds each wall, and every third row of blocks is filled solid with concrete. For insulation, the hollow inside the walls is filled with vermiculite. That four-inch hollow also holds the wiring conduit and plumbing.

Like Roger DeClements's castle, the heat comes from water heated in a basement boiler and routed through pipes in the concrete floor.

Steel beams support the first floor. Upper floors rest on closely spaced eight-by-twelve beams.

Bob will tell you, "I bought all the beams at a sale in Salem, Oregon, when a company had gone broke. I went down and looked at them and bought the whole two truckloads. I thought… I'll use them for something. At that time, it occurred to me to build the castle."

He adds, "I should never have found those beams."

First he built a teepee across the small lake from his future castle site. He lived in his wood shake teepee the entire time he was building.

Much of what Bob built with came here-like Bob himself-from a previous life somewhere else. "I read the want ads all the time," he says. "A lot of this stuff here is old planks and old lumber that we ran through the planer right here."

The beams came from a bankruptcy sale. The steel roof came from an old Standard Oil building being torn down. The bathroom vanities are antique dressers with a hole cut in the top for a recessed sink. The bar is from the old East Ave Tavern in Portland, Oregon. All the insulation he got for free from a Safeway supermarket being remodeled.

Like Roger's castle, the windows and doors are pointed Gothic arches-including a tall stained-glass mural inside the spiral stairwell. There are no curtains, but there are no neighbors, either. The floors are stone: slate from China or nearby Mount Adams.

Laying the concrete-block walls, he worked with an old mason who did near-perfect work. "He was slow," Bob remembers, "but he knew the business. When we got to the top floor, our roof was only off by three-eighths of an inch. This place was absolutely square.

Unlike Jerry Bjorklund, height wasn't an issue with local planners in Klickitat County. "They really didn't bother me about height," Bob says. "Now they would. Now they're pretty particular. And because I have so many code violations inside the house-like the stairwell, where I don't meet specifications-for my final inspection, they came out here and said, 'Bob, we'd just as soon you never got a final inspection. That's where we left that."

Even without the final official sign-off, he's confident he's inside the law. "My original permit goes back so far," Bob says. "Since then the rules have changed, so I'm grandfathered under an older disposition as far as the county inspections are concerned."

But going up to sixty-five feet did complicate some details. "The wiring," he says, "is all inside conduit. It had to be. By the time I got to the place I was going to put my electricity in, the inspector said it was a commercial building because it was over three floors, so everything has to be in conduit. Otherwise, I probably wouldn't use it, but now I'm glad I did." Like the DeClements castle, tall evergreen trees stand so near the castle walls the gutters have to be cleaned of their needles. It's a terrifying job, so high up, but with forest fires a threat, it has to be done. Still, with the river so close and a constant, heavy flow of water from the natural artesian well, Bob's not too worried.

"The fire danger is modest to light because of the situation along the river," he says. "Nobody camps here because the government owns most of the surrounding land. But fire is one of the reasons why I went with concrete and steel."

All day long, in good weather, people raft and kayak past the west side of the castle. The river's rushing babble is the background sound to every minute here.

"See that rock over there?" Bob says, pointing at the steep cliffs on the opposite side of the White Salmon River. "It's the same kind of rock over here. So when I put my foundation in, I was right on bedrock. When the guy came to inspect my foundation, he said, 'What the hell are you expecting? Are you going to make a bomb shelter? I said, 'If the river ever comes up, it's not going to take my house out.»

And Bob Nippolt's glad he did. "In 1995, they had a hundred-year flood," he says. "The river crested four or five feet from right here. There were logs and chairs and everything in the world coming downstream."

With its bomb-shelter basement and huge beams, Bob admits most of his house is overbuilt. Getting it done took seven or eight years of less-than-continuous work. "I'd shut down in the wintertime," Bob says, "or I'd run out of money."

Unlike Jerry, Bob found bankers were willing to lend him money for his dream.

"I don't think financing was a problem," he says. "I have a loan through Countrywide-they were very happy to finance me. Earlier on, I had a local bank finance me. At that time, the house was fairly well known. As far as fire and things, it's pretty impervious to most disasters."

Those «disasters» include the parties. "I feel my house is just about impervious to people, too," Bob says. "I've been here with three hundred people all dancing in the living room."

Then there are always the uninvited guests. Pointing out water stain on the white inside walls, Bob says, "A rodent got in the bottom of the downspout, and the pipe filled up and broke off and the water was directed into my unfinished top floor So I did get water throughout the house."

Instead of concrete block, the inside walls are finished with rough plaster painted white. "To make it look like wattle," Bob says, "first we put plaster on with the straw mixed in, but that wasn't working. Then we found out that if we cut the straw into about six-to-eight-inch lengths, then put the plaster on, then patted the straw into the wet plaster, then we got fairly close to what we wanted."