The caretaker’s son, poised gingerly on a moss-covered rock, peeking through thick branches, watches the girl come up the path. Karen watches the caretaker’s son. From the rear, his prominent feature is his back, broad and rounded, humped almost, where tufts of dark hair sprout randomly. His head is just a small hairy lump beyond the mound of heavy back. His arms are as long as his legs are short, and the elbows, like the knees, turn outward. Thick hair grows between his buttocks and down his thighs. Smiling, she picks up a pebble to toss at him, but then she hears her sister call her name.
Leaning against his raised knee, smoking his pipe, the tall man on the parapet stares out on the wilderness, contemplating the island’s ruin. Tress have collapsed upon one another, and vast areas of the island, once cleared and no doubt the stage for garden parties famous for miles around, are now virtually impassable. Brambles and bunchberries grow wildly amid saxifrage and shinleaf, and everything in sight is mottled with moss. Lichens: the symbiotic union, he recalls, of fungi and algae. He smiles and at the same moment, as though it has been brought into being by his smile, hears a voice on the garden path. A girl. How charming, he’s to have company, after all! At least two, for he heard the voice on the path behind the mansion, and below him, slipping surefootedly through the trees and bushes, moves another creature in a yellow dress, carrying a beige sweater over her shoulder. She looks a little simple, not his type really, but then dissimilar organisms can, at times, enjoy mutually advantageous partnerships, can they not? He knocks the ashes from his pipe and refills the bowl.
At times, I forget that this arrangement is my own invention. I begin to think of the island as somehow real, its objects solid and intractable, its condition of ruin not so much an aesthetic design as an historical denouement. I find myself peering into blue teakettles, batting at spiderwebs, and contemplating a greenish-gray growth on the side of a stone parapet. I wonder if others might wander here without my knowing it; I wonder if I might die and the teakettle remain. “I have brought two sisters to this invented island,” I say. This is no extravagance. It is indeed I who burdens them with curiosity and history, appetite and rhetoric. If they have names and griefs, I have provided them. “In fact,” I add, “without me they’d have no cunts.” This is not (I interrupt here to tell you that I have done all that I shall do. I return here to bring you this news, since this seemed as good a place as any. Though you have more to face, and even more to suffer from me, this is in fact the last thing I shall say to you. But can the end be in the middle? Yes, yes, it always is . . .) meant to alarm, merely to make a truth manifest—yet I am myself somewhat alarmed. It is one thing to discover the shag of hair between my buttocks, quite another to find myself tugging the tight gold pants off Karen’s sister. Or perhaps it is the same thing, yet troubling in either case. Where does this illusion come from, this sensation of “hardness” in a blue teakettle or an iron poker, golden haunches or a green piano?
In the hexagonal loggia of the mansion stands a grand piano, painted bright green, though chipped and cracked now with age and abuse. One can easily imagine a child at such a piano, a piano so glad and ready, perhaps two children, and the sun is shining—no, rather, there is a storm on the lake, the sky is in a fury, all black and pitching, the children are inside here out of the wind and storm, the little girl on the right, the boy on the left, pushing at each other a bit, staking out property lines on the keys, a grandmother, or perhaps just a lady, yet why not a grandmother? sitting on a window-bench gazing out on the frothy blue-black lake, and the children are playing “Chopsticks,” laughing, a little noisy surely, and the grandmother, or lady, looks over from time to time, forms a patient smile if they chance to glance up at her, then—well, but it’s only a supposition, who knows whether there were children or if they cared a damn about a green piano even on a bad day, “Chopsticks” least of all? No, it’s only a piece of fancy, the kind of fancy that is passing through the mind of the girl in gold pants who now reaches down, strikes a key. There is no sound, of course. The ivory is chipped and yellowed, the pedals dismembered, the wires torn out and hanging like rusted hairs. The girl wonders at her own unkemptness, feels a lock loose on her forehead, but there are no mirrors. Stolen or broken. She stares about her, nostalgically absorbed for some reason, at the elegantly timbered roof of the loggia, at the enormous stone fireplace, at the old shoe in the doorway, the wasps’ nests over one broken-out window. She sighs, steps out on the terrace, steep and proud over the lake. “It’s a sad place,” she says aloud.
The tall man in the navy-blue jacket stands, one foot up on the stone parapet, gazing out on the blue sunlit lake, drawing meditatively on his pipe, while being sketched by the girl in the tight gold pants. “I somehow expected to find you here,” she says. “I’ve been waiting for you,” replies the man. Her three-quarters view of him from the rear allows her to include only the tip of his nose in her sketch, the edge of his pipebowl, the collar of his white turtleneck shirt. “I was afraid there might be others,” she says. “Others?” “Yes. Children perhaps. Or somebody’s grandmother. I saw so many names everywhere I went, on walls and doors and trees and even scratched into that green piano.” She is carefully filling in on her sketch the dark contours of his navy-blue jacket. “No,” he says, “whoever they were, they left here long ago.” “It’s a sad place,” she says, “and all too much like my own life.” He nods. “You mean, the losing struggle against inscrutable blind forces, young dreams brought to ruin?” “Yes, something like that,” she says. “And getting kicked in and gutted and shat upon.” “Mmm.” He straightens. “Just a moment,” she says, and he resumes his pose. The girl has accomplished a reasonable likeness of the tall man, except that his legs are stubby (perhaps she failed to center her drawing properly, and ran out of space at the bottom of the paper) and his buttocks are bare and shaggy.
“It’s a sad place,” he says, contemplating the vast wilderness. He turns to find her grinning and wiggling her ears at him. “Karen, you’re mocking me!” he complains, laughing. She props one foot up on the stone parapet, leans against her leg, sticks an iron poker between her teeth, and scowls out upon the lake. “Come on! Stop it!” he laughs. She puffs on the iron poker, blowing imaginary smokerings, then turns it into a walking stick and hobbles about imitating an old granny chasing young children. Next, she puts the poker to her shoulder like a rifle and conducts an inspection of all the broken windows facing on the terrace, scowling or weeping broadly before each one. The man has slumped to the terrace floor, doubled up with laughter. Suddenly, Karen discovers an unbroken window. She leaps up and down, does a somersault, pirouettes, jumps up and clicks her heels together. She points at it, kisses it, points again. “Yes, yes!” the man laughs, “I see it, Karen!” She points to herself, then at the window, to herself again. “You? You’re like the window, Karen?” he asks, puzzled, but still laughing. She nods her head vigorously, thrusts the iron poker into his hands. It is dirty and rusty and he feels clumsy with the thing. “I don’t understand . . .” She grabs it out of his hands and—crash!—drives it through the window. “Oh no, Karen! No, no . . . !”
“It’s a sad place.” Karen has joined her sister on the terrace, the balcony, and they gaze out at the lake, two girls alone on a desolate island. “Sad and yet all too right for me, I suppose. Oh, I don’t regret any of it, Karen. No, I was wrong, wrong as always, but I don’t regret it. It’d be silly to be all pinched and morbid about it, wouldn’t it, Karen?” The girl, of course, is talking about the failure of her third marriage. “Things are done and they are undone and then we get ready to do them again.” Karen looks at her shyly, then turns her gentle gaze back out across the lake, blue with a river’s muted blue under this afternoon sun. “The sun!” the girl in gold pants exclaims, though it is not clear why she thought of it. She tries to explain that she is like the sun somehow, or the sun is like her, but she becomes confused. Finally, she interrupts herself to blurt out: “Oh, Karen! I’m so miserable!” Karen looks
up anxiously: there are no tears in her sister’s eyes, but she is biting down painfully on her lower lip. Karen offers a smile, a little awkward, not quite understanding perhaps, and finally her sister, eyes closing a moment, then fluttering open, smiles wanly in return. A moment of grace settles between them, but Karen turns her back on it clumsily.
“No, Karen! Please! Stop!” The man, collapsed to the terrace floor, has tears of laughter running down his cheeks. Karen has found an old shoe and is now holding it up at arm’s length, making broad silent motions with her upper torso and free arm as though declaiming upon the sadness of the shoe. She sets the shoe on the terrace floor and squats down over it, covering it with the skirt of her yellow dress. “No, Karen! No!” She leaps up, whacks her heels together in midair, picks up the shoe and peers inside. A broad smile spreads across her face, and she does a little dance, holding the shoe aloft. With a little curtsy, she presents the shoe to the man. “No! Please!” Warily, but still laughing, he looks inside. “What’s this? Oh no! A flower! Karen, this is too much!” She runs into the mansion, returns carrying the green piano on her back. She drops it so hard, one leg breaks off. She finds an iron poker, props the piano up with it, sits down on an imaginary stool to play. She lifts her hands high over her head, then comes driving down with extravagant magisterial gestures. The piano, of course, has been completely disemboweled, so no sounds emerge, but up and down the broken keyboard Karen’s stubby fingers fly, arriving at last, with a crescendo of violent flourishes, at a grand climactic coda, which she delivers with such force as to buckle the two remaining legs of the piano and send it all crashing to the terrace floor. “No, Karen! Oh my God!” Out of the wreckage, a wild goose springs, honking in holy terror, and goes flapping out over the lake. Karen carries the piano back inside, there’s a splintering crash, and she returns wielding the poker. “Careful!” She holds the poker up with two hands and does a little dance, toes turned outward, hippety-hopping about the terrace. She stops abruptly over the man, thrusts the poker in front of his nose, then slowly brings it to her own lips and kisses it. She makes a wry face. “Oh, Karen! Whoo! Please! You’re killing me!” She kisses the handle, the shaft, the tip. She wrinkles her nose and shudders, lifts her skirt and wipes her tongue with it. She scowls at the poker. She takes a firm grip on the poking end and bats the handle a couple times against the stone parapet as though testing it. “Oh, Karen! Oh!” Then she lifts it high over her head and brings it down with all her might—WHAM!—POOF! it is the caretaker’s son, yowling with pain. She lets go and spins away from him, as he strikes out at her in distress and fury. She tumbles into a corner of the terrace and cowers there, whimpering, pale and terrified, as the caretaker’s son, breathing heavily, back stooped and buttocks tensed, circles her, prepared to spring. Suddenly, she dashes for the parapet and leaps over, the caretaker’s son bounding after, and off they go, scrambling frantically through the trees and brambles, leaving the tall man in the white turtleneck shirt alone and limp from laughter on the terrace.
There is a storm on the lake. Two children play “Chopsticks” on the green piano. Their grandmother stirs the embers in the fireplace with an iron poker, then returns to her seat on the windowbench. The children glance over at her and she smiles at them. Suddenly a strange naked creature comes bounding into the loggia, grinning idiotically. The children and their grandmother scream with terror and race from the room and on out of the mansion, running for their lives. The visitor leaps up on the piano bench and squats there, staring quizzically at the ivory keys. He reaches for one and it sounds a note—he jerks his hand back in fright. He reaches for another—a different note. He brings his fist down—BLAM! Aha! Again: BLAM! Excitedly, he leaps up and down on the piano bench, banging his fists on the piano keyboard. He hops up on the piano, finds wires inside, and pulls them out. TWANG! TWANG! He holds his genitals with one hand and rips out the wires with the other, grunting with delight. Then he spies the iron poker. He grabs it up, admires it, then bounds joyfully around the room, smashing windows and wrecking furniture. The girl in gold pants enters and takes the poker away from him. “Lust! That’s all it is!” she scolds. She whacks him on the nates with the poker, and yelping with pain and astonishment, he bounds away, leaping over the stone parapet, and slinks off through the brambly forest.
“Lust!” she says, “that’s all it is!” Her sketch is nearly complete. “And they’re not the worst ones. The worst ones are the ones who just let it happen. If they’d kept their caretaker here. . .” The man smiles. “There never was a caretaker,” he explains. “Really? But I thought—!” “No,” he says, “that’s just a legend of the island.” She seems taken aback by this new knowledge. “Then . . . then I don’t understand . . .” He relights his pipe, wanders over to appraise her sketch. He laughs when he sees the shaggy buttocks. “Marvelous!” he exclaims, “but a poor likeness, I’m afraid! Look!” He lowers his dark slacks and shows her his hindend, smooth as marble and hairless as a movie starlet’s. Her curiosity is caught, however, not by his barbered buttocks, but by the hair around his genitals: the tight neat curls fan out in both directions like the wings of an eagle, or a wild goose . . .
The two sisters return to the loggia, their visit nearly concluded, the one in gold pants still trying to explain about herself and the sun, about consuming herself with an outer fire, while harboring an icecold center within. Her gaze falls once more on the green piano. It is obvious she still has something more to say. But now as she declaims, she has less of an audience. Karen stands distractedly before the green piano. Haltingly, she lifts a finger, strikes a key. No note, only a dull thuck. Her sister reveals a new insight she has just obtained about it not being the people who steal or even those who wantonly destroy, but those who let it happen, who just don’t give a proper damn. She provides instances. Once, Karen nods, but maybe only at something she has thought to herself. Her finger lifts, strikes. Thuck! Again. Thuck! Her whole arm drives the strong blunt finger. Thuck! Thuck! There is something genuinely beautiful about the girl in gold pants and silk neckscarf as she gestures and speaks. Her eyes are sorrowful and wise. Thuck! Karen strikes the key. Suddenly, her sister breaks off her message. “Oh, I’m sorry, Karen!” she says. She stares at the piano, then runs out of the room.
I am disappearing. You have no doubt noticed. Yes, and by some no doubt calculable formula of event and pagination. But before we drift apart to a distance beyond the reach of confessions (though I warn you: like Zeno’s turtle, I am with you always), listen: it’s just as I feared, my invented island is really taking its place in world geography. Why, this island sounds very much like the old Dahlberg place on Jackfish Island up on Rainy Lake, people say, and I wonder: can it be happening? Someone tells me: I understand somebody bought the place recently and plans to fix it up, maybe put a resort there or something. On my island? Extraordinary!—and yet it seems possible. I look on a map: yes, there’s Rainy Lake, there’s Jackfish Island. Who invented this map? Well, I must have, surely. And the Dahlbergs, too, of course, and the people who told me about them. Yes, and perhaps tomorrow I will invent Chicago and Jesus Christ and the history of the moon. Just as I have invented you, dear reader, while lying here in the afternoon sun, bedded deeply in the bluegreen grass like an old iron poker . . .
There is a storm on the lake and the water is frothy and black. The wind howls around the corner of the stone parapet and the pine trees shake and creak. The two children playing “Chopsticks” on the green piano are arguing about the jurisdiction of the bench and keyboard. “Come over here,” their grandmother says from her seat by the window, “and I’ll tell you the story of ‘The Magic Poker’ . . .”
Once upon a time, a family of wealthy Minnesotans bought an island on Rainy Lake up on the Canadian border. They built a home on it and guest cabins and boat houses and an observation tower. They installed an electric generator and a sewage system with indoor toilets, maintained a caretaker, and constructed docks and bath houses. Did they name it J
ackfish Island, or did it bear that name when they bought it? The legend does not say, nor should it. What it does say, however, is that when the family abandoned the island, they left behind an iron poker, which, years later, on a visit to the island, a beautiful young girl, not quite a princess perhaps, yet altogether equal to the occasion, kissed. And when she did so, something quite extraordinary happened . . .
Once upon a time there was an island visited by ruin and inhabited by strange woodland creatures. Some thought it had once had a caretaker who had either died or found another job elsewhere. Others said, no, there was never a caretaker, that was only a childish legend. Others believed there was indeed a caretaker and he lived there yet and was in fact responsible for the island’s tragic condition. All this is neither here nor there. What is certainly beyond dispute is that no one who visited the island, whether searching for its legendary Magic Poker or avenging the loss of a loved one, ever came back. Only their names were left, inscribed hastily on walls and ceilings and carved on trees.
Once upon a time, two sisters visited a desolate island. They walked its paths with their proclivities and scruples, dreaming their dreams and sorrowing their sorrows. They scared a snake and probably a bird or two, broke a few windows (there were few left to break), and gazed meditatively out upon the lake from the terrace of the main house. They wrote their names above the stone fireplace in the hexagonal loggia and shat in the soundbox of an old green piano. One of them did anyway; the other one couldn’t get her pants down. On the island, they found a beautiful iron poker, and when they went home, they took it with them.
Going For a Beer Page 7
