never wrote another book. His big book continued
making money throughout his life. It was filmed in 1960,
and a new paperback release again sold in vast numbers,
making an encore visit up the bestseller charts. Huggins
viewed Richard as a tragic literary figure, lonely and
sensitive and often mean, ever seeking and never finding
some distant personal El Dorado. He continued to live in
North Bend: had a house built on the property for his wife,
who soon left him for another man. But there were long
periods when he disappeared, absorbed into the decadent
life of Seattle and Los Angeles and New York. In North Bend
he filled his nights with classical music, so loud it
rocked the timbers. Often he would drift down to the
printshop, where he sat up all night composing poems and
bits of odd prose for nothing more than his own amusement.
Sometimes he would set these pieces in type, striking off
one or two or half a dozen copies before dismantling the
layout and staggering to bed at dawn. Old acquaintances
might receive these in the mail, lyrical reminders of a
time long past. One poem, containing four stanzas and
lovingly printed on separate folio sheets in
Grayson’s newest typeface, was fished out of the
garbage by a neighbor. It remains, today, the only known
copy. An occasional piece might be sent to a childhood
friend in Atlanta, a girl he once knew in Hollywood, an old
enemy in Reno who, inexplicably, kept it, only to learn
later that it was worth real money. These would arrive out
of the blue, the North Bend postmark the only hint of a
return address. In an apologia, Huggins described the
bibliographer’s nightmare of trying to include it
all—there was simply no telling how many had been
done and completely destroyed, and new scraps were turning
up all the time. At least one Grayson collector had
assembled more than two hundred unpublished poems and bits
of prose, set in type by Richard in his odd moments. There
had been talk of getting these writings published, if
rights could be determined and the heirs could ever agree.
A dual biography had been published three years ago: titled
Crossfire
with the subtitle
The Tragedies and Triumphs of Darryl and Richard
Grayson
, it had been written by a woman named Trish Aandahl and
brought out by the Viking Press. The Graysons died together
in a fire that destroyed the printshop on October 14, 1969.
Both had been drinking and apparently never knew what
happened to them. Aandahl was cited by Huggins as the chief
source of information on Grayson’s final project,
which had been destroyed in the fire. It had engaged him
for years, off and on around other work. Reportedly he had
designed two intricate, separate-though-compatible
alphabets for the two parts, English and French. Based on a
few surviving letters and the recollections of people who
knew him, Huggins was able to pinpoint the French volume as
Baudelaire’s
Flowers of Evil
.
I remembered that Baudelaire had been one of Poe’s
biggest fans in his lifetime. In fact, Baudelaire had
translated Poe’s works into French.
4
----
I flew to Seattle the same afternoon. The job was a piece of
cake, Slater said at the airport. The kid had no priors and
had offered no resistance to the deputy who arrested her in
the woods. No weapon had been found, either in
Rigby’s possession or in a search of the vicinity.
The shooting was believed to be an act of panic, and Rigby
had ditched the gun immediately afterward. At the bond
hearing her lip had described her as a sweet kid committed
to nonviolence. She was either Mother Teresa or Belle
Starr, take your pick. I took my gun along for the ride. I
wasn’t about to shoot the kid, but when you’ve
been a cop as long as I was, you don’t leave home
without it. I cleared it through the airline and tucked it
in my bag, which I checked through luggage. I was also