Nick Reding
Authors: Methland: The Death,Life of an American Small Town
Tags: #General, #Psychopathology, #Drug Traffic, #Methamphetamine, #Sociology, #Methamphetamine - Iowa - Oelwein, #Psychology, #Social Science, #Methamphetamine Abuse, #Drug Abuse and Crime, #Methamphetamine Abuse - Iowa - Oelwein, #Rural, #Addiction, #Criminology
METHLAND
By the Same Author
The Last Cowboys at the End of the World
METHLAND
T
HE
D
EATH
AND
LI
FE
OF
AN
A
MERICAN
S
MALL
T
OWN
N
ICK
R
EDING
Copyright © 2009 by Nick Reding
All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission from
the publisher except in the case of brief quotations embodied in critical articles or reviews. For information address Bloomsbury
USA, 175 Fifth Avenue, New York, NY 10010.
Published by Bloomsbury USA, New York
Some of the names in this book have been changed.
All of the events portrayed are completely factual.
All papers used by Bloomsbury USA are natural, recyclable products made from wood grown in well-managed forests. The manufacturing
processes conform to the environmental regulations of the country of origin.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLLICATION DATA
Reding, Nick.
Methland : the death and life of an American small town/Nick Reding.—1st ed.
p. cm.
Includes bibliographical references.
eISBN: 978-1-60819-156-7
1. Methamphetamine abuse—Iowa—Oelwein.
2. Methamphetamine—Iowa—Oelwein. I. Title.
HV5831.I8R43 2009
362.29'9—dc22
2008045398
First U.S. Edition 2009
1 3 5 7 9 10 8 6 4 2
Typeset by Westchester Book Group
Printed in the United States of America by Quebecor World Fairfield
To my wife and my son
For most of those which were great once are small today; and those which used to be small were great in my own time . . .
Human prosperity never abides long in the same place.
—Herodotus,
The Histories
CONTENTS
A
s you look down after takeoff from O’Hare International Airport, headed west for San Francisco, California, it’s only a few
minutes before the intricate complexity of Chicago’s suburban streets is overcome by the rolling swell of the prairie. The
change is visceral as the plane’s shadow floats past houses hidden within protective moats of red cedar and evergreen shelter
belts. The land unfolds a geometric sweep of corn and switchgrass. Grain elevators shine like tiny pieces in a diorama; next
to them, venous brown-water creeks extend their fingers warily onto the negative space of the prairie. And if you look closely
as the plane climbs past Mississippi Lock and Dam Number 10, on the Iowa side of the river, you’ll see a little town called
Oelwein, population 6,772. You’ll see, for a few ascendant moments, every street, every building, and every pickup truck in
brittle, detailed relief. Briefly, you can look at this photographic image of a town, imagining the lives of the people there
with voyeuris tic plea sure. And then Oelwein (along with your curiosity, perhaps) is gone.
Such is the reality of thousands of small communities dotting the twenty-eight landlocked states of the American flyover zone.
Lying beneath some of the most traveled air routes in the world, they are part of, and yet seemingly estranged from, the rest
of the country. In many ways, it’s easier to get from New York to Los Angeles, or from Dallas to Seattle, than it is to get
from anywhere in America to Oelwein, Iowa. Yet much of what there is to know about the United States at the beginning of the
new millennium is on display right there, gossiping at the Morning Perk café, waiting for calls at Re/Max Realty, or seeing
patients in the low brick building occupied by the Hallberg Family Practice. In their anonymity, and perhaps now more than
ever, towns like Oelwein go a long way toward telling us who we are and how we fit into the world. Who we are may well surprise
you.
Look again, then, this time from the window of a commuter flight from Chicago as it descends into Cedar Rapids, Iowa, on a
clear May morning. Follow the gentle arc of I-380 north, over the Cedar River and past the red-and-white-checked logo of the
Purina plant, which bathes everything for miles around in the sweet smell of breakfast cereal. What appears from the plane
window to be only a few inches is really an hour’s drive to the junction of Highway 150, a no-nonsense two-laner that eschews
the complexity of cloverleaf exits and overpasses. Every twenty miles or so, the speed limit drops from fifty-five to twenty-five
as Highway 150 bisects another cluster of three-and four-story buildings bookended by redbrick churches and bright metallic
water towers. The names of the towns are as companionable and familiar as the country is harsh: Bryantsburg, In dependence,
and Hazleton accompany the road all the way to where the Amish homesteads sit kitty-corner from the Sportsmen’s Lounge. There,
just across the Fayette County line, is Oelwein, pronounced
OL-wine
.
Like most small towns in Iowa, Oelwein’s four square miles are arranged on a grid system divided into quadrants. At what would
be the intersection of the x and y axes is the central feature of Oelwein’s architecture and economy: the century-old Chicago
Great Western roundhouse, where trains were once turned back north or south and where entire lines of railroad cars could
be worked on without regard for the often-brutal weather outside. An enormous brick and steel structure the size of three
football fields, the roundhouse, like the town it long supported, is the biggest thing for many miles. Amid the isolation,
Oelwein’s very presence defines the notion of somewhere.
On the surface, Oelwein would appear to be typical in every way. Driving into town from the south, you first notice the softening
profile of the maples and oaks that fill out the middle distance of an otherwise flat landscape. Once you are inside the city
limits, Oelwein’s skyline is divided between the five-story white spire of the Sacred Heart Catholic Church and, six blocks
farther north, the four-story red bell tower of Grace Methodist. Between them is a jewelry store, a sporting goods shop, two
banks, a florist, a movie house, and four restaurants, all housed in turn-of-the-twentieth-century brick and stone buildings.
Across the street from Las Flores Mexican Restaurant, there’s a clothing boutique, a photography studio, and a crafts store.
There are almost as many bars in Oelwein (eleven) as there are churches (thirteen). The biggest congregations are Lutheran
and Catholic, owing to the two separate movements of immigrants into the county: Scandinavians and Bavarians at the end of
the nineteenth century; Irish and Italians at the beginning of the twentieth. Von Tuck’s Bier Haus generally sees the high-end
clientele, which is likely to stop in following a lasagna supper at Leo’s Italian Restaurant, the newest incarnation of a
business that Frank Leo began as a grocery store in 1922, shortly after arriving from Italy. The Do Drop Inn, on the other
hand, is Oelwein’s seediest and most eclectic watering hole. Run by Mildred Binstock, the Do Drop, as it’s known, is decorated
in what Mildred terms “High Amish Kitsch,” a smorgasbord of lace doilies, mismatched wooden chairs, and all manner of antique
farm equipment washed in the harsh reds and soft greens of year-round Christmas lights.
Heading south on Main Street, back toward Hazleton, you’ll find a Dollar General, a Kmart, and a Kum and Go gas station. For
the most part, though, things in Oelwein are still owned by the same families that have owned them forever. There is no Starbucks,
and there are no plans for one. This is not a town that thrives on fanfare. Luxury is not a word that comes to mind inside
either of Oelwein’s clothing stores, VG’s and Sam’s, where wool dominates the fabrics of the men’s suits and the ladies’ dresses
alike. Practical, on the other hand, is a word that applies at nearly every turn. Even the photography studio, despite its
large picture window full of high school vanity shots, has a decidedly utilitarian feel, owing in part to the long shadow
cast by the wide aluminum awning—a necessary ac-coutrement in an area of the Midwest that sees three feet of rain and five
feet of snow in a normal year.
The closest thing to opulence in Oelwein comes in the predictably reserved form of a coffee shop, the Morning Perk. There,
members of Oelwein’s professional class gather each morning around an antique oak dresser featuring brushed aluminum carafes
of both regular and flavored coffee. Next to the carafes, a wicker basket is filled with containers of liquid creamers in
hazelnut, amaretto, and cinnamon flavors—this in a state (and a region) where packages of granulated nondairy creamer are
de rigueur. Their husbands off to work, the wives of Oelwein’s best-known men (the mayor, the high school principal, the police
chief, and the Methodist minister) linger on big couches and in stiff-backed chairs to gossip and make collages. Later, it’s
off to the Kokomo to have their hair and nails done.
How and where you drink your coffee speaks volumes about who you are and what you do in Oelwein. Three doors away from the
Morning Perk is the Hub City Bakery, a leaner, more hard-edged sibling of its sophisticate sister. Painted a dirty, aging
white, and with a long, family-style folding table covered in a paper tablecloth, Hub City looks less like a café and more
like the kitchen of a clapboard farm house. There is no focaccia or three-bean soup. In fact, there’s not even a menu. Instead,
there’s a plastic case of doughnuts and a two-burner gas stove where the cook and owner fries eggs destined for cold white
toast on a paper plate. Not that the old men mind as they linger at the table, layered in various forms of Carhartt: their
discussions of corn prices and the relative merits and deficiencies of various herbicides are ongoing, if not interminable.
A refined palate is not a prerequisite for entry at what is referred to by regulars as simply “the Bakery,” though it helps
to be short on appointments and long on opinions. Questioning the cook, like taking your coffee with cream, amounts to something
like a breach of etiquette.
Together, the separate constituencies of Oelwein’s two cafés give a sense of the pillars on which society in that town is
built. Life in a small midwestern town lingers in the bars and passes weekly through the church sanctuaries. But it’s rooted
in the stores that line Main Street, and on the green and yellow latticework sprawl of the farms that begin just feet from
where the pavement ends. The fit is symbiotic, though not always seamless. Without the revenues generated by the likes of
the 480-acre Lein operation—a sheep and corn farm twelve miles north of town—Repeats Consignment Store and Van Denover Jewelry
Plus would be hard-pressed to stay in business. As life in the fields and along the sidewalks goes, so goes the life of the
town, and along with it, the life of the hospital, the high school, and the local Christmas pageant, for which Oelwein is
known throughout at least two counties.
And yet, things are not entirely what they seem. On a sultry May evening, with the Cedar Rapids flight long gone back to Chicago,
and temperatures approaching ninety degrees at dusk, pass by the Perk and Hub City on the way into Oelwein’s tiny Ninth Ward.
Look down at the collapsing sidewalk, or across the vacant lot at a burned-out home. At the Conoco station, just a few blocks
south of Sacred Heart, a young man in a trench coat picks through the Dumpster, shaking despite the heat. Here, amid the double-wides
of the Ninth Ward, among the packs of teenage boys riding, gang-like, on their Huffy bicycles, the economy and culture of
Oelwein are more securely tied to a drug than to either of the two industries that have forever sustained the town: farming
and small business. This is the part of Oelwein, and of the small-town United States, not visible from the plane window as
the flat stretch of the country rolls by. After sundown in the Ninth Ward, the warm, nostalgic light that had bathed the nation
beneath a late-afternoon transcontinental flight is gone.
Against the oppressive humidity, the night’s smells begin to take shape. Mixed with the moist, organic scent of cut grass
at dew point is the ether-stink of methamphetamine cooks at work in their kitchens. Main Street, just three blocks distant,
feels as far away as Chicago. For life in Oelwein is not, in fact, a picture-postcard amalgamation of farms and churches and
pickup trucks, Fourth of July fireworks and Nativity scenes, bake sales and Friday-night football games. Nor is life simpler
or better or truer here than it is in Los Angeles or New York or Tampa or Houston. Life in the small-town United States has,
though, changed considerably in the last three decades. It wasn’t until 2005—when news of the methamphetamine epidemic began
flooding the national media—that people began taking notice. Overnight, the American small town and methamphetamine became
synonymous. Main Street was no longer divided between Leo’s and the Do Drop Inn, or between the Perk and the Bakery: it was
partitioned between the farmer and the tweaker. How this came to be—and what it tells us about who we are—is the story of
this book. And this book is the story of Oelwein, Iowa.
By the time I went to Iowa in May 2005, I’d already spent six years watching meth and rural America come together. The first
time I ran across the drug in a way that suggested its symbolic place in the heartland was not in Iowa but in Idaho, in a
little town called Gooding. I went to Gooding in the fall of 1999 to do a magazine story on that town’s principal industry,
ranching. At the time, I didn’t know what meth was; it was completely by accident that I found myself in a place overrun with
the drug, though the obviousness of meth’s effects was immediate. That first night in Gooding, I went to have dinner at the
Lincoln Inn, a combination road house and restaurant. On Friday nights, the road crews who’d busied themselves all week paving
and grading the county’s few byways descended on the Lincoln to drink beer. An inordinate number of them, it seemed to me,
were also high on meth. When the sheriff and a deputy drove by in the alley around midnight, they stopped to look in through
the back door. Then they got back in their cruiser and drove away. What could they do, the two of them, faced with a room
full of crank users? Two nights later, I was in the bunkhouse of a nearby ranch when three Mexicans drove up in a white Ford
F-150. They were meth dealers, and the oldest among them, a nineteen-year-old who gave his name as Coco and said he’d been
deported three times in the last four years, explained the crank business to me this way: “At first we give it away. Then
the addicts will do anything to get more.” Meth, it seemed, was just a part of life for the 1,286 inhabitants of Gooding,
Idaho.
Back in 1999, very little was being written about the drug, with the exception of a few newspapers on the West Coast and a
smattering of smaller ones like the Idaho
Mountain Express
. At the time, I was living in New York City. To read the
New York Times
, the
Washington Post
, and even the
Chicago Tribune
was to be largely unaware of methamphetamine’s spread throughout the United States. When I talked to friends about what I’d
seen in Gooding, no one believed it. That, or they dismissed crank as one more unseen, unfathomable aspect of life in The
Middle: as prevalent as corn, as inscrutable as the farm bill, and as tacky as evangelical theology. Whether I traveled to
Ennis, Montana, to Merced, California, or to Canton, Georgia, local consciousness of the drug was invariably acute, even as
meth somehow avoided coherent, national scrutiny. For four years, wherever I went, there meth was, as easy to discount as
it was to discover; once I was back in any major American city—be it New York or Chicago—whatever I’d seen or heard lost all
context. I even began to get the feeling that the drug was somehow following me around. I tried and failed on numerous occasions
to convince my agent and several magazine and book editors that meth in American small towns was a major issue. Eventually,
I tried to forget about it and move on. But I couldn’t ignore what I saw in November 2004, five years after being in Idaho,
which is that meth had become a major feature in the landscape of my home.