When Summer Comes

A sun-bleached, dust-caked reverie unfurls across a nameless frontier town the instant the calendar exhales its last school bell. Clarence Hennecke’s itinerant photographer—part huckster, part shaman—arrives with a pony-and-cart darkroom that stinks of collodion and premonition, promising villagers he can trap their fleeting youth on silver plates. Cubby the Bear, a fleabitten carnival refugee, lumbers beside him like a hairy conscience, while Numa the Lion—escaped from a bankrupt circus—pads through the chaparral, a tawny metaphor for every appetite the townsfolk pretend they don’t share. Kewpie Morgan’s barber, shaving customers with a blade that glints like a moral judgment, narrates the gossip in lathered whispers: Mildred June’s dressmaker longs to bolt for the coast; Gordon Lewis’s ranch hand hoards wages for a marriage he secretly hopes will never happen; Blue Washington’s Pullman porter, stranded between trains, plays barrelhouse piano in the dusk until the ivory seems to bleed. Over one sweltering week, the camera clicks, the lion roars, the bear dances, and every exposure reveals a secret—James Finlayson’s banker embezzled the church fund, Billy Bevan’s postman hoards love letters never sent, Jack Cooper’s Black farmhand dreams in maps of Chicago. When the photographer finally develops the last plate at dawn, the image shows the entire town assembled in the street yet every face is blurred except his own, sharp and terrified. The celluloid itself seems to sweat; the summer has devoured its children, leaving only the heat, the roar, and the knowledge that memory is a predator we invite to dinner.