As it turned out, the critics both rejected and accepted him. That first show set the tone for the rest of Bill's career. He would always have passionate defenders and violent detractors, but as painful or pleasant as it might have been for Bill to be hated by some people and worshiped by others, he would become far more important to reviewers and journalists than they ever would be to him. By the time of his first show, Bill was already too old and too stubborn to be swayed by critics. He was the most private person I have ever known, and only a few people were ever allowed to enter the secret room of his imagination. It is ironic and sad that perhaps the most important inhabitant of that room was and would always be Bill's father. Alive, Sy Wechsler was the incarnation of his son's unfulfilled longing. He was one of those people who were never fully present at the events of their own lives. A part of him was not there, and it was this absent quality in his father that Bill never stopped pursuing— even after the man was dead.
Bill showed up for the small dinner at Bernie's loft after the opening, but he was mostly silent, and we all went home early. The next day, a Saturday, I went to see him on the Bowery. Lucille was visiting her parents in New Haven, and Bill told me the story of his father. Sy's parents were immigrants who had left Russia as small children and ended up on the Lower East Side. Bill told me that his grandfather had abandoned his wife and three children when Sy, the oldest, was ten. The story in the family was that Moishe ran off to Canada with another woman, where he became a wealthy man and fathered three other children. At his grandmother's funeral, Bill had met a woman named Esther Feuerstein, and it was through Esther that he learned what no one in the family had ever mentioned. The day after her husband left, Rachael Wechsler had walked into the tiny kitchen in their tenement on Rivington Street and stuck her head in the oven. It was Sy who had pounded on Esther's door and Sy who helped Esther pull a screaming Rachael away from the gas. Despite her encounter with early death, Bill's grandmother lived to be eighty-nine years old. His description of the old lady was unsentimental. "She was nuts," he said. "She used to howl at me in Yiddish, and when I didn't understand her, she'd whack me with her purse."
"My father always favored Dan," Bill said. He didn't make this statement with any bitterness. I already knew that Dan had been an unstable, high-strung child and that sometime in his early twenties he had had a schizophrenic breakdown. Since then, Bill's younger brother had been in and out of hospitals and halfway houses and mental health clinics. Bill said that his father was touched by weakness, that he had a natural attraction to people who needed a helping hand. One of Bill's cousins had Down's syndrome, and Sy Wechsler had never forgotten Larry's birthday, although he sometimes forgot his older son's. "I want you to read the note Dan sent me," Bill said. "It will give you a good idea of what goes on in his head. He's mad, but he's not stupid. I sometimes think he's got the life of at least five people in him." Bill handed me a wrinkled, smudged piece of paper, written by hand.
CHARGE BRO THE RS W.!
REACH THE ACHE!
HEAR THE BEAT.
TO THE ROSE, THE COAT,
THE CAR, THE RATS, THE BOAT.
TO BEER. TO WAR.
TO HERE. TO THERE.
TO HER.
WE WERE, ARE
HER.
LOVE, DAN (I) EL. (NO) DENIAL.
After I read the note, I said, "It's a kind of anagram."
"It took me a while to figure it out, but if you look at it closely, all the words in the poem are made up of the letters in the first line—except the last ones, when he signs off."
"Who is the 'her'? Did he know about your paintings?"
"My mother might have told him. He writes plays, too. Some of them rhyme. Dan's sickness isn't anybody's fault. I think my mother always felt that something was wrong, even when he was a baby, but at the same time, it didn't help that my parents were, well, not really together. By the time he was born, my mother was pretty disappointed. I don't think she had had any idea who she was marrying. By the time she found out, it was too late."
I suppose we are all the products of our parents' joy and suffering. Their emotions are written into us, as much as the inscriptions made by their genes. That afternoon, sitting in a chair not far from the bathtub, while Bill sat on the floor, I told him about my father's death, a story I had only told to Erica. I was seventeen when my father died. He had three strokes. The first one paralyzed his left side, which distorted his face and made speaking difficult. He slurred his speech. He complained of a cloud in his brain that snatched words from his consciousness, and he spent hours typing out sentences with his good hand, often pausing for minutes to retrieve a missing phrase. I hated the sight of my debilitated father. I still dream that I wake up and find that a leg or arm is paralyzed or has simply dropped off my body. My father was a proud, formal man whose relation to me was principally one of answering my questions, sometimes more thoroughly than I wished. A question of only a few seconds could easily yield a half-hour lecture. My father didn't talk down to me. He had great confidence in my understanding, but the truth was that his discourses on the nervous system or the heart or liberalism or Machiavelli often bored me. And yet, I never wanted him to stop talking. I liked to have his eyes on me, liked to sit near him, and I would wait for the signs of affection that always concluded his talks—a pat on my arm, on my knee, or the tender quiver in his voice when he rounded off his speech by saying my name.
In New York, my father read the Aufbau, a weekly paper for German Jews in America. During the war it published lists of missing people, and my father read every name before he read anything else in the paper. I dreaded the arrival of the Aufbau, dreaded my father's absorption, his hunched shoulders, the blank look on his face as he read down the lists. The hunt for his family took place in silence. He never said, I am checking to see if their names are here. He said nothing. My mother and I choked on his silence, but we never never interrupted it by speaking.
The third stroke killed him. My mother found him dead beside her in the morning. I had never seen or heard my mother cry, but that morning she let out a terrible wail that brought me running to my parents' bedroom. She told me in a strange, tough voice that Otto was dead, shooed me out of the room, and closed the door behind her. I stood outside the door and listened to her low guttural noises, to her muffled cries and hoarse gasps. It was never clear to me how long I stood there, but after some time she opened the door. Her face was calm then and her posture unusually erect. She told me to come in, and we sat beside my father's body for several minutes before she stood up and walked into the other room to use the telephone. My father wasn't terrible to look at, but the change from life to death scared me. The blinds on the windows were still drawn, and along their bottoms I noticed two brilliant lines of sun. I studied them as I sat there in the room alone with my father.
When Erica and Lucille were both about five months pregnant, I took a snapshot of the two of them in our loft. Erica is grinning at the camera, and she has her arm securely around Lucille's shoulders, who looks small and shy but contented at the same time. Her left hand is laid protectively on her belly and her chin is lowered as she looks up. One side of her mouth has twisted itself into an obliging smile. Pregnancy suited Lucille. It softened her, and the picture is a reminder to me of a gentleness in her personality that was more often hidden than not.
In her fourth month, Erica started humming, and she hummed until our son was born. She hummed at breakfast. She hummed on her way out the door in the morning. She hummed at her desk while she worked on her "Three Dialogues" paper—the one on Martin Buber, M. M. Bakhtin, and Jacques Lacan, which she delivered at a conference at NYU two and a half months before she gave birth. The humming drove me crazy, but I strove to be tolerant. When I asked her to stop, she would always look up at me with startled eyes and say, "Was I humming?"
During their pregnancies, Erica and Lucille became friends. They compared internal kicks and belly size. They went shopping for minuscule outfits and
laughed like two conspirators about their squashed bladders, protruding navels, and large bra sizes. Erica laughed louder. Although Lucille never lost her reticence, she seemed to relax more with Erica than with other people. And yet, after the babies were born, there was a shift in Lucille toward Erica—a barely perceptible hint of coolness. I did not see it or feel it until Erica pointed it out, and even then I doubted the truth of it for a long time. Lucille was not socially graceful. Her manners had a blunt, uncivil edge and, on top of that, she was probably exhausted from the rigors of caring for an infant. My arguments usually convinced Erica until she felt it again: the tiny sting of possible rejection—always ambiguous, always subject to many interpretations.
When I saw Lucille, we talked about poetry. She continued to give me the little magazines that published her, and I took time with the poems and made comments on them. My comments were usually questions—about form, about choices she had made or not made, and she talked eagerly to me about her use of commas and periods and her preference for simple diction. Her ability to focus on these details was extraordinary, and I enjoyed our conversations. Erica didn't like Lucille's poems. She once confided in me that reading them was "like eating dust." Lucille may have divined Erica's distaste for her work and instinctively withdrawn from that disapproval, or she might not have liked the fact that Erica eagerly embraced Bill's literary opinions and sometimes called him for a reference or just to ask him a question. I don't know, but as time wore on, I understood that the two women were no longer close, and that the more Lucille withdrew from Erica, the more she seemed interested in me.
About two weeks after I took the photograph of Erica and Lucille, Sy Wechsler dropped dead of a heart attack. It happened early one evening after work while he was taking in the mail. Wechsler lived alone, and it was his brother Morris who found him the next morning, lying near the kitchen table with bills, a couple of business letters, and several catalogues on the floor beside him. No one had expected Wechsler to die. He did not smoke or drink, and he ran three miles a day. Bill and his Uncle Morris made the funeral arrangements, and Sy's youngest brother flew in from California with his wife and two children. After the funeral, Bill and Morris cleaned out the big house in South Orange, and when that task was over, Bill started drawing. He drew hundreds of pictures of his father, both from memory and from photographs. Bill had produced very little since his first show, not because he didn't want to work but because he needed to earn money. Two of the Violet paintings had sold to collectors, but the money they brought in had disappeared quickly. Once Bill knew he and Lucille were going to have a child, he had taken every plastering job he was offered, and after grinding days on a contracting site, he was often too tired to do anything but sleep. Sy Wechsler left $300,000 to each of his sons, and with his share of the money, Bill transformed his life.
The loft above us at 27 Greene Street was up for sale. Bill and Lucille bought it, and by early August of 1977 they had moved in. The rent on the Bowery was low, and Bill kept it as his studio. The money, Bill told me, "will buy us time to do our own work." But that summer, Bill had few hours to spare for painting. All day, every day, he sawed, hammered, drilled, and breathed in dust. He erected Sheetrock walls in the raw space to make rooms. He laid tile in the bathroom once the plumber had installed the fixtures. He built closets and put in lights and hung the kitchen cabinets, and at night he would return to the Bowery and his sleeping wife and draw his father. It was grief as energy. Bill understood that his father's death had given him a new beginning and that the gargantuan physical labors of that summer were finally spiritual. He worked in the name of his father for his unborn son.
In early August, only days before Matthew was born, Bernie Weeks and I walked to the Bowery in the late afternoon to take a look at Bill's early plans for a new series of paintings—which were developing out of the drawings of his father. While Bernie was flipping through the drawings of Sy Wechsler—sitting, standing, running, sleeping—he paused at one and said, "You know, I had a nice conversation with your father once."
"At the opening," Bill said flatly.
"No, it was a couple of weeks after. He came back to look at the paintings. I recognized him, and we chatted for two or three minutes."
In a startled voice, Bill said, "You met him in the gallery?"
"I thought you knew," Bernie said casually. "He was there for at least an hour. He took his time, going very slowly. He would look at one for quite a while and then move on to the next one."
"He went back," Bill said. "He went back and looked at them."
The story of his father's return visit to the Weeks Gallery never left Bill. It became the single concrete sign he had of his father's affection for him. Before that, Sy's long days at the box business, his appearances at the occasional Little League game, school play, or first art opening had had to suffice as markers of his father's paternal duty and goodwill. Bernie's story added a layer to Bill's internal portrait of his father. It also had the irrational effect of confirming his loyalty to the Weeks Gallery. Bill confused the messenger and the message, but it hardly mattered. As Bernie rocked back and forth on his heels in front of several mounted drawings of Sy Wechsler and ran his fingers through the keys and papers and debris that Bill said would be mounted onto the canvases, I sensed his excitement. Bernie was in for the long haul.
Birth is violent, bloody, and painful, and all the rhetoric to the contrary will not convince me that I am wrong. I have heard the stories of women squatting in the fields, snapping umbilical cords with their teeth, strapping their newborns onto their backs, and picking up the scythe, but I wasn't married to those women. I was married to Erica. We went to Lamaze classes together and listened attentively to Jean Romer's breathing advice. A stocky woman in bermuda shorts and thick-soled sneakers, Jean referred to birth as "the great adventure" and to the members of her class as "moms" and "coaches." Erica and I watched films of athletic, smiling women doing deep knee bends during their labors and breathing their babies out of them. We practiced panting and blowing as we silently corrected Jean's grammar every time she told us "to lay down on the floor." At forty-seven, I was the second-to-oldest father-to-be in the class. The oldest was a bullish man in his sixties named Harry who had been married before, had grown-up children, and was now working on his second child from his second wife, who looked like a teenager but was probably well into her twenties.
Matthew was born on August 12, 1977, at St. Vincent's Hospital. I stood beside Erica and watched her agonized face, squirming body, and clenched fists. Every once in a while I reached for her hand, but she batted me away and shook her head. Erica did not scream, but down the hallway in another labor room, a woman shrieked and wailed at the top of her lungs, pausing only to swear both in Spanish and in English. She too must have had a "coach" with her, because after a few seconds of surprising silence, we heard her yell, "Fuck you, Johnny! Fuck you and your fucking breathing! You fucking breathe! I'm dying!"
Near the end, Erica's eyes took on a bright, ecstatic gleam. She clenched her teeth and growled like a animal when she was told to push. I stood beside the doctor in my surgical gown and watched the wet, bloody, black head of my son emerge from between Erica's legs, followed immediately by his shoulders and the rest of his bodv. I saw his bloated little penis, saw blood and fluid gush from Erica's closing vagina, heard Dr. Figueira say, "It's a boy," and felt dizzy. A nurse pushed me into a chair, and then I had my son in my arms. I looked down at his wrinkled red face and soft lopsided head and said, "Matthew Stein Hertzberg," and he looked me in the eyes and grimaced.
It had come to me late. I was a graying, wrinkling father of an infant son, but I took to parenthood with the enthusiasm of the long deprived. Matt was an odd little creature with thin red limbs, a purplish umbilical stump, and downy black hair on only part of his head. Erica and I spent a lot of time studying his peculiarities—his greedy slurping noises when he fed, his mustard-colored bowel movements, his waving arms and legs, and his abs
orbed staring, which suggested brilliance or idiocy, depending on how you looked at it. For about a week, she called him "our naked stranger," but then he became Matthew or Matt or Matty boy. In those first few months after he was born, Erica showed a competence and ease I hadn't seen in her before. She had always been nervous and excitable, and when she was really heated her voice would take on a shrill, anxious timbre, a register that affected me physically—as if someone were running a fork over my skin. But Erica had few outbursts during Matt's early days. She was almost serene. It was rather like being married all over again to someone slightly different. She never slept enough, and the skin beneath her eyes was dark with lack of sleep, but her features were milder than I had ever seen them. When she nursed Matt, she would sometimes look at me with a tenderness that was nearly painful in its intensity. Often, I was still reading in bed while Erica and Matt slept together beside me, his head on her breast as she held him. Even while she slept, she was aware of him and would wake to his smallest squeak. Sometimes, I would put down my book and look at the two of them in the light of my reading lamp. I now think I was lucky that I wasn't young. I knew what I might not have known earlier—that my happiness had come. I even told myself to fix the image of my wife and son in my mind while I watched them sleep, and it is still there, a clear picture left by my conscious wish. I can see Erica's profile on the pillow, her dark hair falling over her cheek, and Matt's little head, about the size of a grapefruit, turned in toward his mother's body.
What I Loved Page 4
