Showing posts with label Chris Jones. Show all posts
Showing posts with label Chris Jones. Show all posts

February 26, 2012

She could only see the back of its great, beautiful head, still lifted high.

Esquire caption: Not the actual animals but the number and types killed that night, from top, left to right: two gray wolves, two grizzly bears, two macaque monkeys (one eaten, one presumed so), eighteen tigers, eight lionesses, six black bears, nine male lions, and three mountain lions. All were buried in a mass grave on Thompson's farm.

Animals by Chris Jones
Esquire, March 2012

This story made me sad, excited, scared. It was wonderful. It started off a little slow (necessary though to introduce everything), but once Chris Jones got to the meat, the action, I couldn't put the story down. I hadn't heard of this when it happened (though I feel like I should have...), but Jones indicates that there was a lot of misunderstanding about what happened that night, so he got to the bottom of it. The massacre was a necessary choice the police had to make given the circumstances. And like Todd Kanavel, one of the detectives, told Jones, "I think people were thinking we were hooping and hollering, like a bunch of rednecks. This was a police operation." 

There was range of emotion. One officer felt tormented by having to kill the beautiful animals. Excitement. There's confusion and awe regarding Thompson's suicide. Man, the part with the white tigerit just killed me. In the end he was torn to pieces by one of his animals. Just wow. Also, Chris Jones is just a really great fucking writer. GQ's Chris Heath covered the same story in its March 2012 issue, so there was talk about that. I've only read the first graf, just now. They both started with the same scene: the horses. I imagine I'll read the rest later but for now I'll say: no competition. 

Esquire also released the first ever magazine article trailer to hype the story.

This part. Wow.
"They got out of the cruiser, and they both saw Terry Thompson, down a short enbankment, bloody and lying flat on his back. There was a pistol on the grass; Blake didn't see the blue bolt cutters that were lying about ten feet away. A tigera white tiger, a genetic mutant was gnawing at Thompson's head. Most of the top of his head was missing; other parts of him had also been eaten. Now the white tiger dragged Thompson around, puncturing his throat with his teeth. There was a lot of blood. Behind his body, a small trash fire smoldered. Smoke rose into the darkening sky. "I'll always wonder what he didn't want us to find," Blake says. The tiger continued to feed."

This was kind of funny. Jones introduced this part after some of the intensity had subsided and I just thought it was so ridiculous that a group of people drove up to the farm that night after hearing what happened and tried to steal one of the dead lions. Also, kind of shows the extent of Jones reporting. When the police (I assume) told him someone had done this, he went and found them.
"The five friends, who were later charged with misdemeanor theft, were told to return their stolen lion to the farm. A deputy followed them in his cruiser, and he radioed Lawhorne and Swope, asking them to meet him at the bottom of the driveway. They lashed ropes around the lion and dragged it out of the Jeep, leaving a bloodstain in the back. After, Lawhorne and Swope talked about what would have happened had the lion theft gone uninterrupted: Most important, there would have been a lion missing from the count. For weeks or months or even years after, there would have been calls about the phantom lion of Zanesville, a knife-toothed ghost that would appear in nighttime imaginations until it finally became legend, when all the while it was just a skin spread out on the floor of a house in Cambridge, warming the feet of five friends playing cards."

"Depending on your proximity to Zanesville, Ohio, and your feelings about the relative value of animal life, what happened at the farm was either one of the worst mass shootings in American history or a miracle. Other than Terry Thompson, no humans had suffered an injury outside of hearing loss. More than forty animals had been shot. One, a monkey, had been torn apart by the big cats, its shredded body sprawled out by the house. Six animals had survived, because Thompson had left them locked away in their pens in the house, for reasons known only to him: the three leopards, the small bear, and the two screaming monkeys."

"Wolfe got her tranquilizer gun, a black, bolt-action rifle with a scope. She also had a plastic case, like a tackle box, filled with darts of varying size. Tranquilizing animals is a tricky business. Animals fight artificial sleep, especially panicked ones. Their systems might resist the tranquilizer for ten or fifteen minutes, maybe more. Different animals also require different drugs and different amounts of them, depending on the species, how much they weigh, and whether they've eaten recently. Too much tranquilizer and the animal might die; not enough and the animal will only be enraged by it. Trajectory physics also complicate matters. Darts don't behave like bullets. They are not nearly as consistent in their flight, and it doesn't take much to knock them off their intended course. They need to find muscle."

The death of the last animal. Can't lie, this part made me tear.
"Wolfe shook her head and told the men to wait. After a full ten minutes had passed, she crept back into the woods. And there was the tiger in front of herstill alive and still awake. Its breathing was labored, but its head was raised. Wolfe watched the tiger for a moment. She stood in the rain and watched, the only time in her life she had ever been so close to a living tiger without seeing it through the bars of a cage. The tiger's head was turned away from her. She never did see its eyes. She could see only the back of its great, beautiful head, still lifted high, while its body settled deep into the soft ground, sinking deeper with each breath. Wolfe stepped back, and the men took her place. Lawhorne raised his M4 to his shoulder, and he pulled the trigger, and the last Zanesville tiger finally fell, the sound of the bullets echoing between the trees."

January 22, 2012

I wished that we would always be terrified of death.

Oh my god. OK. I decided to pick up the November 2011 issue of Esquire again tonight. It's been sitting on my desk, near a large, continually growing pile of magazines. I hate looking at it because it stresses me out to think that a) It's contributing to the disorganized mess on my desk and b) I'm not reading enough or as much as I'd like to. But I finished some of what I had to do today and decided I'd finish this issue so I can finally store it in my bookshelf with all of the others.

I decided to start from the end and found Esquire's Mental Health 2011 package, hidden between the end of the Style section and the credits/ads. I almost feel like they didn't want anyone to find it. I couldn't find it on Esquire.com, but found this pdf instead.

I was going to skip it but noticed that "Panic" was written by Chris Jones so I kept reading. He didn't say he was the subject until the 4th graf. It took me by surprise.

Someone asked me the other day if I had any fears or phobias. And in the moment, I really couldn't think of one to say. I love heights, I'm not afraid of needles, sometimes I'm afraid of the dark (but isn't everyone spooked if they find themselves in the darkness alone?), and bugs freak me out, sure, but I'm not around them enough to have a fear of them.

How could I forget? I'm scared of dying. Which seems so morbid to admit. Death is not something I think about obsessively, but it's... always there. That sounds so odd, but, I don't know. I feel gratitude every day and a sense of relief when I make it home. I'm just so scared of being in the wrong place at the wrong time, of dying in some freak accident as always reported in the news. I've developed defensive habits. When a train is arriving, I always take a few steps back on the platform, etc. The first excerpt I post, the one where he talks about the perfect time--I think about that a lot. I always feel like somehow I've escaped death by the seemingly insignificant decisions I've made: sitting in a certain car, walking on a certain side of the street,  running back to grab something else.

I don't think I could ever kill myself because I'm always grasping onto life so tightly, so afraid I'm going to lose it. I was so touched by his honesty, and his revelation. The second excerpt (the end) was especially beautiful. Chris Jones! I think I can put this issue away now.

"Whenever it was that my own blackness took hold, I didn't feel a thing. It must have been sometime that past fall or winter, months before the bridge. It surfaced at first in little hiccups and tics, a life gone slightly askew. I developed obsessions, weird ideas of perfection. There was a period when I couldn't bring myself to leave the house, because I'd decided that there was one perfect time--when, if I left just then, my day would go smoothly, and every other departure time meant some disaster awaited. But of course it was impossible for me to know when that one perfect time was, so I never left."

"I walked very quickly to the hospital; I was almost running. There was a bench, and I sat down to catch my breath before I checked myself in. I was struck by how many people there were outside, even though it was in the middle of the night. There were maybe a dozen patients, some of them having come out for a smoke or just to feel the cool of the night, propped up against the walls or wrapped up in their wheelchairs. I sat among them, and I felt stronger for their company. I felt as though we were all in this together. There are so many dead, but there are so many of us still alive; there are so many of us still in love. I sat on that bench and realized that I'd walked so quickly to the hospital because I was scared of dying. My heart nearly burst open. It was the best feeling in the world. I felt so good that I never did go inside; I spent a few hours on that bench, in that company, and that was all the help I needed. I watched my breath turning solid in the cold, and I looked up at all those little lights in the sky, and I made a wish for me and my friends: I wished that we would always be terrified of death, every last one of us, that we would spend the rest of our lives running away from it, that we would dream about dying and wake up screaming, that we would be pathological in our fears--scared of heights, scared of bullets, scared of trains. Oh, spare us, I remember thinking. Spare us, please spare us, because there are so many ways to die."

March 05, 2010

As it ravished me, I longed for a freeze-frame




Esquire, March 2010
The Essential Man by Chris Jones

For this, I'm going to leave Roger Ebert's words and not Chris Jones'. It shows that despite everything that's happened to him, his essence is still there. And he can still write. I was never too familiar with Ebert - though looking at previous photos I do remember seeing him occasionally on TV - but this article got a lot of buzz so I read it and it moved me.

"Pedro Almodovar loves the movies with lust and abandon and the skill of an experienced lover. "Broken Embraces" is a voluptuary of a film, drunk on primary colors, caressing Penelope Cruz, using the devices of a Hitchcock to distract us with surfaces while the sinister uncoils beneath. As it ravished me, I longed for a freeze-frame to allow me to savor a shot."