2439 lines
129 KiB
Plaintext
2439 lines
129 KiB
Plaintext
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|___|___| | | | | | |__|__| | | | |___|
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An electronic literary magazine striving for the very best in
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contemporary fiction, poetry, and essays.
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Editor: Sung J. Woo (sw17@cornell.edu)
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VOLUME I NUMBER 1 MARCH 1,
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1994
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Table of Contents
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Welcome...............................................................xx
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_Fiction_
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"Barking Dogs and Flying Saucers," by Keith Dawson....................xx
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"Eat Lunch with the Homeless," by E. Jay O'Connell....................xx
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"SaveWay," by Jim Esch................................................xx
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Excerpt from _Kissing the Dead_ by Stewart O'Nan......................xx
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_Poetry_
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"The Side Show," by Daniel Sendecki...................................xx
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"While Walking," by Andrea Krackow....................................xx
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"The High Cost of Living," by Nancy Bent..............................xx
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"If I Were a Lover," by Jim Chaffee...................................xx
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"Cinderella Rewritten," by Rachel L. Miller...........................xx
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-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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Whirlwind cannot continue without submissions from established and amateur
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writers on the net. If you or anyone you know is looking to publish
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contemporary fiction, poetry, or essays, please don't hesistate to get a
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copy of the work to us. Mail submissions to: sw17@cornell.edu.
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-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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Whirlwind Vol. 1, No. 1. Whirlwind is published electronically on a
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bi-monthly basis. Reproduction of this magazine is permitted as long as
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the magazine is not sold and the entire text of the issue remains intact.
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Copyright (c) 1994, authors. All further rights to stories belong to the
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authors. Whirlwind is produced using Aldus Pagemaker 5.0 and T/Maker
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WriteNow 2.2 software on Apple Macintosh computers and is converted into
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PostScript format for distribution. PostScript is a registered trademark
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of Adobe Systems, Inc. For back issue and other information, see our back
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page. Please send any questions/comments to sw17@cornell.edu.
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March 1, 1994
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Welcome to the first issue of Whirlwind. Why I suddenly decided
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to start this magazine is a mystery to me. I'm currently a senior
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at Cornell University studying English -- this is my last
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semester, when I should be attending bars instead of classes,
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concentrating on doing nothing of substance.
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But instead of just loafing around, I thought that the net needed
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a magazine like mine, one that specializes in contemporary
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fiction, poetry, and essays. I believe every single work that
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went into this first issue is a good read. That is the single
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most important rule that I believe all works of fiction or poetry
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must abide by -- that first and foremost, they must be fun and
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entertaining.
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Putting this magazine together has taken far more time than I
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thought, but I think it has been worth it. I would like to thank
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Jason Snell of InterText, who gave me sage advice and a ton of
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useful information. I would also like to thank Amy Moskovitz for
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her photographs -- if you have access to a PostScript printer, I
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highly recommend you download and print out that version. I wish
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I could include her work in this ASCII format, but of course that
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is not possible. It goes without saying that her pictures look
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far better on paper, but they have nonetheless managed to make
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this magazine visually beautiful.
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Sung J. Woo
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Editor
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FICTION
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BARKING DOGS AND FLYING SAUCERS
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BY KEITH DAWSON
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It is 1979. Jeremy is fifteen, and he rides the subway home from
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school every day. He rides from his school at 86th Street and
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Lexington back to Brooklyn. It is an icy day that winter. He wears a
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blue snorkel parka. While waiting for the train, he leans against the
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wall. In the process, he ruins a drawing someone has made in chalk in
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an empty ad space.
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He makes a mess of the back of his jacket. This will cause his mother
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to complain. Worse, he's just obliterated a delicate white outlined
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picture of a barking dog. Above the dog was a flying saucer. The dog
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was barking at the flying saucer, Jeremy thinks. It is hard to tell.
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A strange blocky stick figure stood by the dog, listening to the
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saucer. Now it is a tangled mishmash of chalk on a black background.
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The barking dog is more of a lopsided polygon.
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He thinks nothing more about the ravaged chalk drawing until the next
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day, when he and his cleaned jacket get off the train at that same
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stop. He looks across the tracks at the downtown side, and sees a man
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standing in front of the former chalk drawing.
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The young man is dressed in a bomber jacket and dirty ripped
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jeans. He has short cropped hair, not quite a buzz cut but close
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to it. There is an earring in his left ear. His jacket, years
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old, is black leather, covered with stains from markers and spray
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paints. It bulges slightly under his arms and in the small of his
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back. The man looks almost twenty.
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He runs his fingers through his hair as he surveys the damaged
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piece.
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Jeremy watches as the young man looks around quickly, then pulls a
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large piece of white chalk out of his sleeve pocket and tries to
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reconstruct the drawing. He reconnects some of the lines, bringing
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the dog back to life. There is nothing he can do for the saucer. He
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shakes his head and walks away slowly. The artist turns to look down
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the platform for the next train, and as he does he catches Jeremy
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watching him. The artist smiles back brightly. Jeremy feels ashamed.
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Autumn, 1986. Jeremy is grown and the artist is famous. Those simple
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drawings of vocal dogs and radiant saucers are pop icons. The
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artist's graffiti is coveted modern art, prized for its urban chic. A
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review called it "the rebirth of the urban primitive." One day in
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Barnes and Noble, Jeremy leafs through a book on graffiti art. He
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sees a picture of the artist's subway work from the late seventies, a
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black and white chalk drawing like the one he rubbed out by mistake.
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The photo's caption says the drawing has been destroyed, like those
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Old Master paintings blown to bits by bombings during World War Two.
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Jeremy remembers seeing slides of demolished frescoes and paintings
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in his college classes. They were in black and white. Soon, no one
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will be left alive who remembers the colors. He feels a brush with
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history, a touch of greatness.
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The artist tries to hide his illness, but it is impossible. Whispers
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start as soon as he begins missing appearances, losing weight,
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coughing in public. The rumors create a speculative frenzy in his
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work, because the works of a dead artist command more than those of a
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live one. Word of the artist's illness percolates through the art
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world for months before it ever reaches Jeremy.
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At twenty-two, he is an aspiring writer working for a publishing
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company. During the day, he reads manuscripts and throws them back
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into the refuse pile. At night he writes madly, dozens of stories and
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fragments of novels. He is still just learning.
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He goes to a party thrown by his company for one of their books.
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Jeremy hasn't worked on the book, but it is policy that all editorial
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assistants go to the parties. The company wants rooms to be filled
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with lots of young people and their friends. It makes parties more
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attractive to the important people the company wants to court. The
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young people, including Jeremy, fawn on the hordes of famous old
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writers, the occasional rock star and government official. It is part
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of their job. Jeremy enjoys these parties.
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This one is for a collaboration between a writer and an illustrator.
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It is a book of cartoon drawings with a running text called Pete's
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Bar. Jeremy thinks it is a good looking book. He gave it to some of
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his friends as Christmas gifts. They like it, too.
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He is introduced to the illustrator by his boss, Paul, a fortyish man
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with a beard and a long ponytail. Jeremy doesn't like Paul much, but
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they get along on the job. Paul doesn't publish a lot of books, which
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makes Jeremy's life a lot easier. Jeremy and the illustrator, who is
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in his late thirties, strike up a conversation and Jeremy tells him
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the story of his encounter with the artist.
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"He has AIDS, you know," the illustrator says.
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Jeremy winces and says that he didn't know that. The illustrator
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tells him that it is well-known among artists, that he heard from a
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friend-of-a-friend who knows him well. Jeremy feels like he has just
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stepped in dogshit. Like a beautiful woman has slapped him in the
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face for making an indecent proposal. Like he did when he was nine
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years old and he wet his pants on the roller coaster at Great
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Adventure.
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Thanksgiving weekend, 1988. Jeremy and his girlfriend have spent the
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weekend visiting her relatives in eastern Pennsylvania. He's dropped
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her off at her apartment on the West side and is driving alone down a
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deserted Broadway toward the Budget rental car place under the
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Brooklyn Bridge. It is about four in the afternoon on Saturday.
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He stops at a traffic light a few blocks south of Canal Street. There
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is no one else around. No other cars, no shoppers or pedestrians. He
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lets his attention wander and looks up at the spires of the Woolworth
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Building coming up on his right. It has always been one of his
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favorite buildings. He admires the work on the cornices, the
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elaborate stonework set beneath and between each window.
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He looks back at the traffic light, and it is flashing DONT WALK for
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the opposite traffic. Someone is walking past his car, carrying a
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large canvas covered in a plastic tarp. Jeremy knows the face. It is
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a little more pinched, perhaps, but he recognizes the person he saw
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that day in the train station nine years before. The face has been
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featured in magazines countless times since then. The light is now
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green for Jeremy, but the artist hasn't made it across the street. As
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he passes Jeremy's car, he looks right at Jeremy behind the wheel.
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Jeremy starts and waves at him. The artist, perhaps realizing he has
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been recognized, nods his head and smiles without breaking stride.
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Then he turns his head away.
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Jeremy follows the artist with his eyes and drives away very
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slowly.
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Two days later Jeremy finds himself in a gallery in SoHo, inquiring
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about the artist's work. He is the only customer. The woman working
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there is dressed in a smart green dress and black stockings. She is
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about thirty. Jeremy finds her attractive. She is cold to him. She
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quotes him a price range and he blanches. Of course he does not have
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several thousand dollars to spend on a painting, he works in
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publishing. He gets paid fifteen thousand dollars a year. She watches
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for his reaction and when he says thank you and walks away, she
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follows him.
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"We do have a few items that you might be interested in," she says.
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She shows him a room where several tiny framed objects hang on the
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walls. It is the room of the small things, he thinks.
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"Everything you see here is under a thousand," she says. That is
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still much more than he wanted to spend. But he looks anyway.
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The items that hang in this room are not what he expected. The
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artist's work is more varied than he thought. Jeremy knows nothing
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about art. He knows the artist because of what he saw with his own
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eyes, the famous barking dog drawings of the 1970s. And from the
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magazine articles he's read over the years. He never would have read
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them, of course, if he hadn't felt some connection with the man who
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was growing steadily in stature. Barking dogs were everywhere.
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But here there were few dogs or flying saucers. There were a few
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pencil drawings, some of them strikingly realistic. Faces of people
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drawn in a careful detail, rendered delicate and lifelike, not
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abstract at all. As he moves around the room, he is at turns shocked
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and delighted by what he sees. Here is a cityscape in watercolor. It
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is as fuzzy and warm as the stick figure graffiti is stark. On
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another wall is a pastel sketch of several men sitting at a table.
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There is a crystal vase on the table. Jeremy is impressed with the
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way the artist has drawn clear glass using colored chalk.
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One piece catches his eye. It is a tiny collage of drawings, shapes
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and colors without form to the untrained eye. It is centered around
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orange, red and yellow plastic cut-outs. Behind and around them are
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what look like fragments of newsprint. The background has been filled
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in with tiny detailed drawings in colored pencil. Jeremy can't tell.
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He looks at it for a good long minute, unable to make sense of it,
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unable to turn away.
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He buys it for eight hundred dollars. It just fits under the limit on
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his Visa card.
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It also fits on the wall above his kitchen table. Jeremy moves the
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television across the room to clear a space for the piece. Now,
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whenever he eats, he stares into the orange and yellow shapes.
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He does his writing at the kitchen table. Most nights he drags out
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the laptop he bought second hand and types for about an hour after
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dinner. For the first weeks since buying the art, his writing is
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uneffected. Then he begins to run dry. There are no more stories. New
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ideas vanish from his head quicker than he can think of them. His
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eyes tend to wander from the keyboard to the collage above his
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table.
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Jeremy writes in his journal when he has no stories. It is better to
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keep in practice by writing something, anything, than to write
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nothing at all. Now is a good time for that, he thinks. He starts by
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writing about the art work above his kitchen table. He describes it,
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and some of the others that he saw in the gallery. He writes about
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the Pete's Bar party and the illustrator. And finally, he writes a
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long entry about his encounters -- both of them -- with the artist.
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It takes him several hours and when he is finished he is very tired.
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The next night is not a writing night. Instead, he spends it with his
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girlfriend at her apartment. When he returns the night after to the
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Idea Factory (what he calls his kitchen table) he is still blank. He
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stares up at the artwork and thinks about the artist. He owns a piece
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of him now. He, Jeremy, possesses a piece of the artist's work. But
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only the artist knows what the work means. Jeremy certainly doesn't.
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He doesn't even know what the colors and shapes represent. He can't
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decipher the code. That satisfies him, somehow. I can rip it to
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pieces, or set fire to it, he thinks. It's mine to do with as I
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wish.
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He wonders if the artist meant to create a thing of mystery by
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draping it in obscure images and hazy shapes. The artist will
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probably die soon, Jeremy thinks.
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December. Jeremy still can't concentrate on his writing. When he
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reads over some of his journal, an idea strikes him. He prints out
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what he wrote about the artist. It works just as well as a story. He
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makes a single paper copy, puts it in an envelope, and seals it. He
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stops for a moment, unsure, because he thinks that what he wrote was
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very good. Then he screws up his courage and deletes the entire file
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from his computer. All that is left is what he holds in hand.
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It takes Jeremy another week to get up the nerve to go see the
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artist. He is listed in a two-year-old Manhattan phone book Jeremy
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keeps in the bedroom. Jeremy goes to his apartment without calling
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first. The artist lives in a very sedate brownstone downtown. It is a
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quiet block, lined with trees. Pleasant noise drifts down the street
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from the elementary school on the corner. It is a clear, bright
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winter day.
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Jeremy finds the artist's name on the buzzer and hesitates for just a
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second before pressing. The artist lives on the second floor. There
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is no intercom. He is buzzed in. He hurries up the stairs, carrying
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the packet under his arm. He rings the bell at the artist's door and
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hears a voice from inside the apartment. "Come on in," it says.
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Jeremy opens the door and steps inside.
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Brilliant southern sunlight fills the studio's large front room. Each
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wall is covered with art, large and small. A large purple painting
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hangs across from the door, the first thing any visitor sees when
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they enter the home. It is easily eight feet high and ten feet long.
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Jeremy has never seen anything so big outside of a museum. It is a
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red and purple variation of the tiny work that hangs in his own
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kitchen. Like his own, it is part painting, part sketch and part
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collage. This is twenty times larger than his own. From across the
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room, he notices an old motif: unlike his piece, this one features
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barking dogs and flying saucers and dancing stick figures. Jeremy is
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impressed with its size. And with its warmth.
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He steps further into the studio and notices the artist spread out on
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the floor with his materials. He is squatting on his haunches over a
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large white canvas. Most of it is empty. Jeremy can't see what he is
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doing to it. The artist is wearing jeans and a gray sweatshirt with
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the sleeves rolled up. He wears white canvas sneakers. All of his
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clothes are stained with color. The canvas is spread out in a room
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right off the main foyer. That room's walls are empty except for two
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or three sheets of drawing paper tacked up where the artist can see
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them.
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He looks up at Jeremy. The artist has very little hair. Jeremy can
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see the boniness of his arms and hands, the thinness of his face. His
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frame carries the sweatshirt like a coat hanger. The man must weigh
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120 pounds, Jeremy thinks.
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The artist was expecting someone else.
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"Who are you?" he asks. "If you're here to sell me something, don't
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waste your breath."
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Jeremy doesn't know what to say. He hasn't rehearsed this part, and
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of course the artist doesn't know who he is. Instead he proffers the
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packet. "I've brought you something. This is for you," he says. The
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artist sits up, cross-legged on the floor.
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"Do you want me to sign for it?"
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Jeremy is embarrassed, he doesn't know what to say or how to act. So
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he apologizes. He's sorry for interrupting, he says. He's sorry for
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what happened in 1979, he's sorry that he ruined the drawing in the
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86th Street station. Uncontrollable apologies fall out of his mouth.
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He's sorry for something else too, something much worse, but he knows
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enough not to say it to the artist.
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He tells the artist about their two previous encounters. Jeremy opens
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the manila envelope he carried and hands the artist a folder. Inside,
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Jeremy tells him, is a story he wrote.
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"Creativity straight out of my head," Jeremy says. The artist looks
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at it without seeing it.
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"It's yours," Jeremy says. "You can do anything you want with it,
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it's the only copy." He pauses for a moment. "If you destroy it, then
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we'd be even."
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Jeremy leaves the artist's apartment feeling drained and stupid. He
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drags himself home, but he feels worse than when he started out. The
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thought of the encounter, what he had done, makes him wince. The
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reaction reminds him of the summer he spent putting pink insulation
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into a house. It was weeks before he stopped pulling invisible
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slivers of fiberglass from his forearms. It is almost that long
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before he sits down to write again.
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The letter from the lawyer arrives a year later with a package too
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large for a single deliveryman. After he signs for the letter two men
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carry a sealed and insured box up to his apartment.
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The letter tells him what is in the box, and his stomach flutters.
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The artist remembered him in his will. Inside the box is the purple
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painting. Jeremy opens it and slides the heavy canvas and its frame
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out of the wooden box. It is not the same.
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He draws a heavy breath. The artist has cut up strips of paper and
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added them to the center of the purple collage. He's cut them into
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shapes. Dogs and saucers. Jeremy's story, given up for gone, is part
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of the collage.
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____________________
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Keith Dawson <kdawson@panix.com> is a writer and father of a sparkling
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daughter.
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-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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EAT LUNCH WITH THE HOMELESS
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BY E. JAY O'CONNELL
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Chinatown.
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I emerge from the subway skirting pools of greenish fluid, slipping
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past boarded peep show arcades with names like The Pussycat, and The
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Over 21. Ranks of ducks sweating fiery orange grease hang upside down
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in shop windows, glaring at me through death-filmed eyes. A cat washs
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itself sitting on a counter inside, beside a fan of faded Penthouse
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Magazines crawling with Ideograms. An Asian beauty sucking her
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forefinger, her nipples round and brown like pennies.
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In front of me, a business suited drone skips over the splinted leg
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of a darkhaired girl sitting on the sidewalk. She's practically
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blocking the way. She has a cardboard sign that reads 'HUNGRY, please
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help.'
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"Can you help me out mister?"
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My rule is, if I don't have change, I keep moving. I hand her 50
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cents, change from my breakfast coffee, and turn to leave.
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"What are you reading?"
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I look back at her, puzzled. There's a paperback in my hand, the
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latest Doug Adams.
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"I mean, I like to know what people are reading," She speaks quickly.
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"When you're on the streets, you got a lot of time on your hands. It
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helps to have something to read, get your mind off yourself." She
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takes the book from my hand.
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"It's fantasy."
|
|
She furrows her brow and reads the back cover blurb. She is of
|
|
indeterminate age, neither young nor old. Her eyes are distrubing,
|
|
one of them pointing slightly askew. She's wearing a dirty white
|
|
tee-shirt and jeans, and her long brown hair is pulled back in a
|
|
single ponytail.
|
|
"It's escapism, really," I say. "We all need to escape."
|
|
"Yeah, what do you need to escape from?"
|
|
"I'm not crazy about my job."
|
|
"Better than this boy." She gestures about herself, as if this were
|
|
her office. "It's not listed on your everyday list of hard jobs, but
|
|
let me tell you, its rough. I try to make, ten, twenty bucks a day,
|
|
so I can get something to eat.
|
|
"Where do you sleep?"
|
|
"Oh, with friends, the shelter..." She trails off. I turn to leave.
|
|
"Could you buy me a soda?"
|
|
I squint at her. "You mean, buy you one, and bring it back here?"
|
|
"No, I mean, we go get one."
|
|
I've got a lunch hour by myself to kill. "Okay."
|
|
We walk upstairs to the restaurant. Her splinted leg doesn't seem to
|
|
give her any trouble at all.
|
|
* * *
|
|
The restaurant is actually six restaurants sharing a common dining
|
|
area, rows of battered tables and plastic chairs sandwiched between
|
|
the stalls. Above each stall cardboard placards crawl with ideograms,
|
|
with the occasional scrawled English afterthrough. I contemplate
|
|
purchasing the ominous sounding "Five delights," but I'm sure the
|
|
term delight doesn't translate across cultures. A single six foot
|
|
tower air conditioner struggles valiantly against the burning heat of
|
|
dozens of woks, deep fryers, and the press of bodies. The clientele
|
|
is about half Asian, half Caucasian. I stand looking up at a menu
|
|
board, realizing that I can't eat with her watching me. Even if I do
|
|
buy her a soda.
|
|
"Let me buy you a rice plate."
|
|
"Okay."
|
|
We order and sit to wait for our food.
|
|
"So you stay with friends?" I'm trying to figure just how homeless
|
|
she is.
|
|
"Yeah, I live with my boyfriend. I used to have a problem with
|
|
needles a while back, but I'm clean now. No AIDS, either, I know, I
|
|
had the test."
|
|
"Lucky."
|
|
"Yeah, real lucky. Now, if I could only get a job."
|
|
"What about Burger King, that kind of stuff?"
|
|
"I can't deal with the people at Burger King. I used to work there.
|
|
Buncha niggers, think they're, they're, I don't know, gods gift or
|
|
something."
|
|
I flinch at the word nigger. "I've worked at Burger King. I hated
|
|
it."
|
|
"Me and my last boyfriend worked there. Now there was a piece of
|
|
work. Cut his fucking arm off." She draws a line across her left
|
|
forearm. "Right there."
|
|
"He cut his arm off?"
|
|
"Yeah, Like I found this out after I broke up with him. I thought he
|
|
lost it in Nam. But no, he did it to himself, trying to commit
|
|
suicide."
|
|
"How did he manage it? An ax?" "No I think it was kitchen
|
|
knife."
|
|
"Did he just mess it up, and have it amputated?" My mind can't summon
|
|
up the picture of someone actually completely severing as substantial
|
|
a body part as an arm.
|
|
"No, no, he cut it right off, with a kitchen knife, I think. I know,
|
|
because he talked about the paramedics, looking for it so they could,
|
|
you know, graft it back on."
|
|
"Uh-huh." I remain unconvinced. Where did he put the arm after he cut
|
|
it off?
|
|
"Why are we talking about this?" She mock shudders, grins and holds
|
|
her face in her hands. "We're going to eat."
|
|
"Yeah, sorry."
|
|
"That's okay."
|
|
Our food arrives, and we're quiet for awhile as we begin to eat.
|
|
"How is it?" I ask. "Too hot?"
|
|
"No, its fine. I hate the stuff when its too hot. What's the point?
|
|
When you can't taste the cumin and coriander and saffron and stuff,
|
|
just the burn. I like a little burn, when its appropriate, but not
|
|
the super hot stuff."
|
|
"I think its the culture. You know, if you grow up with it--"
|
|
"--I fuckin did!" She interrupts.
|
|
"What?"
|
|
"My dad was Indian. We ate the stuff when I was kid."
|
|
I'm trying to figure it out. She's sort of dark skinned, but not
|
|
really Indian looking."Your mother was--"
|
|
"--From Connecticut. They met in church. Ain't that a bitch? He was a
|
|
Moslem."
|
|
"Your mother was a Moslem? In Connecticut?"
|
|
"No she was a , what do you call it, a congregationalist. My dad met
|
|
her in church--"
|
|
"--A mosque?--"
|
|
"--No, a church, a Christian church. He was there because he liked to
|
|
sing. He sung in the choir."
|
|
"I see."
|
|
"So my parents, they were real hung up on ideas about class and
|
|
economics. My mother, oh boy, she was fucking case, that one. Didn't
|
|
like it if I hung out with truck drivers. She'd say, no wonder I'm in
|
|
such trouble, sexually. What the fuck! Like a trucker is any more
|
|
horny than a businessman in a suit."
|
|
"Uh-huh."
|
|
She is bent over her food, shoveling it in. "I'm going to have to
|
|
have them wrap some of this up. I can't eat it all."
|
|
I nod and eat my curried chicken. "So you worked at Burger king,
|
|
where else?"
|
|
"At school, I used to do volunteer work at a radio station, BCN, but
|
|
after awhile I realized, whoa, I gotta get a real job, I can't just
|
|
be some stupid volunteer for my whole life. I gotta put a roof over
|
|
my head."
|
|
"You went to school?"
|
|
"Yeah, studied TV and Radio, but couldn't get anything going with
|
|
it." She sets down her fork and grabs at her crotch in an exaggerated
|
|
gesture. "Bullshit walks, this talks. I told myself, I'd rather
|
|
spread my legs as a job, then spread my legs for a job. Does that
|
|
make any sense?"
|
|
"More honest, I guess."
|
|
"Let me tell you, I did it too. You don't think I could afford heroin
|
|
on this do you? But I was lucky. Most of the guys were nice. Just a
|
|
business proposition, just a job."
|
|
I nod sagely as if this is the kind of thing I hear all the time.
|
|
Begging is a step up the ladder for her.
|
|
* * *
|
|
We talk about jobs, work. She can't temp, she says, because she's a
|
|
little dyslexic. Can't type fast enough. I can't get up the nerve to
|
|
ask her about the wandering eye. We talk about drugs. When I mention
|
|
my psychotic episode, she shows her first genuine interest in me,
|
|
asking focused, penetrating questions. Such as: "Did you think up
|
|
this stuff on the acid, and then believe it when you came down?" and,
|
|
"So you believed, you were like, the risen Christ, and the devil--"
|
|
I nod and smile "and the holy ghost and the Antichrist, all rolled
|
|
into one."
|
|
"Whenever I did it, I was careful to not believe in it too much." She
|
|
pushes her plate away, half eaten. "Like, I'd write the stuff down,
|
|
and look at it later--"
|
|
"--to see if it made any sense."
|
|
She's smiling too, now. "It usually didn't. Like the one time, I'm
|
|
driving over the golden gate bridge in San Francisco, and I think
|
|
this isn't real, this an hallucination, but I know it is real,
|
|
because I can feel it, I can feel the steering wheel in my hands."
|
|
"You were in San Francisco?"
|
|
"Yeah, I moved out there."
|
|
"Why did you come back?"
|
|
She smiles. "Stupidity. Stupidity."
|
|
"One thing I always wonder about is, if you are going to be homeless,
|
|
why not do it somewhere where the weather is nicer? I mean, if you
|
|
can manage it."
|
|
"Not so nice, in the summer, and fall."
|
|
"Too hot?"
|
|
"No, cold. That wet, down in your bones kind of cold, you know, when
|
|
you're kind of hungry, and its about fifty, and its misty. God, the
|
|
mist. I hated it. Mist all the time, everywhere, not rain, but mist.
|
|
Soaked you all the way through. You couldn't get dry."
|
|
"You work out there?"
|
|
"No. Nobody wanted to pay for the call to the east coast to check my
|
|
fucking references. Anyway, it was too easy to just be a hippy. I
|
|
crashed in Peoples' Park. Let me tell you, three generations of
|
|
hippys out there. Three generations out lying on the grass. I said,
|
|
what did I step into a fucking time machine? Is this 1968 or 1988?"
|
|
She paused. "Then the fucking niggers came and ruined it all."
|
|
I frown. I realize that I've been frowning every time she says the
|
|
word nigger, like some kind of Skinnerian exercise.
|
|
"So what's it like, in the shelter?"
|
|
"Welllllll..." She says, smiling sheepishly. "You want to know the
|
|
truth..." She flags down a busboy, and asks him to bring her a box
|
|
for her food. "My parents rent me a room in Shrewsbury. Its a hole,
|
|
though. I take the T into the city, so I can hang out with people."
|
|
She walks me back to work. She knows the names of a lot of the
|
|
beggers I pass everyday. Trite, but somehow, you don't think of them
|
|
as having names. She even throws some change in another beggar's
|
|
cup.
|
|
"The karmic wheel, you know?"
|
|
We say goodbye like old friends. "See you later." I get on the
|
|
elevator, to go back to the job I hate. I'd be fired at the end of
|
|
the week myself, but I didn't know that.
|
|
|
|
____________________
|
|
E. Jay O'Connell <ejo@world.std.com>is a 30 year old writer and
|
|
artist living in the Boston Area.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
SAVEWAY
|
|
BY JIM ESCH
|
|
|
|
|
|
The rain woke me, lying in a bed that was soft but now was hard. The
|
|
window was half open and the rain sound filtered through the screen
|
|
and dogged my late night thoughts. I can't quite describe how it felt
|
|
to be lying there, still and wet, with planes of light dancing on the
|
|
black wall, and the slow drip of the light rain spilling from the
|
|
leaves and scuttling through the spouting. I was caught between the
|
|
heat being cooled and dry being wet. I stared at the wall and the
|
|
reflected light show of street lamps and passing cars for I don't know
|
|
how long, and I was kind of hypnotized by the stillness that
|
|
accompanies late night when most are hidden in dreams locked in
|
|
rooms.
|
|
But this numbness of thought was so clear that I might not call it
|
|
numb, except that I wasn't really thinking of any subject as a thing
|
|
to be thought about. I rolled over and tried to shift my hips so that
|
|
my back would find comfort on the hard mattress and I thought about
|
|
concrete action. Pumping gas wasn't good enough. Eight months of
|
|
pumping gas was too long. Every morning and some weekends even,
|
|
standing in the heat or the cold or the rain was too much anymore;
|
|
too much in the sense that it was too much the same and there was no
|
|
movement in this job and no satisfaction. Curling my body with the
|
|
sheets, I came upon the answer. That was it -- no satisfaction, no
|
|
movement. I was not who I wanted to be. My friends were not who I
|
|
wanted them to be. I wasn't living on a farm and I wasn't in a flat
|
|
and I wasn't in a clapboard house and I wasn't in a mansion
|
|
overlooking a valley. My world was one of aluminum-sided apartments
|
|
and brick facing and commercials for discount appliances, and it was
|
|
not what I tho
|
|
After graduation I chose Drexel because it was close to home and I
|
|
could stay in touch with my friends and then later move on and blaze
|
|
my own trail somewhere else. But Drexel didn't last and that waiter
|
|
job at Seafood Shanty didn't last and then the stock boy job at Super
|
|
Saver lasted too long because I made good money and didn't want to
|
|
move and made these friends out of acquaintances that were too easy
|
|
to forget to want to leave them. So I rented my own apartment and
|
|
bought records and had people over for drinks. Then, being laid off
|
|
in January and pushed into the street, I found this job jerking gas
|
|
and stuffing thick wads of money into my workman's pants. Summer
|
|
would end soon. What would be new at the station? Would anything
|
|
move? There's no fulfillment in a gas station. I remembered the
|
|
woman yesterday who spent the night here. I always thought that a
|
|
woman would be fulfilling, that the closeness of one body with
|
|
another was enough to keep one satisfied. She was older than me and
|
|
said I was g
|
|
But I remembered Mandy and how she might have been the one who'd
|
|
fulfill me like I thought I should be. She was the ideal woman, the
|
|
one that every man sees and knows for the first time: "This is the
|
|
one that I was meant to be with, who, when she is with me, will
|
|
complete me." Kind of like Brigham Young coming through the mountains
|
|
and saying that this was the place where the Mormons would stay and
|
|
build a big temple that no one was allowed to enter. And for a short
|
|
time in high school she focused my life. Every action arose from an
|
|
impulse stirred by her presence. And this was a happy time -- to live
|
|
in reflection of someone else, to be a shadow and want to be that
|
|
way.
|
|
Amanda. She became a friend and almost something else. But we had
|
|
reached a point where, after that point, the plot of our lives
|
|
diminished and drifted apart so that now I had lost the thread that
|
|
had connected me with her. I remember once in the hallway when we
|
|
shared a Pepsi and I was going to ask her; I almost asked her and I
|
|
was building up and she talked to me of Florida and the sun and it
|
|
was so right because her hair was gold and she was cuter than ever at
|
|
that moment in her light track shorts and rolled down socks and the
|
|
curve of her body within the loose cotton shirt. And it came to a
|
|
point where my blood was racing and my heart pumping so as to release
|
|
this emotion for her. Then I looked outside the window of the metal
|
|
door and her mother was waiting in a Scirocco out front and Amanda
|
|
walked over and saw her mother and said an affectionate good-bye and
|
|
waved. The Scirocco pulled away and from then on I was lost.
|
|
The rain had now stopped, but the trickle of the spout remained and
|
|
beside this brook I slept a comfortable sleep because I was thinking
|
|
how it used to be when I thought I could make it with her.
|
|
|
|
The next morning was sun-filled and pretty, so I got up early and made
|
|
my breakfast. The instant coffee was bitter and it burned my tongue. I
|
|
thought about leaving then, leaving and finding her. If I could find
|
|
her again, find out where she was, and what she had done with her life
|
|
and make one last pitch, then I could move on. Someone around had to
|
|
know what had happened to her. I searched my drawers for old phone
|
|
numbers, of friends I hadn't talked to in years, since a homecoming or
|
|
a chance meeting in a shopping center parking lot. I came up with some
|
|
numbers and later that afternoon made my calls. Some weren't home,
|
|
others had moved away, and some never answered or their lines had been
|
|
disconnected. But I did reach Phil, one of her best friends in high
|
|
school. Phil told me about his accounting job downtown and that he had
|
|
just married a Jewess from Jenkintown. He'd just bought a home in Bryn
|
|
Mawr along the road to the hospital, in a development of sandalwood
|
|
and solar panels. Phil was proud of himself
|
|
Then I asked about Mandy. He said she went to school at Georgetown
|
|
and he'd heard that she'd been engaged to a guy from Alexandria.
|
|
Well, engaged could mean anything I thought. But there wasn't much
|
|
time to spare.
|
|
I grappled with the options. Either stay here and pump gas in the
|
|
August humidity and then the fall and winter, or steal away to
|
|
Virginia and buy into a dream. Maybe she was waiting for me; even in
|
|
school there was a part of me that said she really cared and she
|
|
would come around. And I still believed that without us together
|
|
she'd be incomplete too. I wondered whether she ever repressed a
|
|
desire for me or whether she knew I loved her down to her bones.
|
|
Life continued at the station and nothing changed except the air got
|
|
colder. The night came on faster and it became chilly after dark, as
|
|
September rolled into October. But I'd been planning. The second
|
|
weekend in October was reserved for me and the Alexandria Holiday
|
|
Inn, for a room with a king-sized bed. I took that Friday off from
|
|
work and drove down for the weekend. All along the highway, in the
|
|
hills on both sides, the trees were burning and I felt vigorous
|
|
again, as if I was back in the hunt and even acts like turning on the
|
|
radio assumed importance.
|
|
The motel looked just right, its flashing arrow standing as a beacon
|
|
for the tired motorist. Everything went smoothly. The room was neat
|
|
and the sanitized smell of the bathroom made me pure. I leafed thought
|
|
the ragged phone book for her number. It was still there under her own
|
|
name. Tomorrow I would call on her. I'd make my stand.
|
|
I was hungry for some Doritos and wine. There was a SaveWay
|
|
supermarket across the boulevard from the motel, so I figured I'd
|
|
walk over, get some air. The evening had turned cool and the sun was
|
|
setting behind overcast, cracked gray winter clouds. The supermarket
|
|
was warm. The fruits and vegetables were ripe and fresh and colorful.
|
|
Hard, shiny apples and juicy oranges and magical pears. I almost
|
|
bought some.
|
|
At home I could never get out of a supermarket without seeing someone
|
|
I knew or recognized. Usually it was someone I didn't want to see.
|
|
But I never thought that in Virginia, in this wealthy neighborhood,
|
|
with my guard down, that I'd see her in a supermarket. She was back
|
|
at the meat counter. She chucked a pound of ground beef into her cart
|
|
and rolled up another aisle. I was sure it was her; that face
|
|
wouldn't lie. I was afraid, but I gathered myself together and snuck
|
|
up to the other end of the aisle to watch her. She was choosing a box
|
|
of cereal, which took a while because there were so many brands. I
|
|
ducked into the next aisle, paper towels and tissues. She passed by
|
|
to the next aisle. I couldn't stand the tension much longer. I
|
|
followed. The junk food aisle. She grabbed a bag of tortilla chips,
|
|
the same brand I liked.
|
|
Even when she bent over to price the soda pop, she looked innocent.
|
|
She hadn't grown fat or anything. She was almost the same, maybe even
|
|
better, because there were some slight wrinkles around her eyes,
|
|
adding some character that wasn't there before. In a sense,
|
|
experience had changed her in ways I'd never know, but it was still
|
|
her in the living flesh and nothing could change that. Just looking
|
|
at her filled me with warm energy. It was so much better than trying
|
|
to remember her in the empty places of the present, where she was
|
|
only a ghost of past moments. She rolled to the freezer section. We
|
|
were the only ones in the aisle. My heart dropped like lead, like
|
|
when you're dreaming that you're falling. The adrenaline was pumping
|
|
hard and it would not let me back down.
|
|
I hesitated.
|
|
She picked out some frozen corn.
|
|
I wobbled closer. Still she did not notice. Then she glanced.
|
|
Nothing. I closed in the final few feet, hands in pockets and head
|
|
sunk down. I stood before her.
|
|
She looked at me. I was scared and my eyes probably showed it, but I
|
|
smiled and said hello. She was confused. Her eyes rolled back trying
|
|
to recall my image; then she twitched and there was a moment when she
|
|
recognized me. I know it.
|
|
Then she squinted and her mouth dropped and her eyes turned gray.
|
|
"Excuse me, do I know you?"
|
|
I told her who I was.
|
|
She stood there, faking at being puzzled.
|
|
"Sorry, you must have mistaken me for someone else."
|
|
But I hadn't. It was her. Her hair was still gold as an October leaf
|
|
and her face and voice were the same. I tried to break though again.
|
|
"Remember high school, spring track team? C'mon, you remember those
|
|
times down at the track? Remember we shared a Pepsi and you're mom
|
|
drove up --"
|
|
"No, sorry."
|
|
It was the way she said it, like crushing an ant in the snow.
|
|
Then she looked one last time before rushing off, and in that deep
|
|
drop of her eyes I could tell that she kind of pitied me, for I
|
|
believe she recognized every secret hope that was never meant to be.
|
|
I followed her to the checkout lines then gave up and only my eyes
|
|
followed her as she carried her groceries back though the rain to her
|
|
BMW. I didn't want to move further. The hard rain beating against the
|
|
window held me back.
|
|
I stayed in my room all night. Didn't even swim in the indoor pool.
|
|
When I was younger, I could turn on the radio and feel along with the
|
|
songs, but that was behind now. The magic fingers didn't soothe me
|
|
much either. I lay in bed and listened to the cars splash through the
|
|
night. And I wondered why things don't work out and how all that was
|
|
left was to remember the way it was under a May sun in a green field
|
|
with her for a couple of minutes. That's all I had. There wasn't
|
|
anything left to expect.
|
|
|
|
____________________
|
|
Jim Esch <Jim.Esch@launchpad.unc.edu> is a freelance writer and part time
|
|
college instructor living in St. Louis, MO.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
Excerpt from _KISSING THE DEAD_
|
|
by STEWART O'NAN
|
|
|
|
Larry Markhams wife left him while he was asleep. Between four
|
|
and six, he figured as he made himself an egg that Monday morning,
|
|
because at three hed gotten upas was his habit, especially during
|
|
the rainy seasongotten out of bed and, before looking in on Scott,
|
|
turned the overhead light on and stood naked in the middle of the
|
|
rope rug, amazed at the safeness, the pleasing security of their
|
|
bedroom. The pictures on the dresser, the wicker hamper, Vickis
|
|
breathingthe whole instant struck him as overly familiar, as if
|
|
lifted from a dream. Before hed flicked the switch (though he
|
|
knew it was foolish) hed been prepared to see the musty inside of
|
|
his poncho liner, his rucksack smashed against his cheek.
|
|
Skull, Carl Metcalf was saying, prodding him with the tip of his
|
|
jungle boot, time to motate, bro.
|
|
No. This was Ithaca, not Vietnam, clean sheets instead of red
|
|
dirt. The sudden jump pleased him. He looked down at his new
|
|
foot to confirm it, and there was the prosthesis, perfect, not a
|
|
single nick in its ridiculous, skin-toned rubber coating. He was
|
|
alive. It seemed, he could admit, standing there soft and a
|
|
little paunchy, an overwhelming piece of luck.
|
|
He had stood looking at Vicki curled and warm under the covers.
|
|
Now, at the stove, he wondered if she had actually been asleep.
|
|
The gas hissed, rushed and flowered into a blue flame. Outside,
|
|
the rain made a sound he had not quite learned to ignore. He
|
|
thought he should feel worse about her leaving, about Scott, but
|
|
he only felt incredibly tired, leaden. It was unfair; October was
|
|
his favorite month. He could not think of what to do. The house
|
|
was quiet, his coffee steaming. There was one crust of bread
|
|
left. It was enough today, now. He had work to go to, and after,
|
|
his group at the hospital.
|
|
It was not the first time Larry Markham had woken alone to the
|
|
radio and gone to Scotts room and found his bed mussed and his
|
|
drawers empty. It wasnt a mystery. Theyd had trouble early that
|
|
summer, after a long good stretch. Since shed come back theyd
|
|
been trying, but lately every effort seemed to take all their
|
|
patience. There were nights after Scott was in bed that they
|
|
didnt talk.
|
|
Hed called down the stairs, not expecting anything. She had
|
|
leaving him down to a routine even he knew by now. The fight
|
|
Friday night over who always drove Scott to his Rehab, who picked
|
|
Scott up from the Special Childrens Center, who did the food
|
|
shopping, who did the laundry, had not been merely to set the mood
|
|
for the weekend but a formal way of saying goodbye. How many
|
|
times had she done it, and yet it still surprised him. Shed
|
|
risenhe knewa few hours before he was supposed to get up to run,
|
|
and guided by the weak beam of a penlight theyd received for
|
|
subscribing to Time (which he still refused to read), made her
|
|
way through the house. She had skipped work the day before to
|
|
pack a bag each for herself and Scott and then hidden them
|
|
somewhere, Scotts closet or among her summer things in the attic.
|
|
Shed gone to the bank just before it closed and arrived home at
|
|
the same time as if shed finished her shift at the Photo USA.
|
|
There were variations of this, but it came to the same thing. He
|
|
i
|
|
Great, he said.
|
|
The egg butted the side of the pot, dinging, and Larry spooned it
|
|
out. He ran cold water over it and knocked it against a wall of
|
|
the sink, picked bits of shell away from the dent. He set it
|
|
gingerly in a dish, sat down by himself at the kitchen table and
|
|
chopped it into bits with the side of the spoon, the yolk too
|
|
runny, disgusting. He sat there, spoon in hand, and looked at the
|
|
egg as if it were a sign, a reminder.
|
|
He wondered who it had been in the dream this time. He wondered
|
|
if hed called out the mans name in his sleepif, creeping down the
|
|
stairs holding Scotts hand, Vicki had heard him, and if because of
|
|
that (not in spite of it), she had felt even more sure, more at
|
|
peace with what she was doing.
|
|
Hed dreamed, he knew, because he was exhausted, but which one?
|
|
Doesnt matter, he said, and took a gluey spoonful and a bite of
|
|
heel and sat there chewing, trying not to think, to focus on the
|
|
positive, as he counseled his group, on the immediate, the real.
|
|
It didnt work for them either.
|
|
There was no real. There were the dreams and there was what
|
|
Larry Markham remembered. They did not change. In both, his
|
|
squad all died. Pony, Bogut, Lieutenant Wiseall twelve, night
|
|
by night, died, and Larry was grateful to wake to the
|
|
ceaseless Upstate rains, the day laid out ahead of him like
|
|
the puzzles his mother pieced together those long, drizzly
|
|
fall afternoons, familiar and somehow comforting, a way to
|
|
hold off the cold and the gathering evening.
|
|
Some nights it was oneLeonard Dawson or Fred the Head. Bates.
|
|
Jesus, he thought, Go-Go Bates. Larry had fixed him twice, and
|
|
still he died. He cut their fatigues off in dripping swatches,
|
|
guided the syrette into their jumped-up veins. After he popped
|
|
them with morphine he drew an M in blood on their foreheads so the
|
|
doctors would know back at the aid station. Dumb Andy, Smart
|
|
Andy, Soup. Carl Metcalf.
|
|
Whats it look like? Lieutenant Wise asked when theyd thrown a
|
|
perimeter around the downed man, and before Larry could answer,
|
|
the face strapped into the helmet or cinched into the boonie hat
|
|
changed, became all of them, none of them. They never looked down
|
|
to see what had happened; they gripped his arm and looked him in
|
|
the eye and waited for him to tell them. Nate looked up, the
|
|
Martian looked up, clutching his elbow so it hurt.
|
|
Youre gonna be all right, Larry Markham said then.
|
|
Truth, Skull. And still they wouldnt look. He did because it was
|
|
his job, just as he ran to them when all he really wanted was to
|
|
hug mud. Corpsman up! someone not hit called, and Larry saw his
|
|
man and flung himself forward, his own skin burning in
|
|
anticipation of the bullet. Sometimes there was nothing but a
|
|
rag, a red flap, the unreal white of bone. With body shots, if
|
|
there were more than four holes most likely the guy wouldnt make
|
|
it much past dust-off, but you couldnt just let the guy go, not in
|
|
front of everyone. Blood bubbled up between his fingers, ran over
|
|
his hands. The dust could only soak up so much; then it flooded
|
|
like a Coke knocked overa gush and little rivers.
|
|
Man, Larry said, sticking another pressure dressing on, it dont
|
|
mean a thing, and he could not tell from the change that came over
|
|
their faces then whether they were grateful or hated him.
|
|
Other nights they came in bunches, the gloom of monsoon season
|
|
filling the chill bedroom as he screamed into his pillowor moaned,
|
|
for their blood and stunted breathing no longer shocked him (as it
|
|
had not shocked him originally, after the first few), but rather
|
|
struck him with dread and, unable to stop or even slow the
|
|
approach of the next one, he could only protest feebly, leaching
|
|
out a No, no, that drove Vicki to the living room sofa at least
|
|
twice a week.
|
|
She knew not to wake him with an elbow or by nudging his shoulder;
|
|
once, coming out of it, he punched her in the throat and had to
|
|
drive her to the emergency room at Tompkins County, where he knew
|
|
his father would hear of it at shift change. That she had
|
|
intentionally broken Larrys nose during an earlier, less desperate
|
|
period (with an ashtray stolen from the club where she waitressed,
|
|
drunkenly and furiously hurled with absurd, almost comic
|
|
precision) was held not to his credit but as further evidence that
|
|
the entire marriage had been, as his father had maintained from
|
|
the beginning, a mistake in the first place.
|
|
He let the spoon drop and sink into the yellow mess. She never
|
|
left him for more than a few days. That was what this was. It
|
|
was Monday, and he was sure to have a full truck, big deliveries
|
|
at Tops and Wegmans and the three P&Cs. Some machines up at
|
|
Cornell, then the loop of gas marts south of town. Group. It
|
|
would be a full day, a good day.
|
|
He left his dish in the drainer, assembled a bologna-and-cheese
|
|
sandwich, bagged an apple and got ready to go. He liked having
|
|
the house to himself, the silence. He thought of not going in,
|
|
but brushing his teeth he walked by Scotts door and noticed his
|
|
ham radio, the happily-colored map of the world stippled with
|
|
pinsall the places Larry had called and given the mike to Scott so
|
|
he could mumble his name. He was eight but would always be three,
|
|
four, the doctors werent sure. Larry went back into the bathroom
|
|
and spat. At the last second he remembered to put the answering
|
|
machine on.
|
|
On the porch he fumbled with his keys, dropping his lunch with a
|
|
thud. He was going to be late, which he hated. The trees had
|
|
just begun to turn and a first layer of wet leaves filled the
|
|
ditches. Rain hung from black branches across the road; the cows
|
|
were out, standing and breathing steam. Farther up the hill a
|
|
grey barn leaned as if gently stepped on. The rain made him
|
|
listen harder; it pricked his face but from habit he didnt blink.
|
|
The chill of Ithaca had not lost its ability to surprise him. He
|
|
could never get warm enough, even in the height of July. There
|
|
was no reason; hed lived here his entire life except for his
|
|
tour. He knew that that one year shouldnt have such pull, yet
|
|
often it seemed equal to the other thirty-one, a balanced half,
|
|
and sometimes, the worst times, he was convinced it meant
|
|
everything, summed him up and finished him before hed had a chance
|
|
to understand. In its lostness, its distance, it was something
|
|
like childhood, vivid yet irretrievable, precious. Occasiona
|
|
Next door, Donna Burnss old Impala sat with its nose against the
|
|
rotting lattice of the porch, its bumper jutting over the
|
|
sidewalk. Save the Earth, begged an exhaust-filmed sticker.
|
|
Taking up the back half of the drive, Wade Burnss nearly restored
|
|
Camaro permanently wintered under a cloth tarp dotted with pockets
|
|
of black water, and Larry thought that if Vicki couldnt stay for
|
|
him, at least she shouldnt have run out on Donna.
|
|
They hadnt seen her this weekend, but the car had stayed where
|
|
shed parked it early Friday morning, crookedly, getting out loudly
|
|
by herself and hooting at something utterly private. Hed
|
|
complained to Vicki that she was getting worse.
|
|
What else is she supposed to do? shed said, and rolled over, away
|
|
from him. That he and Wade had been closehad talked about his
|
|
leaving over cold Schaefers in their garage months before Wade had
|
|
gotten up the courage to actually do itwas a fact Vicki could not
|
|
forgive him, and which he, seeing how quickly Donna had fallen
|
|
apart, now helplessly defended to himself. Shes nice, shes the
|
|
sweetest woman in the world, Wade admitted, then shook his head.
|
|
But shes not right. Theres something very basically wrong with
|
|
her. Ive tried but I cant fix it. Larry promised that he and
|
|
Vicki would keep an eye on her for him, which consisted of making
|
|
sure she refilled her prescriptions, and occasionally, when she
|
|
forgot, bailing her out. She had the habit, in the grip of her
|
|
mood swings, of getting wildly drunk and smashing windows. One
|
|
Easter morning theyd seen her in the backyard wearing nothing but
|
|
a pair of tennis shoes and menacing Wade with a rake.
|
|
I dont care who Jesus is! she shouted. I want my own radio show!
|
|
She was better by the time Wade left, but they worried about her.
|
|
Friday when shed gotten in, Larry had seen her lights come on and
|
|
lain in bed looking for her shadow, waiting for the crash and
|
|
tinkle of glass. She crossed the windows and pitched forward,
|
|
fell without a sound. At three, when he rose up in the thick of
|
|
the jungle to find himself saved, her lights were still on.
|
|
Now it almost seemed funny that they were both alone, a weird
|
|
coincidence. Hed had a crush on her once, a vision of her in a
|
|
swimsuit at some summer barbecue, her dark hair halfway down her
|
|
back. The children were little then. The judge had given them to
|
|
Wade, and there was nothing to argue about, even she knew. So
|
|
strange. After all their plans, it had come down to two houses,
|
|
two people.
|
|
Fucked up, he said.
|
|
He detoured around the Impala, wetting one leg of his jeans on the
|
|
bumpers rubber strip in keeping to the asphalt walk. He could
|
|
walk on grass now, but only when the weather was dry, and he would
|
|
not step on dirtit always appeared freshly turned and tamped. He
|
|
could not explain why he still distrusted the ground; his foot was
|
|
only the most obvious excuse. Early mornings, running the road,
|
|
he had to pick his way through long puddles and ruts, herringbone
|
|
patterns of mud laid by tractor tires, and when he accidentally
|
|
touched one and his Nikes slipped an instant before regaining
|
|
traction, his heart would spike and hed swear out a cloud. Hed
|
|
seen Dumb Andy fly backwards over Pony and then himself into a
|
|
banana tree where pieces of him hung like drying laundry. Weeks
|
|
ago, cruising by the bus stop, hed caught the toe of his new foot
|
|
on the lip of a pothole and was sent stumbling, and two girls
|
|
smoking cigarettes had laughed. Dizzy with fear, hed nearly had
|
|
to stop to vomit.
|
|
The walk began to disintegrate, then ended ineptly in chunks of
|
|
asphalt. He followed the roads tarred, irregular edge, listening
|
|
for cars behind him. Far off, the pitch of their tires on the
|
|
concrete mimicked the shifting rush of a Phantom levelling out for
|
|
a run. It was a pleasing sound, but one which made him flinchjust
|
|
slightly, for an instant hunching one shoulder to protect his
|
|
face, like a sleepy duck tucking its head beneath a wing. From a
|
|
klick off, the heat of a ville going up warmed his face like the
|
|
fire in his fathers den. When hed first caught himself in the
|
|
gesture, running with his old foot, he had been ashamed. There
|
|
was so much of the world he didnt trust anymore. For months he
|
|
taught himself not to look over his shoulder, to let the noise
|
|
grow behind him and not see the napalm canisters tumble from the
|
|
rack, leave a smear of fire a block long. A stage passed where he
|
|
could laugh at it; now it was a rare day that he gave it a
|
|
thought, usually the sign of a bad one.
|
|
Carl with his hands out, the skin of his fingers seared together
|
|
into mitts.
|
|
Just get me through today, he thought.
|
|
There was no one at the stop, for which he was grateful, only the
|
|
Journal machine chained to the telephone pole. Something about
|
|
the town trying to cut a last-minute deal. Typical
|
|
Ithacanickel-and-dime politics. Cars came by with their lights on
|
|
and their wipers arcing, each bringing its own small squall as it
|
|
passed. One of them honked for some reason. Too late, Larry
|
|
waved. Wind slipped under his collar, reached down his back. He
|
|
fitted his lunch into the crook of his elbow and jammed his hands
|
|
into his jacket pockets. He could feel the warm lint in there.
|
|
The cows seemed to be looking at him.
|
|
Got a problem? he called, but they didnt look away.
|
|
He checked his watchthere was still time, another ten minutes
|
|
maybe. His luck. One must have just come.
|
|
Another car honked.
|
|
He waved.
|
|
Why dont you stop and give me a ride, he muttered, watching it
|
|
go.
|
|
A Duster passed, the wrong color and younger, hardly rusted.
|
|
Vicki would have dropped Scott off already. Shed be at her
|
|
mothers over by Trumansburg, getting ready for work, rolling her
|
|
stockings on, clipping her name to her uniform. He imagined what
|
|
his father would say when he found outand he would, Ithaca was
|
|
that kind of town. Vicki would probably call his father to
|
|
explain. Larry imagined him in the den after dinner, listening
|
|
with that polite, untiring patience he used with the dying,
|
|
thanking her for calling and then hanging up, continuing with his
|
|
New England Journal of Medicine and half-finger of scotch. He
|
|
would not be surprised; he would wait a day or two to call Larry
|
|
to see if he was all right.
|
|
Im okay, Larry would say.
|
|
If theres anything, his father would say.
|
|
No.
|
|
All right then.
|
|
Okay.
|
|
By Friday his sister Susan in Michigan would know the whole story
|
|
and give him a consoling lecture of a call. She had divorced,
|
|
remarried, divorced again and remarried her first husband, and she
|
|
had advice.
|
|
From the barn came the bright clinking of a bell, and the cows
|
|
sauntered away in a group, their tails flicking. He turned from
|
|
the road and kicked at the base of the telephone pole, his boot
|
|
leaving a smudgy ghost of its waffle design in the creosote. He
|
|
made another print directly above it and practiced hitting the
|
|
two, as if warming up for a more difficult exercise. With his
|
|
hands in his pockets, he imagined it was good for his balance. He
|
|
could feel the rain sitting in his hair but didnt mind. He
|
|
thought with a bitter kind of pride that hed seen worse.
|
|
A Cougar came by flashing its lights.
|
|
What the hell, he asked, but waved. The drivera fat, bearded man
|
|
he didnt recognizewaved back furiously.
|
|
Everybodys friend, Larry said, thats me.
|
|
He gave the shaft of the bus stop sign a spin kick, and the metal
|
|
head shivered tinnily. Jesus, he hated being late. He hadnt been
|
|
late for work in three years, and that was a snow day. He showed
|
|
up to find the store locked, the parking lot trackless. Vicki had
|
|
teased him for his loyalty, then speculated bitterly on the
|
|
chances of him ever becoming a manager. For years theyd waged the
|
|
same two or three fights, resting only for a special dinner, a
|
|
present, an inspired night of lovemaking.
|
|
A pair of headlights the right height flared in the distance, but
|
|
it was a rental truck, college kids. Discover America! the panel
|
|
urged, above a lumpy Mount Rushmore. At least the little snots
|
|
didnt honk.
|
|
Come on, he said, and looked at the sky, the wind cold on his
|
|
throat. Above him, clouds tore themselves to bits, shredded like
|
|
sopping handfuls of gauze. It was an all day rain, the kind that
|
|
seemed to follow him around the globe. Hed liked them as a kid,
|
|
liked sitting inside the dark house while his mother knitted to
|
|
the radio. Susan was at school. His mother had a stack of heavy
|
|
78sThe Budapest String Quartet, Glenn Gould, Charles Munch and the
|
|
Boston Symphony Orchestra. On the covers were palaces and women
|
|
in skimpy, exotic costumes. Her cane rested in the gap made by
|
|
the couch cushions, its curved handle worn thin from her touch,
|
|
the varnish hard and smooth as glass. Sometimes she had to try
|
|
several times to get up. Come give me a lift, shed ask him, and
|
|
hed carefully place one sneaker on the empty tip of her shoe and
|
|
take her hand and lean back with all his weight. Other times she
|
|
would call for Mrs. Railsbeck, their housekeeper, and he would
|
|
have to go outside or upstairs. Im all rig
|
|
It was official, he was going to be late. It angered him like a
|
|
defeat. He thought of what he could say to the bus driver,
|
|
something about being paid by the hour. A bead of water hung
|
|
icicle-like from his nose; he blew it off and rubbed the spot
|
|
with the back of a sleeve. An orange Volvo shot by, flashing its
|
|
lights, hauling behind it a wall of spray that settled upon him
|
|
like a net.
|
|
For Chrissake, Larry Markham said.
|
|
He was wiping water from his eyebrows with a knuckle when a large
|
|
white car with its lights on slowed and stopped beside him. It
|
|
was the Impala.
|
|
Donna Burns leaned across the big bench seat and opened the door
|
|
for him with what he thought was too much of a smile. For a
|
|
second he imagined she had just stopped laughing. She was
|
|
brightly made-up and had on sunglasses, a purple scarf, tan
|
|
trenchcoat and black kneeboots, and Larry thought he didnt have
|
|
the energy to deal with her.
|
|
Thats all right, he said. Ones due any minute.
|
|
I dont think so. Dont you know? She grinned at him as if he knew
|
|
the answer but was playing dumb. She had an aggressive calm he
|
|
associatedfrom his groupwith lunatics. He wondered if she could
|
|
tell from his face that Vicki had left him again.
|
|
No, he said blankly, I dont know.
|
|
Theyre on strike.
|
|
Jesus Christ, he said, thinking, it figures.
|
|
Come on, she said.
|
|
He got in and they started off. Shed just gotten out of the
|
|
shower and was wearing too much perfume. On the dash a red
|
|
plastic coffee mug with a Cornell logo sat wedged into a matching
|
|
base; in the trough of the defrost vent rested a bottle of
|
|
Tylenol. She worked as a secretary for an obscure department,
|
|
something to do with plants and psychology. He could not imagine
|
|
how she dealt with people on an everyday basis, yet she did, and
|
|
had even during her weird years. She turned down the radionew
|
|
wave, all synthesizers and chilly English accents.
|
|
They just started today.
|
|
Thats what I get for not reading the paper, he said.
|
|
She turned up the heater for him, offered him the coffee. Its got
|
|
a kick, she warned.
|
|
It had some sort of liqueur in it, creamy and intensely sweet.
|
|
She laughed at the face he made.
|
|
Too early for you?
|
|
Nope, he said, embarrassed for her, and then thought of riding
|
|
around all day drinking the way he had when he first came back. A
|
|
line of cars passed them in the other direction, people intent on
|
|
getting to work. It pleased him to see life going on, even
|
|
without him. It made his problems seem smaller, insignificant.
|
|
Crummy day, huh? She looked from the road to him. Her lipstick
|
|
was smudged from the mug.
|
|
Yeah, he admitted, and looked at the ranches and split-levels
|
|
drifting by. Some had pumpkins on the porch steps, headless
|
|
scarecrows made of old jeans and flannel shirts stuffed with hay.
|
|
They slumped in lawnchairs or against coachlights, lay sprawled
|
|
and fallen like dead VC. Hed have time to buy candyor Vicki
|
|
would. Scott was going to be Superman, shed already made the
|
|
cape.
|
|
So how are you doing? she asked.
|
|
It was a hard question. He wondered if she knew, if shed figured
|
|
it out or if Vicki talked to her the way Wade did to him.
|
|
I dont know, he said, okay. How about you?
|
|
Great. Never better. She took her hands off the steering wheel
|
|
and put them over her eyes, leaned her head back as if rinsing her
|
|
hair.
|
|
Hey! He took the wheel with one hand and brought the car back
|
|
into the right lane. It was power steering, and hard to make it
|
|
go straight.
|
|
I suppose you didnt hear me come in Friday night either.
|
|
We did. You sounded like you were doing all right.
|
|
Im not. Wades moving to Oklahoma. Isnt that nice? She took the
|
|
wheel again, chased him away with a hand. Tulsa. Im not going to
|
|
see Brian and Chris except for Christmas and two weeks in the
|
|
summer. I think thats fair, dont you?
|
|
Im sorry. Whats he doing in Tulsa?
|
|
Fucking some redneck bitch. And hes got a new job. Oh,
|
|
everythings going great for Wade. He says hello.
|
|
Say hello back.
|
|
You do it, she said. She took a long shot of the coffee and
|
|
pushed it into its holder again, frantically lit a cigarette and
|
|
stabbed it at the windshield, the wipers slapping the rain away.
|
|
You dont know how fucking glad Ill be when this year is over.
|
|
Tell me about it, Larry said, and for a moment hoped she knew.
|
|
They were coming into Ithaca, passing the long prefab barns of
|
|
Cornells Vet school before the hill dropped into town proper. The
|
|
dash clock gave him an even chance of getting there on time. All
|
|
the roads east of town funneled into Route 79, and he was glad she
|
|
had to concentrate on traffic. Behind the wheel, she bobbed and
|
|
weaved as if slipping punches from the other cars. He thought of
|
|
spending the day riding high in Number 1, the simple deliveries,
|
|
stopping to off-load a tray of Donettes and Hohos and Ring Dings
|
|
to people he didnt know beyond a polite greeting.
|
|
Well, Donna said, what are you gonna do, yknow? She seemed to
|
|
wait for an answer to this, then asked, What time you need to be
|
|
there?
|
|
Doesnt matter, he said, but at Seneca and Aurora she gunned it
|
|
through a long yellow. He would punch in before he put his
|
|
uniform on, get a coffee at his first stop. Over the years he had
|
|
not lost a taste for the crumb cakes, and one of his great
|
|
pleasures was driving with an open box on the dash, washing the
|
|
bite-sized treats down at stoplights and feeling the caffeine and
|
|
sugar kick in. He always paid himself for them, and the next
|
|
morning ran them off, fifteen calories a minute, but everytime he
|
|
tore the perforated strip from a new box, he accused himself of a
|
|
sinful decadence, an intemperance indicating far greater
|
|
weaknesswhich only made him eat more. Like everything, they
|
|
tasted better in the rain. He knew he would polish off a whole
|
|
box today, and it didnt bother him, in fact made him grateful for
|
|
the very existence of crumb cakes and to Hostess for making them
|
|
bite-sized.
|
|
They didnt say anything for a while, and he liked her for it.
|
|
Coming down Seneca they got caught behind a school bus picking up
|
|
some kids. One had a camouflaged backpack which made Larry look
|
|
away.
|
|
Hey, Donna said, I know its none of my business, but are you gonna
|
|
be okay?
|
|
He looked back to the school bus, willing it to move. In the
|
|
emergency door a crush of little girls not even Scotts age were
|
|
giving him the finger. They smeared their faces against the
|
|
glass, blew their cheeks up monstrously. Donna looked at him
|
|
pityingly, as if she understood. The dash clocks red second hand
|
|
swept along.
|
|
Ive done it before, he said, Christ, I dont know how many times
|
|
now.
|
|
I know, she said. She stubbed her cigarette out and frowned. The
|
|
conversation seemed to have taken all the life out of her.
|
|
Why, he asked, is this time going to be different?
|
|
She looked at him as if what she had to say would hurt him, but
|
|
said nothing.
|
|
The bus pulled its stop sign in, its lights went from red to
|
|
yellow, and it pulled out with a burst of diesel smoke. Donna
|
|
passed it, and after, paid too much attention to the other
|
|
traffic. They turned left at Meadow Street and headed south down
|
|
13. The Wonder Bread outlet was less than a mile from them,
|
|
wedged into the sooty gauntlet of used car lots and fast food
|
|
franchises, muffler shops and budget motels. If they hit every
|
|
light they might still make it.
|
|
I dont know, she said, ducking a blue Buick. I just dont think
|
|
its the same this time.
|
|
What did she say?
|
|
Nothing new, really. She grimaced apologetically. She told me to
|
|
keep an eye on you.
|
|
Oh, great. When was this?
|
|
Thursday.
|
|
Thanks for warning me, he said.
|
|
She said youd understand.
|
|
I dont understand anything, he said, though even she could see it
|
|
was not true. Just to piss him off, the lights ahead of them
|
|
dropped sequentially to green, and silent, the radio playing some
|
|
maudlin song about the difficulties of loveTheres one thing you
|
|
gotta do /to make me still want you/ Gottta stop sobbin oh-hothey
|
|
ate up the mile to the outlet.
|
|
It was a white cinderblock building infected with the products
|
|
red, yellow and blue dots. Today they made him feel especially
|
|
clownish; he hoped she wouldnt notice.
|
|
Hey, she said, dropping him off. The chorus was going on and on.
|
|
Maybe Ill come by later, okay? Or vice-versa, whatever.
|
|
Sure, he said, and thanked her and closed the door, and for a few
|
|
seconds walking to the rear of the building he was completely,
|
|
blissfully alone.
|
|
He punched in precisely on time. The locker room was empty.
|
|
Murrays gold Eldorado was in the lot, which meant he was in his
|
|
office. Derek was upfront, cheerfully taking care of the
|
|
earlybirds; Julian wasnt in yet, his card still on the OUT side.
|
|
Larry was surprised the kid hadnt been fired. He was nice if a
|
|
little spacya Deadheadand unlike Derek, seemed impressed that
|
|
Larry was a vet. Julian was always after him for storiesand not
|
|
obnoxiously, not kidding, he really wanted to hear them. Larry
|
|
put him offso much that it was a joke between thembut still it was
|
|
good to have someone acknowledge what hed done. Last week, Murray
|
|
had asked Larry to talk to Julian about being late. Larry thought
|
|
hed gotten through.
|
|
Now he was late himself. This second he was supposed to be
|
|
loading up the truck, ticking off his customers orders against his
|
|
invoices. Wonder White, Wonder Lite, Wonder Wheat. With a finger
|
|
he flipped his locker open and began changing into the
|
|
blue-and-white uniform. A picture of Vicki helping Scott onto a
|
|
pony was stuck to the door. She had on red short-shorts and a
|
|
peppermint tube top; you could see the white lines from her
|
|
bikini. He began to remember the day at the lake, the trip to the
|
|
gift shop, how Scott had been excited by the windmill and the
|
|
water hazard at the miniature golfand stopped himself by humming
|
|
the song from the car: Gotta stop sobbin oh-ho, yeah, stop stop
|
|
stop stop, gotta stop sobbin,oh ho, and on and on until he had
|
|
clipped on his bowtie and zipped his Hostess jacket to the neck.
|
|
Beside the picture hung a piece of Scotts art, a collage of
|
|
fabric, macaroni and cotton balls signifying earth, sea and sky.
|
|
Larry closed the door and pulled his cap snug on his head, took
|
|
He gave Murray a wave as he passed his window, upfront said, Hey
|
|
now, to Derek.
|
|
Hey hey, Derek said, fastidiously bagging a couple boxes of Suzy
|
|
Qs for a stout woman Larry had seen before. Probably a teacher
|
|
putting on a Halloween party. Scott had tomorrow off, though he
|
|
still had Rehab. Larry tried to think if shed ever left on a
|
|
Monday before.
|
|
He filled the orders on his clipboard, counting out cupcakes and
|
|
mini-muffins, arranging the plastic trays in the dolly. Wegmans
|
|
alone took fifteen minutes, and as his hands played over the soft
|
|
bags and cellophane-windowed boxes, he remembered Leonard Dawson
|
|
and Go-Go Bates eating pound cake at some night position in the
|
|
hills. Nothing had happened, it was just a picture his mind
|
|
coughed up, the thin, sickly black man with his thick, issue
|
|
glasses, beside him the dangerously energetic Bates, spooning
|
|
contentedly from their cans. They played hearts together with a
|
|
deck Leonards sister had given him; he sent a card home every
|
|
Wednesday, one for each week of his tour. Hed started with the
|
|
hearts, so by the time they left Firebase Marge, the only card
|
|
they had to watch out for was the queen of spades. Leonard said
|
|
he was saving the deadly ace for last, that, defying all odds, hed
|
|
take it with him on the plane, pin the sucker to the peephole in
|
|
his skivvies and play peekaboo with the stewardesses.
|
|
Larry finished the last rack of fruit pies, added an extra box of
|
|
crumb cakes, then took it off again. He remembered hed left his
|
|
lunch in his locker, and retrieved it before rolling the dollies
|
|
onto the truck. Behind his window, Murray lowered his newspaper
|
|
and pointed to his watch; Larry nodded.
|
|
Eat me, he said when he was past, then did an immediate
|
|
about-face, thinking of the crumb cakes, but saw instead Leonard
|
|
Dawsons small hands, the high school ring he was so proud of, and
|
|
stopped himself. On the way out he gave a lariat-twirling
|
|
cardboard cutout of Twinkie the Kid the finger.
|
|
It was still raining; it was Ithaca. From the side of Number 1
|
|
the same boggle-eyed cartoon smiled down upon him, in full chaps
|
|
and spurs yet horseless.
|
|
Yahoo, Larry Markham said.
|
|
He checked the rear doors, got in and settled himself, letting the
|
|
engine warm. He tugged on the knuckleless driving gloves Scott
|
|
had given him for his birthday, snapped the snaps. He would call
|
|
her at the mall, and then her mother if he didnt get her. The way
|
|
he was going hed barely have time to eat. He threw Number 1 into
|
|
first and headed across the lot and clicked his turn signal on.
|
|
As he was waiting to take the left, Julians rusty Subaru turned in
|
|
beside him and beeped. Larry honked back, shaking his head, and
|
|
goosed Number 1 across Route 13.
|
|
Sometimes he thought he was happiest driving, with his mind only
|
|
half-connected to the rhythm of bumpers in front of him, the flow
|
|
of lights and signs. His eyes flitted over the road as if on
|
|
ambush, picking out movement, gauging and dismissing it. The
|
|
truck heated up. He got the defroster going, put the wipers on
|
|
low and tuned the radio to WSKG, which had the last movement of
|
|
Schumanns Rhenish Symphony blasting. He liked Schumann, unlike
|
|
his mother, who called him that nut, and when told by the
|
|
announcer that hed composed a piece shed been interested in,
|
|
responded to the room at large, Oh, him. As a child Larry liked
|
|
how the music forced him out of himself, took him somewhere else
|
|
completely. Now he let the rain and heavy strings sweep him
|
|
along to his first stop at Wegmans, insulated from the day.
|
|
The first thing Ron the assistant manager asked was, Hows it
|
|
going?
|
|
Good, Larry said aggressively. You?
|
|
It was all he had to say. Everyone else in the half-lit back of
|
|
the store was busy tossing boxes or hosing down produce. They all
|
|
wore the blue Wegmans uniform, and responded to his with the edgy,
|
|
mutual tolerance natural between different branches of the
|
|
service. He rolled his dolly along, following the
|
|
yellow-and-black caution tape on the floor through a tangle of
|
|
hanging plastic strips which swallowed him like a carwash. It was
|
|
cold on the other side, and he heard the ring, clash and clatter,
|
|
the high, grinding whine of a saw from the meat department, but
|
|
passed the gleaming steel doors without looking in either
|
|
porthole. Above the last doors before the actual store hung a
|
|
sign that said: COURTESY FIRST. Beneath, behind violet-tinted
|
|
windows, shoppers and their carts glided silently as fish. Larry
|
|
paused an instant and straightened his cap. He liked the whole
|
|
pageantry of entering from within, as if hustled from his dressing
|
|
room through the chaos backstage to emerge perfectly from the wi
|
|
The lights were blinding, the air warm, the Muzak immediately
|
|
lulling. It took him an instant to recover, as if hed bumped a
|
|
piece of scenery. No one noticed. He guided the dolly up the
|
|
cookie aisle, set up shop and redid his shelves.
|
|
No one approached or interrupted him. Shoppers pushed past,
|
|
oblivious, as if he were invisible. The company was featuring a
|
|
seasonal orange-and-black jack-o-lantern cupcake, and to make room
|
|
he had to tighten everything on that shelf. Someone had left a
|
|
half-eaten Sno Ball on top of its wrapper; he put its pink remains
|
|
on a tray to toss in the garbage on his way out. And the new
|
|
Brownie Bites werent moving, there was a form to report that. He
|
|
checked everything against his clipboard and rolled on toward the
|
|
bread corner.
|
|
His donuts and Donettes were fine, his mini-muffins and iced honey
|
|
buns. He could have easily shorted them a box of crumb cakes, but
|
|
didnt, instead buying a huge styrofoam cup of black coffee at
|
|
their fake European bistro. When he switched the hazards off and
|
|
headed Number 1 for Tops, he was on time.
|
|
Larry, the manager there said, how are you, buddy?
|
|
Great, Larry said.
|
|
At the first P&C, the woman at the bakery counter asked, Hows the
|
|
family?
|
|
Fine, he said, but this time questioned his enthusiasm, wondered
|
|
if it gave him away.
|
|
And your wife, inquired the woman in the second P&Cs courtesy
|
|
booth, she still working up to the mall?
|
|
Sure is.
|
|
And your boy, hows he now?
|
|
Goddammit, he said in Number 1, throwing his clipboard against the
|
|
dash so hard his pen flew. He went into the back and grabbed a
|
|
box of crumb cakes from someones tray. No one would notice. Hed
|
|
make it up next week.
|
|
At lunch he stopped by the IGA in Dryden and tried Vicki at work.
|
|
He stood in the rain-beaded telephone booth, a chill sneaking
|
|
through the accordioned doors.
|
|
Photo USA, another woman answeredCheryl maybe, or Katie, he could
|
|
never tell them apart.
|
|
Is Vicki there? he asked. A hand clamped over the mouthpiece. He
|
|
heard someone muffled in the background.
|
|
Is this Larry?
|
|
Yes, he said.
|
|
She didnt come in today. She waited, as if challenging him.
|
|
Not at all?
|
|
Nope.
|
|
Okay, he said, thank you, and hung up.
|
|
He let her mothers phone ring nine times before he retreated to
|
|
the oily warmth of Number 1. He sat there in the parking lot of
|
|
the IGA and looked at the puddles and the phone booth while he ate
|
|
his sandwich and his apple and three more crumb cakes, and thought
|
|
again of Leonard Dawson, how he had disappeared from his foxhole
|
|
one night to pee and they had to go find him. He was just a
|
|
little guy, Bates kept saying afterward, showing how the ring
|
|
wouldnt fit his own pinky, but nobody really wanted to hear it.
|
|
He wasnt the first and wouldnt be the last, and maybe if hed
|
|
showed around that picture of his fine sister, more guys would
|
|
have liked him.
|
|
Larry wrapped the core of his apple in a napkin and stuffed it
|
|
into the bag, balled it up, got out and threw it in a barrel by
|
|
the electric doors. He tried Vickis mother again but came up with
|
|
nothing. At her work he got the same answer from what he assumed
|
|
was the same person, which meant nothing. She could still be
|
|
either place, and with the car she was mobile. He decided to zip
|
|
through his afternoon stops and catch her picking up Scott at
|
|
schoolnot to argue with her but just to show he missed them. It
|
|
was a plan, and enough to keep him moving.
|
|
It was a slow time at the gasmarts, and everyone wanted to know
|
|
how he was, whether hed had a good weekend, who he liked between
|
|
the Cards and Milwaukee.
|
|
Fine, he said, yep, oh, the Brew Crew, but kept his eyes on his
|
|
merchandise, and hiding his rudeness behind work, hurried the
|
|
clerks into signing his clipboard, refused their offers of coffee
|
|
and swung Number 1 across the empty lots. It rained all day, as
|
|
he knew it would. He finished early in Danby and rocketed back to
|
|
town with his lights on, accompanied by a murky, Scandanavian tone
|
|
poem. Below, to the north, an appropriate mist hung gloomily over
|
|
the lake.
|
|
Pulling into the lot of the Special Childrens Center, he was
|
|
pleased to see the numbered buses waiting nose-to-tail with just
|
|
their running lights on, chuffing out exhaust as their drivers
|
|
caught a smoke under the overhang. Evening had begun to come
|
|
down; a warm light filled the windows, made the emptying
|
|
classrooms seem rich and busy as a hive. Only a few parents had
|
|
shown up so farno Ruster.
|
|
When they first sent him there, Scott had wanted to take the bus;
|
|
theyd even tried it for a week, but Vicki found herself going to
|
|
get him anyway, haltingly following the bus home. Larry joked
|
|
with her about it, but nowand whenever he drove past the Center
|
|
during the dayhe felt just as helpless. It was his fault the
|
|
doctors had to reroute Scotts intestines as an infant, his fault
|
|
his son hadthey told them when he was threeno sense of smell.
|
|
Often when Scott looked at him with his mismatched eyes, his brow
|
|
so large it appeared ripe, almost soft, Larry wanted to take the
|
|
boys face in his hands and with a power drawn not from God but
|
|
simple justice miraculously heal him. Instead he had taught him
|
|
how to turn the sound down on the TV so the cartoons he loved but
|
|
would never understand wouldnt wake them up Saturdays. Two years
|
|
ago, when he was picking up his first words, Vicki got him to say,
|
|
Smells good, whenever she creaked open the oven door. It was a
|
|
highlight of holiday get-togethers at her mot
|
|
Larry took the last crumb cake from the box, then put it back as a
|
|
brace of cars pulled up and doubleparked beside the loading zone.
|
|
One man in a Toyota took out a book and began to read.
|
|
A few students pushed through the doors and scattered, then stood
|
|
dazed in the rain, trying to identify their rides. He recognized
|
|
some from their coats and canes, and one from the steel halo
|
|
bolted into his head. He was so used to seeing the contraptions
|
|
in his group that he had to remind himself it wasnt normal.
|
|
A rush of students spilled onto the walk, and the bus drivers
|
|
ground out their cigarettes. A mother flung open a car door and
|
|
knocked a lunchbox from her sons pincer of a hand, waited
|
|
patiently while he retrieved it. Larry didnt see anyone from
|
|
Scotts class yet. Still no Ruster.
|
|
The children sprinted and skipped and wandered, some holding their
|
|
coats despite the cold. One stood forlornly by the doors, resting
|
|
his hooded head against the brick wall. A mother struggled with a
|
|
science project made from aluminum foil and a large cardboard
|
|
box. The first bus pulled out and the other two moved up. He
|
|
thought he spotted a girl named Natalie that Scott had invited
|
|
over to play once, and there was Jeffrey (Death-ray, Scott called
|
|
him), and Matthew with his Smurf backpack, and Luke. The second
|
|
bus was loading, heads filling the windows. A cheddar Chevy van
|
|
swung alongside the curb, picked up one kid and zoomed off again.
|
|
The headlights of the second bus came on, showing how hard it was
|
|
raining now. They swept across the lot as the bus wheeled around,
|
|
followed identically by the third.
|
|
No one else was coming out; most of the cars were gone. Two
|
|
teachers stood by the doors, a man and a woman hugging themselves
|
|
against the cold, occasionally waving. He strained toward the
|
|
windshield to see if Scott was among the stragglers on the walk,
|
|
and when he didnt spot him, undid his seat belt, got out and
|
|
picked his way through the puddles.
|
|
Im looking for my sonScott Markham? he asked the man and woman
|
|
simultaneously.
|
|
Wait here, the woman said, and went inside.
|
|
The man was young and wore a thin leather tie and pointy shoes.
|
|
Larry could feel him looking at his uniform.
|
|
Hows it going? Larry asked.
|
|
Good, the man said defensively, and asked him back.
|
|
They stood side by side watching the last cars go off, the clouds
|
|
slide dramatically across the hilltops. Now the children were all
|
|
gone, the lot empty except for Number 1. The lights inside went
|
|
out.
|
|
He wasnt in today, the woman explained when she returned. The
|
|
office has it as an excused absence.
|
|
Larry tried to come up with somethinga mix-up, crossed wiresbut
|
|
could only thank them. He knew they would watch him back to the
|
|
truck and talk about him as he pulled out. What the hell, at
|
|
least he had tried.
|
|
He started Number 1 and pulled his gloves on, and looking at his
|
|
fingers saw Go-Go Bates with Leonard Dawsons class ring on a
|
|
bootstring around his neck. When they came to medevac him out the
|
|
second time, the doc on the chopper automatically went for his
|
|
tags. He squatted there with the ring in his hand as the skids
|
|
rose and tilted. B plus! Larry hollered up into the rotor wash,
|
|
Hes B pos! though his heart had already stopped, and when the
|
|
other medic held a hand to his ear, gave up and pointed to his
|
|
boots, where Bates had stashed his tagsone in eachso they wouldnt
|
|
clink and give him away on ambush.
|
|
Jesus, Larry said in wonder, and gently thumped a fist against the
|
|
steering wheel. Go-Go, man. B plus. He opened the last crumb
|
|
cake and sat there eating it while the rain trickled down the
|
|
windshield. When he was done, the man and woman were gone, the
|
|
doors shut.
|
|
The lights of Ithaca were on now. Rush hour had begun, and Larry
|
|
had to jockey across several lanes to make the turn into the
|
|
Wonder outlet. The front was busy with people picking up cheap
|
|
loaves on the way home. Through the windows he could see Julian
|
|
and Derek at the counter, and he thought he would have to ask
|
|
Julian for a ride to his group at the hospital and then fend him
|
|
off in the car. There were these two guys in our squad, he might
|
|
say. A little guy and a big guy. A black guy and a white guy. A
|
|
smart guy and a dumb guy. Then group, where it was his job to
|
|
hear their stories, and later hed have to catch a ride back with
|
|
his father, when all he wanted was to be alone with Leonard Dawson
|
|
and Go-Go Bates for the evening. Vicki would show up at her
|
|
mothers eventually with some loopy rationale for Scott missing
|
|
school. Christ, it was tiring.
|
|
Murrays Eldorado was gone. Larry fit Number 1 into its space
|
|
and locked up. Inside, the picture of Vicki in her tubetop
|
|
ambushed him, and he banged the door shut so hard that it
|
|
opened again.
|
|
He called her mothers from the front; while he was listening to it
|
|
ring, the lights flickered twice, signalling last call. When
|
|
Derek had rung up the last customer, he chopped the lights off,
|
|
neatly vaulted the counter and locked the front doors. He had his
|
|
apron and uniform shirt off before they made the locker room.
|
|
Julian said he could give him a ride but first he had to lock up.
|
|
And hes going to open up tomorrow, Derek said, hauling on his
|
|
leather jacket, and all week. Word came down.
|
|
All talk, Julian said, but glumly.
|
|
I dont know, Larry warned.
|
|
I will see you gentlemen tomorrow, Derek said. He punched out,
|
|
and a minute later crossed the front window holding an umbrella
|
|
and leaning into the wind.
|
|
Larry helped Julian wipe down the counters and stayed out of the
|
|
way while he swabbed the floor. A car turned into the lot,
|
|
realized they were closed and swung back onto the road. Larry
|
|
peered out at the traffic, the lights going both ways.
|
|
Wanna get stoned? Julian offered, pinching a roach between
|
|
fingernails.
|
|
Cant.
|
|
Julian took a last hit and tossed it into the mop water, rolled
|
|
the bucket to the sink and muscled it up and in. While he cleaned
|
|
the sink, Larry picked their cards out of the rack and looked at
|
|
Julians time IN.
|
|
He looked at the phone with its twisted cord hanging beside the
|
|
time clock and thought he would have to call his father
|
|
eventually. He picked it up and dialed the number, waited for the
|
|
operator and then the receptionist to switch him to the office.
|
|
This is Doctor Markham, his father answered, as if prepared for
|
|
the next, more difficult question.
|
|
Dad, Larry. I was wondering if I could get a ride with you
|
|
tonight.
|
|
Again.
|
|
Again, Larry admitted, though the last time had been a month ago
|
|
when the Ruster dropped its muffler.
|
|
Car trouble?
|
|
Basically, Larry said.
|
|
Eight-fifteen?
|
|
Yeah, that would be great.
|
|
Meet you in the lobby.
|
|
Okay, Larry said, thanks, and they hung up without saying
|
|
goodbye. Larry stood there looking at the phone for a second, the
|
|
swinging cord. It hadnt been bad, and yet he knew his father had
|
|
already counted thishowever smallas another failure.
|
|
Dont punch me out yet, Julian called from the front.
|
|
Right, Larry shouted.
|
|
So what did Murray say? Larry asked in the Subaru. Julian had the
|
|
Dead blastingRed Rocks 73, he said. He darted aggressively
|
|
between lanes, making Larry press an imaginary brake pedal.
|
|
Nothing. I just cant be late for a while. I can do that. Dont
|
|
get me wrong, but its not like my dream job, you know?
|
|
Yeah, Larry admitted.
|
|
You know, I dont know, dream and job dont really go together for
|
|
me.
|
|
They turned onto Fulton and then State, headed for the Octopus,
|
|
where the roads from the west side of the lake came together at
|
|
the bottom of the hill.
|
|
So whats up with your group? Julian asked.
|
|
The usual, he said, deadpan, to keep him from going further. The
|
|
usual. And what was that?
|
|
A dead guy and a dead guy.
|
|
No one would touch Leonard Dawson until Larry cut him down and fit
|
|
him back together.
|
|
Fuck, Lieutenant Wise said when he saw him.
|
|
Fuck is right, Bogut said, holding his own jaw as if it might fall
|
|
off.
|
|
Bates came stumbling through the bush, half-awake. Larry saw Pony
|
|
look away, saw the Martian turn to give the big man space. Carl
|
|
Metcalf went to stop him, but Smart Andy held him back with a
|
|
hand. Bates stood there.
|
|
Aw, Leonard, he said, and knelt down. Aw, Leonard. He put his
|
|
sixteen aside and reached for his boonie hat to put over Leonard
|
|
Dawsons face, but he wasnt wearing it. He used his hands to cover
|
|
his friend, as if the torn skin were a blinding light, something
|
|
not to be looked upon, and after a minute Soup came back with
|
|
Leonard Dawsons hat with its jaunty Australian curl and handed it
|
|
to Bates. Everyone stood around in the dark while Nate read from
|
|
his miniature bible. They could not get a dust-off until morning,
|
|
and all night Bates sat beside Leonard Dawson as if he were only
|
|
sick, feverish, and when the chopper came and they bagged him up,
|
|
Bates laid him on the floor of the Huey himself, and while the
|
|
rest of the squad watched, unzipped the bag for a last look,
|
|
closed it again and patted Leonard Dawson on the shoulder as if
|
|
hed done a good job, and clambered out. The chopper lifted,
|
|
dipped its nose and powered away, leaving a cloud of red dust that
|
|
made them claw at their eyes and spit.
|
|
He couldnt fucking hold it, Bates said a few weeks later. Fuckers
|
|
probably got him in mid-squirt. Fucking Leonard. I told him,
|
|
save that water for the middle of the day, drink your Cokes early
|
|
on to get your motor going, but hed have em with dinner. He liked
|
|
his Cokes, that was one thing he liked all right. Weinies and
|
|
beans and a Coke on a shitty day.
|
|
A day like today, Larry thought, watching the blurry taillights
|
|
through the wipers. They were going up the long hill of 96 to the
|
|
hospitals, the route the ambulances took, past Vinegar Hill.
|
|
Below on their right lay the dark blot of the lake, the far shore
|
|
defined by a few tiny lights. On the way down with his father
|
|
they would see the lights of Ithaca. And what would Larry say to
|
|
him? So often his life seemed without explanation, utterly
|
|
defenseless, though he knewdeeplythat he was trying.
|
|
Carl staggered, reaching out to him stiffly, the skin on his face
|
|
still bubbling, sloughing off in sheets.
|
|
Fucking rain. If she was gone for good, maybe hed leave, go
|
|
somewhere dry.
|
|
Emergency entrance? Julian asked, turning into the highly-lit
|
|
grounds. The VA and regular hospitals were connected and shared
|
|
parking.
|
|
Right next to it.
|
|
They pulled up ahead of a darkened Bangs ambulance. It was a
|
|
local joke; downtown the Bangs family ran an EMT service and right
|
|
beside it a funeral home.
|
|
Thanks, Larry said, getting out. Ill see you early tomorrow.
|
|
Okay, boss, Julian said. As the Subaru looped back to the
|
|
entrance, Larry could hear the Dead thumping through the doors,
|
|
and thought that it was inevitable and best not to get involved.
|
|
One way or another, he would lose him too.
|
|
|
|
|
|
* * *
|
|
|
|
|
|
It was always the goddamn Wall. All summer the ward had seen it
|
|
being built on TV, on the Armed Forces Network. A big black V
|
|
engraved with the names of the dead. It was being built not by
|
|
the government but with private money raised by a vet, which they
|
|
liked. They wanted Larry to go for them when it opened, to make
|
|
sure their buddies were there. They joked about getting up money
|
|
to send him, like the Fresh Air kids from the city. They wanted
|
|
him to take pictures of names, whole panels, and though he said
|
|
flatlylaughingthat he would not go, each of them was drawing up a
|
|
list of dead friends.
|
|
It was what discussion drifted to in rap group. Theyd lose what
|
|
they were trying to say about the war and go off into stories
|
|
about people hed have to find.
|
|
Man, Mel White would say, or Cartwright, this dude you got to
|
|
get. He was one bad-ass Sergeant Rock motherfucker.
|
|
Sponge was the worst, because of the old hematoma. His memory
|
|
wasnt good but it was full, and since hed started talking again,
|
|
no one could shut him up. On top of that he was a juicer, and an
|
|
old RTO, and something about stories got him going. The rest of
|
|
the time he played Othello and penny poker with Rinehart and
|
|
Meredith and, like everyone on the ward, watched the game shows
|
|
with a mixture of disbelief and scorn for not only the host and
|
|
contestants and studio audience but any country that would permit
|
|
such abominations. He had a dent in the side of his head like a
|
|
little shelf, and sometimes hed rest a pen there and forget it.
|
|
Hed been in the Ia Drang Valley early on, a place Larry Markham
|
|
even now considered himself lucky not to have seen.
|
|
I wish I could remember his fucking name, this A-gunner. Everyone
|
|
called him Dog cause he had this german shepherd he slept with.
|
|
Couldnt sleep without him cause he was afraid of rats. Frank
|
|
Something. I remember the dogs name was Toad. He was supposed to
|
|
be able to sniff out trip wires and shit from the fish oil on the
|
|
gooks fingertips.
|
|
And this Toad stepped on a package and waxed Frank Something,
|
|
Trayner guessed.
|
|
Emulsified his master, is that right? Cartwright baited him.
|
|
Around the circle the rest of them waited for Sponge to come up
|
|
with his usual sparkling bullshit. It was a game, and okay
|
|
because Sponge knew it too and was good at it. It wasnt like
|
|
trying to listen to Rinehart, who they all knew was telling the
|
|
truth but couldnt make it interesting. They all wanted to see
|
|
what Sponge would come up with, all except the new guy Creeley,
|
|
who picked his nails with mock concentration. His face was subtly
|
|
two-toned, the skin grafts from his thighs lighter, with bristly
|
|
hairs. Across his forehead the contrast between shades made his
|
|
hairline look crooked, as if hed had the top of his head cut off
|
|
and all but a small strip put back on, which in fact he had. Hed
|
|
been on the neuro ward less than a week, and it was his first time
|
|
in group. He could talk, but slowly and with a slur. His file
|
|
was frightening in its poverty of detail; all it said was that hed
|
|
been a SEAL working in the Phoenix program and that hed been
|
|
wounded in action, though it seemed obvious to Lind
|
|
VC haul him off at night and boobytrap his ass, Meredith offered.
|
|
A beat behind, Johnny Johnson laughed, for no apparent reason. He
|
|
had a teflon plate and no ears and was subject to long, exhausting
|
|
fits. On his bedstand his mother had propped a picture of himself
|
|
before the war wearing a floppy velvet cap and giant sunglasses
|
|
edged with rhinestones and playing the bass. Is it hot? he would
|
|
ask at anytime, referring, Larry supposed, to the landing zone or
|
|
village he was continually approaching. He had been walking
|
|
behind a man who stepped on a 250 pound antitank mine. The man
|
|
was instantly vaporized. Johnny Johnson lost his right arm, right
|
|
leg, right kidney, most of his spleen, half his pelvis, his
|
|
testicles and his penis. The others considered him the worst off,
|
|
and gave in to him on small matters such as extra desserts and
|
|
what to watch on TV.
|
|
Its a rat story, Mel White tried. The rats chew his nose off and
|
|
old Frank loses it.
|
|
Unh-unh, said Sponge, wait, and tipped his head forward as if to
|
|
call for quiet or gather breath. As he did, he discovered a
|
|
mechanical pencil sitting on his dent. He pinched it off and
|
|
admired its intricacy a second, with such smugness that they knew
|
|
he was done stalling.
|
|
So were out on night ambush
|
|
The circle as a whole ridiculed this pat opening with snorts and
|
|
puffs of breath just short of a mass raspberrysave Creeley, who
|
|
seemed annoyed by the entire process. His chart said he was
|
|
heavily medicated for pain. Dilaudid, 3X. He looked off down the
|
|
ward as if any minute a car would turn the corner of the nurses
|
|
station and pull up for him. Sponge acknowledged their derision
|
|
with a nod, but kept on.
|
|
Were patrolling around for a while and havent found a juicy
|
|
position, no contact, nothing. You know, ghost time, everybodys
|
|
spooked
|
|
And the dog barks, Trayner said earnestly. He was the baby of the
|
|
group, a month short of thirty. Hed caught a rocket in the face,
|
|
thoughas Meredith saidyou couldnt be sure he wasnt like this
|
|
before.
|
|
Sponge stopped as if pondering Trayners suggestion, honestly
|
|
trying to remember. No, I dont think he did. He might have, I
|
|
dont know. Cause all of a sudden we get some fast fire from the
|
|
right and everybody hits it. Another mad minute, man. Like a
|
|
year later its over and you can hear Toad crying, and you know hes
|
|
got one in him. Sounded just like somebody real, swear. Franks
|
|
trying to shut him up and calling for the doc.
|
|
Fucks the doc gonna do? Cartwright said, partly to rib Larry.
|
|
They knew hed been a platoon medic. Hed never told them, just as
|
|
hed never told them his nickname. He never told his own stories
|
|
in group. It was not that his own were either special or dull or
|
|
that he thought he would not do a good job of telling them, but
|
|
that they were not all his to tell, though (and this they did not
|
|
know, Vicki didnt know, even his father did not know) he was the
|
|
only one left to tell them. And this was their time, not his. It
|
|
was enough, Larry thought, that they knew hed been in-country and
|
|
seen some shit, but like Julian they were interested in him. They
|
|
always wanted more.
|
|
So the doc goes over and slaps a dressing on him and shoots him up
|
|
and has me call for a dust-off, and by the time they come in there
|
|
are tracers zipping all over the placered, green, stop-go, all
|
|
that shit. We get Toad in a poncho and up and in, and the door
|
|
gunner is all bullshit that his WIA is a dog, and the pilot wants
|
|
to toss him until Frank makes him understand, know what Im
|
|
saying? So Toad goes to some evac hospital and we bust caps at
|
|
them for a while and thats that. Back at base they call in and
|
|
tell me Toads okay, but Frank cant sleep. Do a bone, I tell him,
|
|
have a nice warm brew, but he cant fucking sleep. This goes on.
|
|
Ive seen it, Rinehart seconded.
|
|
Three days, four days, and Franks a fucking zombie. The
|
|
lieutenant asks the doc to give him something, and it works, but
|
|
its not the same kind of sleep, its like fake sleep, and Frank is
|
|
just as messed up as before. Make a long story short, he steps on
|
|
an unfriendly device and goes home in a jar.
|
|
But the dog lives, Trayner said.
|
|
Course the dog lives, Jughead, Mel White said. Thats what the
|
|
storys going to be.
|
|
Right. Cause when Toad comes back from the evac, his pal Franks
|
|
gone.
|
|
So now the dog cant sleep, Meredith said.
|
|
Or he barks all night, Cartwright said.
|
|
Bingo, Sponge said, pointing. We couldnt take him out anymore.
|
|
Wed leave him back at base and hed howl like a coyoteaahhoooooo
|
|
and shit all night long. It was obnoxious. Finally someone in
|
|
Bravo greased him while we were out. Tore half his fucking head
|
|
off and burned him in a shit barrel. End of story.
|
|
Damn, Cartwright said, and nodded.
|
|
Johnny Johnson giggled. Rinehart tapped his shoulder and held a
|
|
finger up to stop him.
|
|
There was a silence, as if in honor of the dog or, more
|
|
importantly, the moral truth of the story.
|
|
A boy and his dog, Mel White said, thats what well call that one.
|
|
Bull . . . shit, Creeley squeezed out. It was an effort, as if he
|
|
were dredging the words from his lungs, muscling them up and
|
|
pushing them out. Sponge shrugged as if Creeley were nuts and it
|
|
was impossible to take offense.
|
|
They waited for Creeley to go on.
|
|
No . . . dog.
|
|
What the fuck are you talking about? Rinehart said.
|
|
No dog. Bullshit.
|
|
Were you there, mister? Cartwright said. With his legs on he was
|
|
half a head taller than Larry Markham; he squeezed a handball
|
|
constantly, even while eating. His only problem was that from
|
|
time to time he held hands with a friend hed left behind, a guy
|
|
from his hometown named Mobley. Mobleys tired of five-card, hed
|
|
say after conferring with him, or Mobleys got a case of the
|
|
fuck-yous today.
|
|
I was, Creeley said, everywhere. He turned to Larry, pointed and
|
|
said, I know you.
|
|
Listen to this shit, Mel White said. Hey, Captain Motherfucking
|
|
America, you got a story for us or you just wanna piss on our
|
|
party?
|
|
Yeah, Meredith said. Doc, make the newby tell us a story.
|
|
His story, Cartwright said. Thats what I want to hear.
|
|
Fair enough, Larry said. Mr. Creeley, would you like to introduce
|
|
yourself?
|
|
Fuck that, Creeley said. He stood and gave them the finger,
|
|
turning so they all got it. Then he hobbled down the ward to his
|
|
bed and drew the curtain violently about it, the rollers
|
|
protesting.
|
|
Yeah, Sponge said reminiscently, and looked at the pencil, Frank
|
|
Something. Wish I could remember.
|
|
Fuck Frank and fuck his dog too, Cartwright said, pointing to
|
|
Creeleys bed, Im putting his name on my list.
|
|
Fucking brain-damage two-tone Frankenstein piece of shit! Mel
|
|
White hollered at the curtain, and all but Johnny Johnson
|
|
laughed.
|
|
All right, gentlemen, Larry said, back to business. Whose turn?
|
|
Before he could check his clipboard, Meredith said, Okay, I got
|
|
one, and the group settled in to hear it. Meredith had been a
|
|
lurp, and his stories always began a few weeks into the deep
|
|
bush. The jungles triple canopy and birdless silence gave his
|
|
tales a mystery the others couldnt resist. Looking for lost
|
|
choppers, his squad would stumble over an NVA base camp with the
|
|
rice fires burning, or come across an underground hospital full of
|
|
VC hooked to empty bottles of blood, their throats cut. He was
|
|
also wholeheartedly born-again, and at some point in the story, by
|
|
way of explanation, the Lord would be called in to set things
|
|
right. It was an annoyance someone like Rinehart wouldnt get away
|
|
with. Tonight they were in the Arizona Territory, and Larry
|
|
kicked back and listened. He remembered the jungle, the heavy air
|
|
and smell of fungus, the dusk in the middle of the day. Meredith
|
|
lead them in.
|
|
It was here, among the other men, that Larry most felt himself.
|
|
He felt welcome, he felt understood without having to explain. He
|
|
could rest, stand down, as he did now, barely marking Merediths
|
|
progress into the foothills of the Que Son Mountains. The thought
|
|
of Vicki and Scott, of riding home with his father, no longer
|
|
bothered him, and though he knew that would change when he left
|
|
the ward, that the world would come flooding back with all its
|
|
problems, he would not let it intrude and ruin this quiet time.
|
|
It reminded him of his mothers radio, how those afternoons alone
|
|
he didnt want the music to end. Now he wanted the stories to go
|
|
on and on.
|
|
But like every Monday, they ended when Shaun the orderly came in
|
|
to give night meds. It was past eight but he waited a minute by
|
|
the swinging doors for Meredith to finish. It was a tiger story,
|
|
how both sides stopped in the middle of a firefight to watch it
|
|
lope through, how no one dared shoot.
|
|
Cause, dig, the animal was majestic, Meredith preached. It was
|
|
better than us and we knew it. It was purer. We knew we didnt
|
|
have no right so we just let it walk on by. See, I didnt know it
|
|
at the time, but I see now that that was a holy experience.
|
|
Fuck, Mel White said. You should of lit his stringy ass up.
|
|
A tiger, Johnny Johnson said, awed like a child.
|
|
Musta been something, Trayner said.
|
|
It was okay, Sponge complained. Not a lot of action.
|
|
No . . . tiger, Cartwright stuttered, mocking Creeley. Bull . . .
|
|
shit.
|
|
Larry looked to Shaun and nodded.
|
|
Okay, guys, Shaun said, tapping his watch, and they muttered and
|
|
swore.
|
|
Mel White started to roll away.
|
|
Larry checked his clipboard. Next week weve got Cartwright and an
|
|
open spot. Who wants it?
|
|
Anybody but Rinehart, Mel White tossed over his shoulder.
|
|
Eat shit, Rinehart said, but didnt volunteer.
|
|
Come on, Larry prompted, standing now. They were scattering to
|
|
their beds. The World Series was on in twenty minutes. Train,
|
|
you havent been up in a while.
|
|
You tell one, Trayner said.
|
|
Yeah, Meredith seconded.
|
|
Yeah, cmon, Larry, Shaun pitched in.
|
|
You owe us, Doc, Sponge said.
|
|
They all looked at him hopefully, and he wondered which one he
|
|
would tell first if he were going to. His own, or just the
|
|
beginning of his. Getting there. And then who? Fred the Head
|
|
and the little girl? The day Nate tried to fly. The first and
|
|
then the second. Hed have to put them in order. It was hard to
|
|
remember exactly but hed have to do it. Because once started he
|
|
would have to tell them all.
|
|
When Larry didnt answer, Cartwright said, Okay, then the new guy.
|
|
Jesus, Mel White said, itll take all fucking night.
|
|
They looked to the curtains around Creeleys bed as if he might
|
|
answer.
|
|
Ill just leave it open, Larry said.
|
|
He always had trouble leaving. Often he wished he could stay,
|
|
bring a case of beer and watch TV with them till lights out. He
|
|
stowed his clipboard and papers in the one drawer the hospital
|
|
gave him and locked up. Later in the week Dr. Jefferies would
|
|
open it and look at his notes; once a month they had a meeting in
|
|
her office. She was interested in the men, but she was Chinese,
|
|
and they distrusted her.
|
|
Shaun rolled the meds cart between beds, handing out pleated paper
|
|
cups and, for a few, shooting prepared syringes into their IV
|
|
drips. The drips hung from wheeled stands so they could roll them
|
|
down to the lounge to watch the game. Trayner was helping
|
|
Cartwright with his legs.
|
|
Larry put his jacket on. Ill see you in a week, he announced, and
|
|
waved to both sides of the aisle. He was always tempted at this
|
|
point to salute, but as usual fought it off. He made for the
|
|
doors, not looking at anyone. Good men. It was not bullshit.
|
|
He thought of stopping to look in on Creeley, then decided against
|
|
it. Give him time, room to move. It wasnt like they were going
|
|
anywhere.
|
|
|
|
|
|
* * *
|
|
|
|
|
|
His father was not waiting for him in the lobby, as hed promised.
|
|
Larry checked the clock behind emergency admitting, then went
|
|
outside to see if his Imperial was in the lot. His father was the
|
|
first person in in the mornings, and parked nearest the doors.
|
|
And there the big Chrysler sat in the rain, waxed and sleek as a
|
|
speedboat, its windows dark. Last week Larry had seen a similarly
|
|
big Oldsmobile south of town with former prisoner of war plates,
|
|
and thought maliciously that his father would never advertise,
|
|
never admit that fact to the world. Why did Larry want him to?
|
|
He retreated inside, and as he watched the Brewers bat, the day
|
|
returned, as he knew it would. He thought of calling Vickis
|
|
mother again, and only pride and not wanting his father to know
|
|
yet kept him from doing it.
|
|
Across from him, leaning forward and staring at the floor as if
|
|
shed been benched, sat a teenaged girl in a basketball uniform,
|
|
glumly holding a plastic bag of ice to her wrist. Beside her a
|
|
friend was filling out her paperwork, and though the girl did not
|
|
seem to be in any real pain, Larry turned away. There were no
|
|
outs and the Brewers had already scored four runs. Someone had
|
|
liked baseball a lot. Nate, maybe. Stars and Stripes had the box
|
|
scores a week late.
|
|
Are you allergic to anything? the friend asked, and Larry had to
|
|
get up and move to the other side of the room.
|
|
It was one of those days nothing was safe. The first magazine he
|
|
picked up had a picture of British soldiers patrolling the streets
|
|
of Belfast, the second a model with an elaborate version of Vickis
|
|
perm. He moved to the back part of the hallway, where there was
|
|
nothing but aerial photos of the new wing being built, and at the
|
|
far end, a rain-lashed window looking out on the night and the
|
|
cold lake, the shivering lights of Ithaca. He paced and thought
|
|
of the Wall, how they would make him go. He supposed he owed it
|
|
to them. He would have to make his own list. Look up their
|
|
names, take pictures. He almost wanted to. It would be simple.
|
|
The hard part would be the bus.
|
|
Behind him, farther up the hall, the elevator rolled open. His
|
|
father got out first, already wearing his hat, and turned for the
|
|
lobby without noticing Larry. Behind him came a pair of families
|
|
exhausted with visiting; the children spread across the hallway,
|
|
and Larry had to tag along behind. His father walked
|
|
purposefully, as if in a hurry, outstripping them. He had his
|
|
keys out, jingling, and carried nothing but a pair of gloves. The
|
|
tasseled end of his white scarf flopped rhythmically against his
|
|
back. He had no reason to look behind him and see Larry, but when
|
|
they got to the lobby, he didnt stop or even hesitate, only waved
|
|
to the uniformed guard, drove straight for the automatic doors,
|
|
hit the mat which made them fly open and marched off into the
|
|
dripping night, still in stride.
|
|
Larry caught him before he opened the drivers side door.
|
|
Hey, he called across the roof.
|
|
His father looked at him quizzically, surprised to see him but
|
|
pleased.
|
|
We were supposed to meet in the lobby? Larry said. I needed a
|
|
ride.
|
|
Right, his father said, still catching up to it. He pointed to
|
|
show he did remember. Sorry.
|
|
He opened the door and reached across the seat to lift the knob,
|
|
and Larry got in.
|
|
Sorry, his father said, Ive been dealing with Margaret Cushing all
|
|
dayMrs. Cushing who used to live on Linn Street? She went around
|
|
dinnertime and its been crazy. So where do you need to go?
|
|
Just home.
|
|
Can do, his father said.
|
|
As they exited the lot, an ambulance pulled in. Its lights werent
|
|
strobing, but the back compartment was lit, and Larry could see a
|
|
blue-shirted EMT moving within. She wore rubber gloves and had a
|
|
ponytail. He concentrated on the ridged knobs of the radio,
|
|
making the orange line slide across the dial, but couldnt stop the
|
|
vision of Nate from cominghis own hands pushed into Nates chest,
|
|
the lung wound bubbling with every breath, hissing and sighing,
|
|
almost squeaking like a leaky tire.
|
|
Truth, Skull.
|
|
Dont mean nothing, man.
|
|
Shit, the Martian said, staring at the hole where Larrys hands
|
|
disappeared, shaking his head. There it is, man.
|
|
Get him the fuck away from me, Larry told Bogut, and he did.
|
|
Dont mean a thing, Nate babe, Larry whispered.
|
|
Truth.
|
|
Truth, bro. All right?
|
|
All right, man.
|
|
All right, man, youre gonna fly them friendly skies, all right?
|
|
This is gonna pinch a little.
|
|
Sall right, I cant feel shit anyway.
|
|
Youre all right, man.
|
|
Mall right.
|
|
Larry rubbed his eyes as if he were tired, and it disappeared,
|
|
replaced by the glare of oncoming traffic. His father leaned back
|
|
in the seat, steering with his gloved hands resting near the
|
|
bottom of the wheel, a mannerism he and Larry shared. His chin
|
|
was lined with a white stubble, his neck a soft, wrinkled wattle
|
|
disappearing into the debonair scarf. The news was onanother
|
|
flood in the Midwestand Larry wondered if the prison camp came
|
|
back to him every time the Japanese were mentioned. The wire, the
|
|
mealy rice, the friends who didnt survivewhere did all of that
|
|
go?
|
|
Theyd never talked about it; his mother wasnt allowed.
|
|
He will tell you, shed say when pressed, when he thinks you need
|
|
to know those things.
|
|
It was too late now, Larry thought, though he couldnt pinpoint
|
|
when he could have used his fathers wisdom. Before he signed up
|
|
for the fucking medical corps and Fort Sam Houston. But that
|
|
wouldnt have stopped him, only made him want to go more. He sat
|
|
back in the seat and watched the dark farms slide by, the lights
|
|
of oncoming cars mimicking the firefly wobble of an RPG round.
|
|
Car trouble? his father asked nonchalantly.
|
|
Oh yeah.
|
|
Bad?
|
|
Dont know yet.
|
|
How old is that thing anyway?
|
|
Ten years, same as this, Larry said, and then regretted comparing
|
|
the two.
|
|
Just tuned her up, his father boasted.
|
|
She sounds good.
|
|
It was a lesson, like everything between them. He thought if they
|
|
made it to the Octopus without his father asking after Scott that
|
|
hed be all right. They coasted down the hill toward town; below,
|
|
a string of lights described the jetty running out into the black
|
|
lake. Probably rain again tomorrow.
|
|
So how is everyone? his father tried.
|
|
Okay, Larry said. Hows Mrs. R.?
|
|
As usual. She keeps trying to get me to retire. Hates the
|
|
weather, you know.
|
|
Larry half-ignored his answer. He had asked after her only to
|
|
change the subject. He did not need to imagine their life
|
|
together in the old house; besides a few new appliances,
|
|
everything was the samethe paintings in their heavy gilt frames,
|
|
his mothers furniture, the color of the walls. And for his father
|
|
the days were the same. Mrs. Railsbeck laid out his clothes and
|
|
made his breakfastas his mother once hadand while he was at the
|
|
hospital, did the laundry and the cleaning and the food shopping.
|
|
His father had bought her a Volkswagen Rabbit, and occasionally
|
|
Larry would see her around town, squinting at the traffic, her
|
|
chin almost touching the steering wheel. Back home she watched
|
|
the little TV while preparing dinner, and when his father came
|
|
home, ate with him, cleaned up and sat reading magazines before
|
|
the console in the living room while he retired to the den. They
|
|
slept in separate rooms, just as his mother and father had, though
|
|
everyone in town presumed to know.
|
|
She says we ought to have you folks over soon. Its been a while.
|
|
Tell her to give us a call, Larry bluffed, knowing he was just
|
|
being polite. It was one reason Vicki hated him, the endless
|
|
courtesy. Why doesnt he just say it to my face? shed complain. I
|
|
dont understand all this pussyfooting around. He doesnt like me.
|
|
Thats okay, I dont mind, I just wish hed be upfront about it.
|
|
They breezed through the green of the Octopus, and Larry tried to
|
|
imagine riding with him every Monday.
|
|
Hed call Vickis mother when he got home. Maybe they could work
|
|
something out with the car.
|
|
Downtown, his father missed the turn to take him up the hill.
|
|
Do you mind taking me home? Larry asked. Or you can just drop me
|
|
at the stop up here.
|
|
Sorry, his father said, woolgathering, and tapped the brim of his
|
|
hat. He changed lanes and made a quick left to get back to where
|
|
theyd been. Still, he did not seem to be all there, staring over
|
|
the wheel like a trucker too long on the road. Hed had a patient
|
|
die today. Larry thought it was foolish to worry about him; it
|
|
was the last thing his father would want. He was tempted to think
|
|
that after so many years you got used to losing people, but Larry
|
|
knew that each oneand especially the ones hed had for
|
|
yearsbothered his father, even if he would never admit it.
|
|
Who was it today? Larry asked gently.
|
|
Mrs. CushingAnne Cushings mother. Anne was there.
|
|
She was in Susans class.
|
|
Nice girl. Shes with Pfizer now.
|
|
How was it?
|
|
Oh, his father said, perking up, it went well.
|
|
Good, Larry said, equally cheerful, but his father was done
|
|
talking.
|
|
They cruised up the hill, past the students ramshackle houses with
|
|
overstuffed chairs and hibachis perched on their porch roofs, the
|
|
gutters stuffed with beer cans. The Imperial climbed easily,
|
|
shifting into low for more torque. They hit the long level and
|
|
the streetlights gave way to fields and woods, night. The road
|
|
was shiny and pasted with leaves. They sped through the black,
|
|
wipers lashing.
|
|
His father slowed to read the mailbox numbers. It was a guess.
|
|
Another mile or so, Larry corrected him.
|
|
The house was dark. His father pulled into the empty drive.
|
|
So, his father asked, drawing it out, making Larry tense up, more
|
|
car trouble, huh?
|
|
The way he said it, it was not an accusation. Larry looked to him
|
|
to see if he was yanking his chain. He didnt seem to be.
|
|
Its in the shop, Larry said.
|
|
How olds that thing again?
|
|
Ten years. Same as this.
|
|
Just tuned her up, his father said, and patted the dash.
|
|
She sounds good, Larry said, as if following a script. He opened
|
|
the door, but paused. He wanted to ask his father if he was all
|
|
right, then decided he was just tired, and got out.
|
|
Let me know if you need a ride tomorrow, his father offered.
|
|
Thats okay, Larry said, thanks, and clunked the door shut. He got
|
|
the mail, watching his father reverse out of the drive and tool
|
|
away, then walked toward the porch, digging for his keys. Next
|
|
door Donna Burnss windows were lit.
|
|
Inside, before he even turned the lights on, he saw the red
|
|
flicker of the answering machine. Once, twice, three times. At
|
|
least one of them would be her. Hed call her, and then they could
|
|
start working to fix it. He hung his jacket up, went into the
|
|
kitchen and sat down at the table to go through the mail.
|
|
First he tore the pre-approved credit card applications and
|
|
childrens book club offers in half and tossed them in the garbage;
|
|
then he opened the bills and wrote the date they were due on the
|
|
return envelopes. He piled her catalogs to one side, and the
|
|
Pennysaver, which she liked to look through. All hed gotten was a
|
|
postcard from Wade. It showed a green trout dwarfing a railroad
|
|
flatcar. They grow em big out here! it said. Wade said hi. The
|
|
kids were healthy, he was doing well, and hed send an address as
|
|
soon as he had one. He was thinking of Ithaca. Larry stuck it to
|
|
the fridge with a magnet.
|
|
He looked in the refrigerator and then in the cupboard. He ate a
|
|
few of the chocolate chip cookies he packed as part of Scotts
|
|
lunch, washing them down with a beer. He got another handful and
|
|
went into the living room and stood above the answering machine,
|
|
eating.
|
|
He punched the play button and the machine whirred, reversing the
|
|
tape. The cookies and beer made a thin, sweet gruel going down
|
|
his throat.
|
|
The beep beeped.
|
|
Vicki, a woman said. This is Cheryl. Ronnie wants to know if
|
|
youre coming in or not, so call, okay? Bye.
|
|
It gave the time and beeped again.
|
|
Vic, Vickis mother said, and he leaned closer to the machine and
|
|
turned the volume up, stopped chewing. This is Mom. I thought
|
|
you might be trying to call me. Nothing new, just wanted to
|
|
talk.
|
|
That had been five-thirty, late enough for her to pick up Scott
|
|
and make it to Trumansburg. The machine clicked complicatedly.
|
|
He took a slug of beer to brace himself; it gave him a chill, the
|
|
fine hairline beginning of a headache.
|
|
Larry, a woman said, I was wondering how youre doing. It took him
|
|
a minute to figure out it was Donna. She went on talking,
|
|
concerned; he turned the volume down and went into the kitchen.
|
|
He sat and rested his arms and hands flat on the table, palms
|
|
down, and looked at the space between them.
|
|
Goddammit, he said, and tilted his head up and eyed the tile
|
|
ceiling as if it were a sky full of answers. He sighed and picked
|
|
up the beer can and took it to the sink and rinsed it out.
|
|
He called her mother and stood there listening to it ring,
|
|
wondering what he would say to her. The truth, it occurred to
|
|
him. If theyd really taken off, shed want to know.
|
|
Larry, she said, surprised.
|
|
Are Vicki and Scott there?
|
|
No. She made the question sound absurd. Theyre not there?
|
|
No, he admitted. He told her about finding them gone, about Vicki
|
|
missing work, Scott not showing up for school.
|
|
Im sorry, Larry, but I honestly havent seen them. I wish I had.
|
|
Now youve got me worried.
|
|
Im sure theyre okay. I thought shed call is all.
|
|
You let me know if she does, her mother said.
|
|
Same here.
|
|
After hed hung up, he wanted her to have been more concerned, and
|
|
not only her but himself. The way they talked about it was too
|
|
routine, as if Vickis leaving had been expected, or worse, that it
|
|
had lost the power to hurt him. He hoped it hadnt.
|
|
He didnt feel like eating, which he thought was a good sign. The
|
|
World Series was on, and though the score was 10-0, he watched for
|
|
another beer, from time to time glancing over at the phone.
|
|
As he was cleaning up and turning everything off, it rang. He
|
|
flew across the room and picked it up before the second ring.
|
|
There you are, Donna said, and he hated himself for hoping. I was
|
|
wondering if youd pick up. How are you doing?
|
|
Okay.
|
|
She waited for him to say more. He waited.
|
|
Have you heard anything?
|
|
No, he said, nothing.
|
|
She said shed call you.
|
|
She didnt, Larry said, and wondered why he was so angry with her.
|
|
Again, they waited.
|
|
Hey, she said, do you want me to come over, just to talk?
|
|
No, he said, Im going to bed, and then felt guilty for being short
|
|
with her. Thanks.
|
|
Thats all right, Donna said.
|
|
He had almost put the phone down when he remembered he needed a
|
|
ride.
|
|
Sure, she said, relieved, and they agreed on a time.
|
|
When he hung up he stood there a second as if it would ring again,
|
|
and when it didnt, went upstairs. In the dark of Scotts room the
|
|
power indicator of the radio threw a weak red sheen over the
|
|
world. He thought of how far they could have gotten. Sixteen,
|
|
seventeen hours. He missed them, but not enough, he thought. He
|
|
could see himself living like this, eating alone at the kitchen
|
|
table, seeing no one. In the bathroom mirror he was surprised he
|
|
didnt look any different, and shrugged.
|
|
He turned on the bedroom light before clicking off the one in the
|
|
hall and undressed in the yellow glow. The hamper was empty; shed
|
|
done the laundry. Small favors, he thought, and got into bed, the
|
|
covers snagging his new foot. On the dresser stood their
|
|
pictures; he rolled over so he wouldnt have to look at them.
|
|
Tomorrow was Tuesday. He had no idea what hed do. Call her work,
|
|
drive by Scotts school, talk to Donna. He lay there looking at
|
|
the bright leaves and flowers of the wallpaper, tracing the vines
|
|
false progress toward the ceiling as if reading a map.
|
|
She was the one who turned out the light every night, and now,
|
|
without her, he thought it fitting that he leave it on. When they
|
|
came to him laterwhen Pony came, or Bogut, or Carl Metcalf, and he
|
|
woke up with his hands miraculously cleansed of blood, when he
|
|
missed his dead so much that he wanted to be alone with them, if
|
|
only in sleephe would need the light. To remind him that there
|
|
was another world. To remind him that he was alive. And deep in
|
|
the night, he did.
|
|
|
|
____________________
|
|
Stewart O'Nan is a writer living in Ithaca, New York. His first
|
|
collection of short stories, In the Walled City, is currently available
|
|
from University of Pittsburgh Press. His first novel, Snow Angels, will
|
|
be published by Doubleday in November. He is the recipient of the
|
|
thirteenth Drue Heinz Literature Prize.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
POETRY
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
THE SIDE SHOW
|
|
BY DANIEL SENDECKI
|
|
|
|
Errant knight - reverent killer
|
|
Don't you know?
|
|
The Holy Grail, Sir Galahad
|
|
is not deep in the tenements
|
|
nor high in the battlements
|
|
It sits beside a cupie doll, dusty and spent
|
|
it travels with the circus
|
|
Those who admire it
|
|
The Bearded Lady, The Strong Man
|
|
realize - not everlasting life
|
|
but their own tarnished reflection.
|
|
|
|
____________________
|
|
Daniel Sendecki <rn.6333@rose.com> is a young, emerging Canadian author,
|
|
who is currently pursuing his writing at home, but who intends to further
|
|
study English Literature at MCGill University in Montreal, Quebec. His
|
|
story "A Serpent's Embrace" will appear in an upcoming issue of SUNLIGHT
|
|
THROUGH THE SHADOWS magazine.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
WHILE WALKING
|
|
BY ANDREA KRACKOW
|
|
|
|
These sidewalk shoes grin
|
|
and pretend our life.
|
|
Do you live? In tenement shacks of
|
|
Chunky Chicken, I dream of becoming
|
|
your wife.
|
|
|
|
Thumb walking,
|
|
limp talking,
|
|
my words are week-
|
|
day normal,
|
|
|
|
(I speak like gravel).
|
|
|
|
Will you walk on me?
|
|
Or take a sideway street?
|
|
Or leave roses by my corner?
|
|
|
|
Leave roses by my corner.
|
|
|
|
____________________
|
|
Andrea Krackow <krackoa@alleg.EDU> is a first year student at Allegheny
|
|
college. She is studying Ceramics and poetry.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
THE HIGH COST OF LIVING
|
|
BY NANCY BENT
|
|
|
|
(In 1988, a young man arrived at a hospital emergency room, where the
|
|
staff thought he would make a good organ donor because he was only
|
|
twenty-three. Involved in drugs, he had been shot above the fourth
|
|
certical vertebra.)
|
|
|
|
When he was still alive on the
|
|
Third Day, they told him he would always be
|
|
Unable to move his body below his jaw.
|
|
Privately their words were "A head in bed."
|
|
It would be like this:
|
|
They would beat on his chest and
|
|
Maybe have to break his ribs if his heart
|
|
Stopped. They wanted him to understand that.
|
|
One doctor said to himself in such a situation
|
|
He wouldn't want to live.
|
|
|
|
He would have to imagine the feel of water
|
|
When they bathed him.
|
|
He would never touch a woman with long black
|
|
Hair or flirt with her,
|
|
Never beat another guy in a fight.
|
|
He could only breathe through a machine.
|
|
|
|
By blinking the young man could speak.
|
|
Twice for yes and once for no.
|
|
Amazed that he wanted to live,
|
|
They asked him again.
|
|
He blinked twice, each time.
|
|
|
|
After four years he went home to constant family care.
|
|
His mother in the day and the rest taking turns at night.
|
|
The family stuck together. They had fled from Mexico,
|
|
Crossing the Rio Grande where it slowed to a trickle.
|
|
But they had not left hard times.
|
|
|
|
Now he was reborn, passive, pure,
|
|
A dedicated mother by his side,
|
|
His hands helpless on the tray before him,
|
|
Nothing expected, nothing possible,
|
|
Only belief in life.
|
|
|
|
He explained, using a voice box,
|
|
"If I hadn't been shot,
|
|
I would have died.
|
|
My sister brings me food,
|
|
I go outside, I see my family.
|
|
This is the way it is."
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
IF I WERE A LOVER
|
|
BY JIM CHAFFEE
|
|
|
|
If I were a lover
|
|
|
|
would I love all or some
|
|
or none, save me.
|
|
|
|
____________________
|
|
Jim Chaffee <jchaffee@alleg.EDU> is a computer specialist who enjoys
|
|
writing poetry in his spare time.
|
|
|
|
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
|
|
|
|
|
|
CINDERELLA REWRITTEN
|
|
BY RACHEL L. MILLER
|
|
|
|
As a small child
|
|
I loved a lie
|
|
Read to me by
|
|
A teary-eyed mother
|
|
|
|
You see--
|
|
My mother was once
|
|
Cinderella--woman of ash
|
|
The blessings of society
|
|
Hidden behind closed doors
|
|
By selfish brothers and fathers
|
|
|
|
Ella dared to challenge
|
|
The order, leaving
|
|
Her ghostly mother and
|
|
Alcoholic father's
|
|
Run-down rusty trailer
|
|
For the big city
|
|
|
|
Disappointment--
|
|
You can only buy success
|
|
Discovered my penniless heroine
|
|
She prostituted herself
|
|
To the lucky sons
|
|
In their shiny cars
|
|
Helped out of the gutter
|
|
By a fairy godmother
|
|
Wearing crushed purple velvet
|
|
Minus magic wand
|
|
|
|
When the lights went out
|
|
She finally learned
|
|
Her lesson--
|
|
|
|
Ella can only depend
|
|
On one person--
|
|
Herself
|
|
There is no better savior
|
|
|
|
Woman of ash
|
|
Rises from the ashes--
|
|
Like a phoenix
|
|
|
|
Now she buys her own shoes--
|
|
They fit better that way
|
|
|
|
She lets me choose
|
|
My own shoes, too
|
|
|
|
____________________
|
|
Rachel L. Miller <rlmiller@chaph.usc.edu> is a second-year undergraduate
|
|
at the University of Southern California--School of Cinema Television.
|
|
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BACK ISSUES
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Back issues are available in several anonymous Gopher/FTP sites:
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gopher.cic.net
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etext.archive.umich.edu
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src.doc.ic.ac.uk
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info.anu.edu.au
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You can also get them through out address at sw17@cornell.edu, but it is
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strongly recommended that you use the FTP sites.
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SUBSCRIPTION
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If you wish to be on the Whirlwind mailing list, all you need to do is
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send a message to sw17@cornell.edu with the subject of the message
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"SUBSCRIBE WHIRLWIND" and nothing else in the body of the message.
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FURTHER QUESTIONS
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If you have any more questions, you can reach us at sw17@cornell.edu.
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That's it! Thank you for reading. The next issue of Whirlwind:
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MAY 1, 1994
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