February 7, 2022
In 1952 Johnny Cash wrote “Folsom Prison Blues,” which became a huge country hit. For years he sang it as his opening number at concerts. The song is about crime and retribution: punishment, regret, despair. It’s also about the railroad, a mythical railroad, a dream of escape, and maybe salvation. Cash was a man who knew he needed salvation. Like the rest of us.
A track runs along the north side of our neighborhood. It’s a couple of hundred yards beyond the street parallel to ours, and heavily used. In the afternoon we’ll often see a train racing by, hauling a hundred or more cars, engines roaring, sirens shrieking. At times the ground seems to shake. I wonder if those homeowners realized how close the tracks are before they bought their homes.

Sometimes late at night I hear those lonely sounds, which seem to echo off the trees. I think of “Folsom Prison Blues” and Johnny Cash. I don’t mind the sound, for years we lived within a few miles of tracks in Virginia and Tennessee. The sounds convey a sense of the economy bustling along, carrying goods to markets and customers “down the line,” as the song says. But at some moments they also suggest the weight of emotion Johnny reached for: sorrow for past mistakes, loneliness, isolation that comes from rootlessness, endless movement from one strange place to another.
I thought of these things, inexplicably, when I saw a bright red “For Sale” sign appear last month at the end of our street. It advertises a vacant lot that extends from a steep downslope to woods bordering a fast-moving creek. With the trees now bare, the outlines of houses in the subdivision beyond the creek are visible. The sign doesn’t give the dimensions of the property for sale, so it could be either the same size as the adjacent lots or the whole thing, which looks to be four or five acres.
The woods look like the kind of place parents wouldn’t let their kids play near: thick with underbrush, where scary people might hang around or wander through. When I was a kid my folks didn’t worry if I played all day in the woods behind our house. Things are different now. The woods, in their strangeness, their silence, pull me back to Folsom Prison Blues.
Around here, as elsewhere in suburbia, forest predated home construction. The developers of this subdivision extended two dead-end streets on the natural slope until it becomes too steep for houses. They removed the trees on the now-for-sale lot and pushed back the underbrush to give the place a more benign look. They tried to mitigate the scariness, the vaguely threatening impression that thick woods bordering backyards can create for homeowners. On my walks down to that end of the street I haven’t seen anyone venture there.
I’ve thought of walking down through the lot to get a look at the woods. Something holds me back. It’s private property. The residents nearby, when they’re there, stay inside. I’m not worried about someone threatening me with a shotgun. Or am I? This is the South, after all. People are hospitable and down-home friendly, except when they’re not, and they have guns. But nervous people with weapons are everywhere. I’m a little nervous myself.
Meanwhile this city advertises its razzle-dazzle: business is booming, we have the giant BMW plant on the interstate, GE, Fluor, Michelin, Lockheed Martin, lots of others. Main Street, in warm weather, hosts a big farmer’s market. There’s a theater, good restaurants, nice parks, the works. Covid hasn’t put a dent in the excitement.

Back at our little subdivision, named Riverside Glen although we have no river, neighbors go about their lives, work, yard care, playing with kids. A short quarter-mile away is this rough little piece of land. The steep drop into the woods says something to me, or to my imagination. It’s a long way from the razzle-dazzle. It conveys, somehow, the break between the known and the unknown, the tame and the wild, the cared for and the forgotten.
Instead of the natural beauty of woodland I see the ragged, empty fringe of this place, neglect, a sense of decay, loss. I wonder why. Sure, it’s impossible to build homes down there. What about a park or a nature trail? Some sign of civilization, something hopeful.
It won’t happen. The local government has built plenty of kids’ playgrounds, and now is in the middle of a giant downtown urban-renewal project, adding stores, offices, apartments. A big city park with a fountain and lots of green space stretches next to city hall.
We all know of places that somehow are off-limits, that people shy away from. Hemingway wrote about them in his Nick Adams stories, those remote camps in the woods of northern Michigan, where civilization seems far off, where bad things sometimes happen. Hemingway started his career with those stories, a career that won a Nobel Prize for literature. He then descended to his personal hell of wrecked marriages, alcoholic obsession, paranoia, and suicide.
Hemingway’s demons consumed him. Johnny Cash’s song may have been for him an act of repentance, of salvation. He struggled to learn, as others who share his darkness may learn, the truth that at the hardest, bleakest part of existence, surrender to faith and love brings strength and sustenance for the haunted, painful days.
The trains roar by in the middle of the night. We move beyond the Folsom Prison intimations of tragedy and loss. The woods are silent, connoting mystery, but also tranquility, peace. I put the trains and the woods, and the hard thoughts they summon, out of my mind. The property down the street probably will be sold. Or not. It may remain empty, unwanted, shaping nightmares, but also dreams.



