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THE PIT-HEADS
    Paul Peletier and I drove up to Cobalt one last time, about seven years ago. It was my idea. Should have been Paul’s — hell, almost two decades before that it
was
his idea, going to Cobalt to paint the pit-heads — but lately he hadn’t been painting, hadn’t been out of his house to so much as
look
in so long, he was convinced he didn’t have any more ideas.
    “Bullshit,” I said to him, ignition keys jangling in my fingers, coaxing him outside. “You’re more of an artist than that.”
    “No,” he said. “And you’re not either.”
    But Paul didn’t have much will left to fight me, so he grumbled around the house looking for his old paint kit, the little green strongbox filled with the stuff he euphemistically called his Equipment. Then he climbed into the cab of my pickup, grunted, “Well come
on
, Picasso, let’s do it,” and we headed north.
    Just to see.
    There are other things to paint in Cobalt, after all: the black-and-umber tarpaper houses, built high on the rock with materials as likely stolen as they were bought; the roads wending dangerously through the lips of bedrock, like the untended streets of a medieval town; the grocery, built on top of an old mine shaft, a three-hundred-foot-deep root cellar where the owners dangle their overstock of meat and cheese against the improbable heat of high summer in northern Ontario.
    We’d painted them all before, in every season and under every sky, and when the pit-heads were still up, they never got old.
    So we turned off Highway 11, parked by the grocery and set up our easels. Paul dallied a bit in his strongbox — took out the old silver chain and put it around his neck, muttered a little prayer from his Catholic school days. And then, because there was nothing more but to get started, he reached into his kit and took out a blank pallet, squeezed out some acrylic from the little magazine of ancient paint-tubes he kept in a dark recess of the kit.
    I even remember what we were painting. I’ve still got the panel at my studio — it’s not very good, a not-very-confident study of one of those houses, rambling up a slope of rock and perched on a foundation of cinderblock. In a fit of whimsy, I included the figure of a man, bending down at the septic tank, tool box at his feet, an expression of grim determination painted on his tiny face. In fact, no one came out of the house the entire time we painted.
    Or should I say, the entire time that
I
painted. Paul just sat there, lifting his brush, swirling it on his pallet. Setting it down again.
    “Nothing here anymore, Graham,” said Paul, fingering the chain at his neck, and squinting over the still rooftops of the town in the too-bright summer sun. “They’re gone.”
    “They’re buried, you mean.”
    Paul shook his head, and he smiled. “The mining companies’ll say it’s because of taxes. Hailiebury taxes dearly for a pit-head, next to nothing for a cement plug over a dark shaft.”
    Then he looked at me, the tiny pewter Jesus at the end of the chain caught in a vise-grip between his thumb and the hard stem of his brush.
    “As long as the price of silver stays low, the pit-heads stay down. Holes stay covered, to keep the weather out of the shafts. That’s the story, eh, Graham?”
    “I guess those miners had the right idea, then,” I said. “I guess it’s time to go.”
    “I guess so,” said Paul.
    And so we packed up our brushes and pallets and paintings, and we followed the miners’ example. Paul was inordinately cheerful on the way back, and so was I, I have to admit. There was an ineffable feeling of freedom leaving that town — finally admitting it was over for us there; we were strictly on our own, from that moment on. We made jokes, shared a few carefully chosen reminiscences, were just like old friends again on that four-hour drive south.
    But much later, back at my own place in the cold dark of the early morning, I woke up with the once-familiar scream in my