Going For a Beer

by Robert Coover

  4

  The boy’s gesture is furtive. His right hand trails behind him, letting a crumb fall. His face is half-turned toward his hand, but his eyes remain watchfully fixed on the old man’s feet ahead. The old man wears heavy mud-spattered shoes, high-topped and leather-thonged. Like the old man’s own skin, the shoes are dry and cracked and furrowed with wrinkles. The boy’s pants are a bluish-brown, ragged at the cuffs, his jacket a faded red. He, like the girl, is barefoot.

  5

  The children sing nursery songs about May baskets and gingerbread houses and a saint who ate his own fleas. Perhaps they sing to lighten their young hearts, for puce wisps of dusk now coil through the trunks and branches of the thickening forest. Or perhaps they sing to conceal the boy’s subterfuge. More likely, they sing for no reason at all, a thoughtless childish habit. To hear themselves. Or to admire their memories. Or to entertain the old man. To fill the silence. Conceal their thoughts. Their expectations.

  6

  The boy’s hand and wrist, thrusting from the outgrown jacket (the faded red cuff is not a cuff at all, but the torn limits merely, the ragged edge of the soft worn sleeve), are tanned, a little soiled, childish. The fingers are short and plump, the palm soft, the wrist small. Three fingers curl under, holding back crumbs, kneading them, coaxing them into position, while the index finger and thumb flick them sparingly, one by one, to the ground, playing with them a moment, balling them, pinching them as if for luck or pleasure, before letting them go.

  7

  The old man’s pale blue eyes float damply in deep dark pouches, half-shrouded by heavy upper lids and beetled over by shaggy white brows. Deep creases fan out from the moist corners, angle down past the nose, score the tanned cheeks and pinch the mouth. The old man’s gaze is straight ahead, but at what? Perhaps at nothing. Some invisible destination. Some irrecoverable point of departure. One thing can be said about the eyes: they are tired. Whether they have seen too much or too little, they betray no will to see yet more.

  8

  The witch is wrapped in a tortured whirl of black rags. Her long face is drawn and livid, and her eyes glow like burning coals. Her angular body twists this way and that, flapping the black rags—flecks of blue and amethyst wink and flash in the black tangle. Her gnarled blue hands snatch greedily at space, shred her clothes, claw cruelly at her face and throat. She cackles silently, then suddenly screeches madly, seizes a passing dove, and tears its heart out.

  9

  The girl, younger than the boy, skips blithely down the forest path, her blonde curls flowing freely. Her brown dress is coarse and plain, but her apron is gay and white petticoats wink from beneath the tattered hem. Her skin is fresh and pink and soft, her knees and elbows dimpled, her cheeks rosy. Her young gaze flicks airily from flower to flower, bird to bird, tree to tree, from the boy to the old man, from the green grass to the encroaching darkness, and all of it seems to delight her equally. Her basket is full to overflowing. Does she even know the boy is dropping crumbs? or where the old man is leading them? Of course, but it’s nothing! A game!

  10

  There is, in the forest, even now, a sunny place, with mintdrop trees and cotton candy bushes, an air as fresh and heady as lemonade. Rivulets of honey flow over gumdrop pebbles, and lollypops grow wild as daisies. This is the place of the gingerbread house. Children come here, but, they say, none leave.

  11

  The dove is a soft lustrous white, head high, breast filled, tip of the tail less than a feather’s thickness off the ground. From above, it would be seen against the pale path—a mixture of umbers and grays and the sharp brown strokes of pine needles—but from its own level, in profile, its pure whiteness is set off glowingly against the obscure mallows and distant moss greens of the forest. Only its small beak moves. Around a breadcrumb.

  12

  The song is about a great king who won many battles, but the girl sings alone. The old man has turned back, gazes curiously but dispassionately now at the boy. The boy, too, has turned, no longer furtive, hand poised but no crumb dropping from his fingertips. He stares back down the path by which they three have come, his mouth agape, his eyes startled. His left hand is raised, as if arrested a moment before striking out in protest. Doves are eating his breadcrumbs. His ruse has failed. Perhaps the old man, not so ignorant in such matters after all, has known all along it would. The girl sings of pretty things sold in the market.

  13

  So huddled over her prey is the witch that she seems nothing more than a pile of black rags heaped on a post. Her pale long-nailed hands are curled inward toward her breast, massaging the object, her head lower than her hunched shoulders, wan beaked nose poked in among the restless fingers. She pauses, cackling softly, peers left, then right, then lifts the heart before her eyes. The burnished heart of the dove glitters like a ruby, a polished cherry, a brilliant, heart-shaped bloodstone. It beats still. A soft radiant pulsing. The black bony shoulders of the witch quake with glee, with greed, with lust.

  14

  A wild blur of fluttering white: the dove’s wings flapping! Hands clutch its body, its head, its throat, small hands with short plump fingers. Its wings flail against the dusky forest green, but it is forced down against the umber earth. The boy falls upon it, his hands bloodied by beak and claws.

  15

  The gingerbread house is approached by flagstones of variegated wafers, through a garden of candied fruits and all-day suckers in neat little rows.

  16

  No song now from the lips of the girl, but a cry of anguish. The basket of flowers is dropped, the kings and saints forgotten. She struggles with the boy for the bird. She kicks him, falls upon him, pulls his hair, tears at his red jacket. He huddles around the bird, trying to elbow free of the girl. Both children are weeping, the boy of anger and frustration, the girl of pain and pity and a bruised heart. Their legs entangle, their fists beat at each other, feathers fly.

  17

  The pale blue eyes of the old man stare not ahead, but down. The squint, the sorrow, the tedium are vanished; the eyes focus clearly. The deep creases fanning out from the damp corners pinch inward, a brief wince, as though at some inner hurt, some certain anguish, some old wisdom. He sighs.

  18

  The girl has captured the bird. The boy, small chest heaving, kneels in the path watching her, the anger largely drained out of him. His faded red jacket is torn; his pants are full of dust and pine needles. She has thrust the dove protectively beneath her skirt, and sits, knees apart, leaning over it, weeping softly. The old man stoops down, lifts her bright orange apron, her skirt, her petticoats. The boy turns away. The dove is nested in her small round thighs. It is dead.

  19

  Shadows have lengthened. Umbers and lavenders and greens have grayed. But the body of the dove glows yet in the gathering dusk. The whiteness of the ruffled breast seems to be fighting back against the threat of night. It is strewn with flowers, now beginning to wilt. The old man, the boy, and the girl have gone.

  20

  The beams of the gingerbread house are licorice sticks, cemented with taffy, weatherboarded with gingerbread, and coated with caramel. Peppermint-stick chimneys sprout randomly from its chocolate roof and its windows are laced with meringue. Oh, what a house! And the best thing of all is the door.

  21

  The forest is dense and deep. Branches reach forth like arms. Brown animals scurry. The boy makes no furtive gestures. The girl, carrying her flowerbasket, does not skip or sing. They walk, arms linked, eyes wide open and staring ahead into the forest. The old man plods on, leading the way, his heavy old leather-thonged shoes shuffling in the damp dust and undergrowth.

  22

  The old man’s eyes, pale in the sunlight, now seem to glitter in the late twilight. Perhaps it is their wetness picking up the last flickering light of day. The squint has returned, but it is not the squint of weariness: resistance, rather. His mouth opens as though to speak, to rebuke, but his teeth are clench
ed. The witch twists and quivers, her black rags whirling, whipping, flapping. From her lean bosom, she withdraws the pulsing red heart of a dove. How it glows, how it rages, how it dances in the dusk! The old man now does not resist. Lust flattens his face and mists his old eyes, where glitter now reflections of the ruby heart. Grimacing, he plummets forward, covering the cackling witch, crashing through brambles that tear at his clothes.

  23

  A wild screech cleaves the silence of the dusky forest. Birds start up from branches and the undergrowth is alive with frightened animals. The old man stops short, one hand raised protectively in front of him, the other, as though part of the same instinct, reaching back to shield his children. Dropping her basket of flowers, the girl cries out in terror and springs forward into the old man’s arms. The boy blanches, shivers as though a cold wind might be wetly wrapping his young body, but manfully holds his ground. Shapes seem to twist and coil, and vapors seep up from the forest floor. The girl whimpers and the old man holds her close.

  24

  The beds are simple but solid. The old man himself has made them. The sun is setting, the room is in shadows, the children tucked safely in. The old man tells them a story about a good fairy who granted a poor man three wishes. The wishes, he knows, were wasted, but so then is the story. He lengthens the tale with details about the good fairy, how sweet and kind and pretty she is, then lets the children complete the story with their own wishes, their own dreams. Below, a brutal demand is being forced upon him. Why must the goodness of all wishes come to nothing?

  25

  The flowerbasket lies, overturned, by the forest path, its wilting flowers strewn. Shadows darker than dried blood spread beneath its gaping mouth. The shadows are long, for night is falling.

  26

  The old man has fallen into the brambles. The children, weeping, help pull him free. He sits on the forest path staring at the boy and girl. It is as though he is unable to recognize them. Their weeping dies away. They huddle more closely together, stare back at the old man. His face is scratched, his clothes torn. He is breathing irregularly.

  27

  The sun, the songs, the breadcrumbs, the dove, the overturned basket, the long passage toward night: where, the old man wonders, have all the good fairies gone? He leads the way, pushing back the branches. The children follow, silent and frightened.

  28

  The boy pales and his heart pounds, but manfully he holds his ground. The witch writhes, her black rags fluttering, licking at the twisted branches. With a soft seductive cackle, she holds before him the burnished cherry-red heart of a dove. The boy licks his lips. She steps back. The glowing heart pulses gently, evenly, excitingly.

  29

  The good fairy has sparkling blue eyes and golden hair, a soft sweet mouth and gentle hands that caress and soothe. Gossamer wings sprout from her smooth back; from her flawless chest two firm breasts with tips bright as rubies.

  30

  The witch, holding the flaming pulsing heart out to the boy, steps back into the dark forest. The boy, in hesitation, follows. Back. Back. Swollen eyes aglitter, the witch draws the ruby heart close to her dark lean breast, then past her shoulder and away from the boy. Transfixed, he follows it, brushing by her. The witch’s gnarled and bluish fingers claw at his poor garments, his pale red jacket and bluish-brown pants, surprising his soft young flesh.

  31

  The old man’s shoulders are bowed earthward, his face is lined with sorrow, his neck bent forward with resignation, but his eyes glow like burning coals. He clutches his shredded shirt to his throat, stares intensely at the boy. The boy stands alone and trembling on the path, staring into the forest’s terrible darkness. Shapes whisper and coil. The boy licks his lips, steps forward. A terrible shriek shreds the forest hush. The old man grimaces, pushes the whimpering girl away, strikes the boy.

  32

  No more breadcrumbs, no more pebbles, no more songs or flowers. The slap echoes through the terrible forest, doubles back on its own echoes, folding finally into a sound not unlike a whispering cackle.

  33

  The girl, weeping, kisses the struck boy and presses him close, shielding him from the tormented old man. The old man, taken aback, reaches out uncertainly, gently touches the girl’s frail shoulder. She shakes his hand off—nearly a shudder—and shrinks toward the boy. The boy squares his shoulders, color returning to his face. The familiar creases of age and despair crinkle again the old man’s face. His pale blue eyes mist over. He looks away. He leaves the children by the last light of day.

  34

  But the door! The door is shaped like a heart and is as red as a cherry, always half-open, whether lit by sun or moon, is sweeter than a sugarplum, more enchanting than a peppermint stick. It is red as a poppy, red as an apple, red as a strawberry, red as a bloodstone, red as a rose. Oh, what a thing is the door of that house!

  35

  The children, alone in the strange black forest, huddle wretchedly under a great gnarled tree. Owls hoot and bats flick menacingly through the twisting branches. Strange shapes writhe and rustle before their weary eyes. They hold each other tight and, trembling, sing lullabies, but they are not reassured.

  36

  The old man trudges heavily out of the black forest. His way is marked, not by breadcrumbs, but by dead doves, ghostly white in the empty night.

  37

  The girl prepares a mattress of leaves and flowers and pine needles. The boy gathers branches to cover them, to hide them, to protect them. They make pillows of their poor garments. Bats screech as they work and owls blink down on their bodies, ghostly white, young, trembling. They creep under the branches, disappearing into the darkness.

  38

  Gloomily, the old man sits in the dark room and stares at the empty beds. The good fairy, though a mystery of the night, effuses her surroundings with a lustrous radiance. Is it the natural glow of her small nimble body or perhaps the star at the tip of her wand? Who can tell? Her gossamer wings flutter rapidly, and she floats, ruby-tipped breasts downward, legs dangling and dimpled knees bent slightly, glowing buttocks arched up in defiance of the night. How good she is! In the black empty room, the old man sighs and uses up a wish: he wishes his poor children well.

  39

  The children are nearing the gingerbread house. Passing under mintdrop trees, sticking their fingers in the cotton candy bushes, sampling the air as heady as lemonade, they skip along singing nursery songs. Nonsense songs about dappled horses and the slaying of dragons. Counting songs and idle riddles. They cross over rivulets of honey on gumdrop pebbles, picking the lollypops that grow as wild as daffodils.

  40

  The witch flicks and flutters through the blackened forest, her livid face twisted with hatred, her inscrutable condition. Her eyes burn like glowing coals and her black rags flap loosely. Her gnarled hands claw greedily at the branches, tangle in the night’s webs, dig into tree trunks until the sap flows beneath her nails. Below, the boy and girl sleep an exhausted sleep. One ghostly white leg, with dimpled knee and soft round thigh, thrusts out from under the blanket of branches.

  41

  But wish again! Flowers and butterflies. Dense earthy greens seeping into the distance, flecked and streaked with midafternoon sunlight. Two children following an old man. They drop breadcrumbs, sing nursery songs. The old man walks leadenly. The boy’s gesture is furtive. The girl—but it’s no use, the doves will come again, there are no reasonable wishes.

  42

  The children approach the gingerbread house through a garden of candied fruits and all-day suckers, hopping along on flagstones of variegated wafers. They sample the gingerbread weatherboarding with its caramel coating, lick at the meringue on the windowsills, kiss each other’s sweetened lips. The boy climbs up on the chocolate roof to break off a peppermint-stick chimney, comes sliding down into a rainbarrel full of vanilla pudding. The girl, reaching out to catch him in his fall, slips on a sugarplum and tumbles into a sticky ro
ck garden of candied chestnuts. Laughing gaily, they lick each other clean. And how grand is the red-and-white striped chimney the boy holds up for her! how bright! how sweet! But the door: here they pause and catch their breath. It is heart-shaped and bloodstone-red, its burnished surface gleaming in the sunlight. Oh, what a thing is that door! Shining like a ruby, like hard cherry candy, and pulsing softly, radiantly. Yes, marvelous! delicious! insuperable! but beyond: what is that sound of black rags flapping?

  THE MAGIC POKER

  (1969)

  I wander the island, inventing it. I make a sun for it, and trees—pines and birch and dogwood and firs—and cause the water to lap the pebbles of its abandoned shores. This, and more: I deposit shadows and dampness, spin webs, and scatter ruins. Yes: ruins. A mansion and guest cabins and boat houses and docks. Terraces, too, and bath houses and even an observation tower. All gutted and window-busted and autographed and shat upon. I impose a hot midday silence, a profound and heavy stillness. But anything can happen.

  This small and secretive bay, here just below what was once the caretaker’s cabin and not far from the main boat house, probably once possessed its own system of docks, built out to protect boats from the big rocks along the shore. At least the refuse—the long bony planks of gray lumber heaped up at one end of the bay—would suggest that. But aside from the planks, the bay is now only a bay, shallow, floored with rocks and cans and bottles. Schools of silver fish, thin as fingernails, fog the bottom, and dragonflies dart and hover over its placid surface. The harsh snarl of the boat motor—for indeed a boat has been approaching, coming in off the lake into this small bay—breaks off abruptly, as the boat carves a long gentle arc through the bay, and slides, scraping bottom, toward a shallow pebbly corner. There are two girls in the boat.