In lieu of an abstract, here is a brief excerpt of the content:

  • Small Rooms in Time
  • Ted Kooser (bio)

Several years ago, a fifteen-year-old boy answered the side door of a house where I once lived, and was murdered, shot twice by one of five people—two women and three men—who had gone there to steal a pound of cocaine. The boy died just inside the door, at the top of a staircase that led to the cellar where I once had set up my easel and painted. The robbers—all but one still in their teens—stepped over the body, rushed down the steps, and shot three people there, a woman and two men.

Somebody called the police, perhaps the people who rented the apartment on the second floor. The next day’s front-page story reported that the three in the basement were expected to survive. The boy’s father, who was somewhere on the first floor and out of the line of fire, had not been injured.

It’s taken me a long time to try to set down my feelings about this incident. At the time, it felt as if somebody had punched me in the stomach, and in ways it has taken me until now to get my breath back. I’m ashamed to say that it wasn’t the boy’s death that so disturbed me, but the fact that it happened in a place where my family and I had once been safe.

I recently spent most of a month building a Christmas surprise for my wife, a one-inch to one-foot scale replica of her ancestral home in the Nebraska sandhills. The original, no longer owned by her family, was a sprawling fourteen-room, two-story frame house built in 1884. Her great grandparents and grandparents lived there. Her great aunt, still living and 108 years old at the time I am writing this, was born there. Her father and his brothers and sister chased through those rooms as small children, and as a girl my wife and her younger sister spent summers there, taking care of their invalid grandmother. [End Page 23]

Day after day as I worked on this dollhouse, pasting up wallpaper, gluing in baseboards and flooring, I would feel my imagination fitting itself into the little rooms. At times I lost all sense of scale and began to feel grit from the sandhills under my feet on the kitchen linoleum, to smell the summer sun on the porch roof shingles. I had never lived in that house, but I lived there during those moments, and as I worked, the shadows of wind-tossed trees played over the dusty glass of the windows. Now and then I would hear footsteps on the porch, approaching the door.

Immediately upon seeing the dollhouse on Christmas Eve, my wife began to recall the way it had been furnished when she was a girl, to talk about this piece of furniture being here and that one there. I watched her feed the goldfish in the dirty aquarium and sit down on the stiff, cold leather of the Mission sofa. I saw her stroke-damaged grandmother propped in her painted iron bed under the eaves. Listening to my wife, watching her open the tiny doors and peer into the tiny closets, I began to think about the way in which the rooms we inhabit, if only for a time, become unchanging places within us, complete in detail.

I clipped the article about the shooting and must have read it a hundred times those first few days. In a front-on photograph, like a mug shot, there stood the house, sealed off by yellow police tape, looking baffled, cold, and vacant. Next to the picture was a row of slack-faced mug shots of the five arrested. They looked as empty as the house.

I mailed a copy of the article to my first wife. I wanted her to share the shock that I was suffering, like a distant explosion whose concussion had taken years to reach across a galaxy of intervening happenstance. At the site where only the most common, most ordinary unhappiness had come to us—misunderstandings, miscommunications, a broken marriage...