As I passed under the high, trembling roadbed on my way to the older part of town, the dark walls, spattered with chalked letters, made me think of hulking creatures risen from the underworld, bearing on their shoulders the lanes of a celestial bowling alley.
On the other side of the underpass I glanced up at the nearly full moon. It was a little blurred on one side, but so hard and sharp on the other that it looked as if I could cut my finger on it.
When I next looked up, the moon was partly blocked by black-green oak leaves. I was walking under high trees beside neck-high hedges. A mailbox on a post looked like a loaf of bread. Shafts of moonlight slanted down like boards.
I turned onto a darker street, and after a while I stopped in front of a large house set back from the road.
And my idea, bred by the bold moon and the blue summer night, was suddenly clear to me: I would make my way around the house into the backyard, like a criminal. Maybe there would be a rope swing. Maybe she’d see me from an upper window. I had never visited her before, never walked home with her. What I felt was too hidden for that, too lost in dark, twisting tunnels. We were school friends, but our friendship had never stretched beyond the edges of school. Maybe I could leave some sign for her, something to show her that I’d come through the summer night, into her backyard.
I passed under one of the big tulip trees in the front yard and began walking along the side of the house. In a black windowpane I saw my sudden face. Somewhere I seemed to hear voices, and when I stepped around the back of the house into the full radiance of the moon, I saw four girls playing ball.
They were playing Wiffle ball in the brilliant moonlight, as though it were a summer’s day. Sonja was batting. I knew the three other girls, all of them in my classes: Marcia, pitching; Jeanie, taking a lead off first; Bernice, in the outfield, a few steps away from me. In the moonlight they were wearing clothes I’d never seen before, dungarees and shorts and sweatshirts and boys’ shirts, as if they were dressed up in a play about boys. Bernice had on a baseball cap and wore a jacket tied around her waist. In school they wore knee-length skirts and neatly ironed blouses, light summer dresses with leather belts. The girl-boys excited and disturbed me, as if I’d stumbled into some secret rite. Sonja, seeing me, burst out laughing. “Well look who’s here,” she said, in the slightly mocking tone that kept me wary and always joking. “Who is that tall stranger?” She stood holding the yellow Wiffle-ball bat on her shoulder, refusing to be surprised. “Come on, don’t just stand there, you can catch.” She was wearing dungarees rolled halfway up her calves, a floppy sweatshirt with the sleeves pushed up above the elbows, low white sneakers without socks. Her hair startled me: it was pulled back to show her ears. I remembered the hair falling brown-blond along one side of her face.
They all turned to me now, smiled and waved me toward them, and with a sharp little laugh I sauntered in, pushing back my hair with my fingers, thrusting my hands deep into my dungaree pockets.
Then I was standing behind home plate, catching, calling balls and strikes. The girls took their game seriously, Sonja and Jeanie against Marcia and Bernice. Marcia had a sharp-breaking curveball that kept catching the corner of the upside-down pie tin. “Strike?” yelled Sonja. “My foot. It missed by a mile. Kill the umpire!” The flattened-back tops of her ears irritated me. Jeanie stood glaring at me, fists on hips. She wore an oversized boy’s shirt longer than her shorts, so that she looked naked, as if she’d thrown a shirt over a pair of underpants—her tan legs gleamed in the moonlight, her blond ponytail bounced furiously with her slightest motion, and in the folds of her loose shirt her jumpy breasts, appearing and disappearing, made me think of balls of yarn. The girls swung hard, slid into paper-plate bases, threw like boys. They shouted “Hey hey!” and “Way to go!” After a while they let me play, each taking a turn at being umpire. As we played, it seemed to me that the girls were becoming unraveled: Marcia’s lumberjack shirt was only partly tucked into her faded dungarees, wriggles of hair fell down along Jeanie’s damp cheeks, Bernice, her braces glinting, flung off the jacket tied around her waist, one of Sonja’s cuffs kept falling down. Marcia scooped up a grounder, whirled, and threw to me at second, Sonja was racing from first, suddenly she slid—and sitting there on the grass below me, leaning back on her elbows, her legs stretched out on both sides of my feet, a copper rivet gleaming on the pocket of her dungarees, a bit of zipper showing, a hank of hair hanging over one eyebrow, she glared up at me, cried “Safe by a mile!” and broke into wild laughter. Then Jeanie began to laugh, Marcia and Bernice burst out laughing, I felt something give way in my chest and I erupted in loud, releasing laughter, the laughter of childhood, until my ribs hurt and tears burned in my eyes—and again whoops and bursts of laughter, under the blue sky of the summer night.
Sonja stood up, pushed a fallen sleeve of her sweatshirt above her elbow, and said, “How about a Coke? I’ve about had it.” She wiped her tan forearm across her damp forehead. We all followed her up the back steps into the moonlit kitchen. “Keep it down, guys,” she whispered, raising her eyes to the ceiling, as she filled glasses with ice cubes, poured hissing, clinking sodas. The other girls went back outside with their glasses, where I could hear them talking through the open kitchen window. Sonja pushed herself up onto the counter next to the dish rack and I stood across from her, leaning back against the refrigerator.
I wanted to ask her whether they always played ball at night, or whether it was something that had happened only on this night, this dream-blue night, night of adventures and revelations—night of the impossible visit she hadn’t asked me about. I wanted to hear her say that the blue night was the color of old puzzle boxes, that the world was a blue mystery, that lying awake in bed she’d imagined me coming through the night to her backyard, but she only sat on the counter, swinging her legs, drinking her soda, saying nothing.
A broken bar of moonlight lay across the dish rack, fell sharply along a door below the counter, bent halfway along the linoleum before stopping in shadow.
She sat across from me with her hands on the silver strip at the edge of the counter, swinging her legs in and out of moonlight. Her knees were pressed together, but her calves were parted, and one foot was half-turned toward the other. I could see her anklebones. Her dungarees were rolled into thick cuffs halfway up the calf, one slightly higher than the other. As her calves swung back against the counter, they became wider for a moment, before they swung out. The gentle swinging, the widening and narrowing calves, the rolled-up cuffs, the rubbery ribs of the dish rack, the glimmer of window above the mesh of the screen, all this seemed to me as mysterious as the summer moonlight, which had driven me through the night to this kitchen, where it glittered on knives and forks sticking out of the silverware box at the end of the dish rack and on her calves, swinging back and forth.
Now and then Sonja picked up her glass and, leaning back her head, took a rattling drink of soda. I could see the column of her throat moving as she swallowed, and it seemed to me that although she was only sitting there, she was moving all over: her legs swung back and forth, her throat moved, her hands moved from the counter to the glass and back, and something seemed to come quivering up out of her, as if she’d swallowed a piece of burning-cool moonlight and were releasing it through her legs and fingertips.
Through the window screen I could see the moonlit grass of the backyard, the yellow plastic bat on the grass, a corner of shingled garage and a piece of purplish-blue night, and I could hear Marcia talking quietly, the faint rumble of trucks rolling through the sky, a sharp, clicking insect.
I felt bound in the dark blue spell of the kitchen, of the calves swinging back and forth, the glittering silverware, moonlight on linoleum, silence that seemed to be filling up with something like a stretching skin, somewhere a quivering, and I standing still, in the spell of it all, watchful. Her hands gripped the edge of the counter. Her calves moved back and forth under pressed-together knees. She was leaning forward at the waist, h
er eyes shone like black moonlight, there was a tension in her arms that I could feel in my own arms, a tension that rippled up into her throat, and suddenly she burst out laughing.
“What are you laughing at?” I said, startled, disappointed.
“Oh, nothing,” she said, slipping down from the counter. “Everything. You, for example.” She walked over to the screen door. “Let’s call it a night, gang,” she said, opening the door. The three girls were sitting on the steps.
Marcia, taking a deep breath, slowly stretched out her arms and arched her back; and as her lumberjack shirt flattened against her, she seemed to be lifting her breasts toward the blue night sky, the summer moon.
Then there were quick good nights and all three were walking across the lawn, turning out of sight behind the garage.
“This way, my good man,” Sonja said. Frowning, and putting a finger over her lips, she led me from the kitchen through the shadowy living room, where I caught bronze and glass gleams—the edge of the fire shovel, a lamp base, the black glass of the television screen. At the front door flanked by thin strips of glass she turned the knob and opened the wooden door, held open the screen door. Behind her a flight of carpeted stairs rose into darkness. “Fair Knight,” she said, with a little mock curtsey, “farewell,” and pushed me out the door. I saw her arm rise and felt her fingers touch my face. With a laugh she shut the door.
It had happened so quickly that I wasn’t sure what it was that had happened. Somewhere between “farewell” and laughter a different thing had happened, an event from a higher, more hidden realm, something connected with the dark blue kitchen, the glittering silverware and swinging legs, the mystery of the blue summer night. It was as if, under the drifting-down light of the moon, under the white-blue light that kept soaking into things, dissolving the day-world, a new shape had been released.
I stood for a while in front of the darkened front door, as if waiting for it to turn into something else—a forest path, a fluttering curtain. Then I walked away from the house along red-black slabs of slate, looked back once over my shoulder at the dark windows, and turned onto the sidewalk under high oaks and elms.
I felt a new lightness in my chest, as if an impediment to breathing had been removed. It was a night of revelations, but I now saw that each particle of the night was equal to the others. The moonlit path of black notes on the page of the music book, the yellow bat lying on just those blades of grass, the precise tilt of each knife in the dish rack, Sonja’s calves swinging in and out of moonlight, Marcia’s slowly arching back, the hand rising toward my face, all this was as unique and unrepeatable as the history of an ancient kingdom. For I had wanted to take a little walk before going to bed, but I had stepped from my room into the first summer night, the only summer night.
Under the high trees the moonlight fell steadily. I could see it sifting down through the leaves. All night long it had fallen into backyards, on chimneys and stop signs, on the crosspieces of telephone poles and on sidewalks buckled by tree roots. Down through the leaves it was slowly sifting, sticking to the warm air, forming clumps in the leaf-shadows. I could feel the moonlight lying on my hands. A weariness came over me, a weariness trembling with exhilaration. I had the sensation that I was expanding, growing lighter. Under the branches the air was becoming denser with moonlight, I could scarcely push my way through. My feet seemed to be pressing down on thick, spongy air. I felt an odd buoyancy, and when I looked down I saw that I was walking a little above the sidewalk. I raised my foot and stepped higher. Then I began to climb the thick tangle of moonlight and shadow, slipping now and then, sinking a little, pulling myself up with the aid of branches, and soon I came out over the top of a tree into the clearness of the moon. Dark fields of blue air stretched away in every direction. I looked down at the moonlit leaves below, at the top of a streetlamp, at shafts of moonlight slanting like white ladders under the leaves. I walked carefully forward above the trees, taking light steps that sank deep, then climbed a little higher, till catching a breeze I felt myself borne away into the blue countries of the night.
from
Dangerous Laughter
Cat ’n’ Mouse
The cat is chasing the mouse through the kitchen: between the blue chair legs, over the tabletop with its red-and-white-checkered tablecloth that is already sliding in great waves, past the sugar bowl falling to the left and the cream jug falling to the right, over the blue chair back, down the chair legs, across the waxed and butter-yellow floor. The cat and the mouse lean backward and try to stop on the slippery wax, which shows their flawless reflections. Sparks shoot from their heels, but it’s much too late: the big door looms. The mouse crashes through, leaving a mouse-shaped hole. The cat crashes through, replacing the mouse-shaped hole with a larger, cat-shaped hole. In the living room they race over the back of the couch, across the piano keys (delicate mouse tune, crash of cat chords), along the blue rug. The fleeing mouse snatches a glance over his shoulder, and when he looks forward again he sees the floor lamp coming closer and closer. Impossible to stop—at the last moment he splits in half and rejoins himself on the other side. Behind him the rushing cat fails to split in half and crashes into the lamp: his head and body push the brass pole into the shape of a trombone. For a moment the cat hangs sideways there, his stiff legs shaking like the clapper of a bell. Then he pulls free and rushes after the mouse, who turns and darts into a mousehole in the baseboard. The cat crashes into the wall and folds up like an accordion. Slowly he unfolds, emitting accordion music. He lies on the floor with his chin on his upraised paw, one eyebrow lifted high in disgust, the claws of his other forepaw tapping the floorboards. A small piece of plaster drops on his head. He raises an outraged eye. A framed painting falls heavily on his head, which plunges out of sight between his shoulders. The painting shows a green tree with bright red apples. The cat’s head struggles to rise, then pops up with the sound of a yanked cork, lifting the picture. Apples fall from the tree and land with a thump on the grass. The cat shudders, winces. A final apple falls. Slowly it rolls toward the frame, drops over the edge, and lands on the cat’s head. In the cat’s eyes, cash registers ring up NO SALE.
The mouse, dressed in a bathrobe and slippers, is sitting in his plump armchair, reading a book. He is tall and slim. His feet rest on a hassock, and a pair of spectacles rest on the end of his long, whiskered nose. Yellow light from a table lamp pours onto the book and dimly illuminates the cozy brown room. On the wall hang a tilted sampler bearing the words HOME SWEET HOME, an oval photograph of the mouse’s mother with her gray hair in a bun, and a reproduction of Seurat’s Sunday Afternoon in which all the figures are mice. Near the armchair is a bookcase filled with books, with several titles visible: Martin Cheddarwit, Gouda’s Faust, The Memoirs of Anthony Edam, A History of the Medicheese, The Sonnets of Shakespaw. As the mouse reads his book, he reaches without looking toward a dish on the table. The dish is empty: his fingers tap about inside it. The mouse rises and goes over to the cupboard, which is empty except for a tin box with the word CHEESE on it. He opens the box and turns it upside down. Into his palm drops a single toothpick. He gives it a melancholy look. Shaking his head, he returns to his chair and takes up his book. In a bubble above his head a picture appears: he is seated at a long table covered with a white tablecloth. He is holding a fork upright in one fist and a knife upright in the other. A mouse butler dressed in tails sets before him a piece of cheese the size of a wedding cake.
From the mousehole emerges a red telescope. The lens looks to the left, then to the right. A hand issues from the end of the telescope and beckons the mouse forward. The mouse steps from the mousehole, collapses the telescope, and thrusts it into his bathrobe pocket. In the moonlit room he tiptoes carefully, lifting his legs very high, over to the base of the armchair. He dives under the chair and peeks out through the fringe. He emerges from beneath the armchair, slinks over to the couch, and dives under. He peeks out through the fringe. He emerges from beneath the couch and a
pproaches the slightly open kitchen door. He stands flat against the doorjamb, facing the living room, his eyes darting left and right. One leg tiptoes delicately around the jamb. His stretched body snaps after it like a rubber band. In the kitchen he creeps to a moonlit chair, stands pressed against a chair leg, begins to climb. His nose rises over the tabletop: he sees a cream pitcher, a gleaming knife, a looming pepper mill. On a breadboard sits a wedge of cheese. The mouse, hunching his shoulders, tiptoes up to the cheese. From a pocket of his robe he removes a white handkerchief that he ties around his neck. He bends over the cheese, half closing his eyes, as if he were sniffing a flower. With a crashing sound the cat springs onto the table. As he chases the mouse, the tablecloth bunches in waves, the sugar bowl topples, and waterfalls of sugar spill to the floor. An olive from a fallen cocktail glass rolls across the table, knocking into a cup, a saltshaker, a trivet: the objects light up and cause bells to ring, as in a pinball machine. On the floor a brigade of ants is gathering the sugar: one ant catches the falling grains in a bucket, which he dumps into the bucket of a second ant, who dumps the sugar into the bucket of a third ant, all the way across the room, until the last ant dumps it into a waiting truck. The cat chases the mouse over the blue chair back, down the chair legs, across the waxed floor. Both lean backward and try to stop as the big door comes closer and closer.
The mouse is sitting in his armchair with his chin in his hand, looking off into the distance with a melancholy expression. He is thoughtful by temperament, and he is distressed at the necessity of interrupting his meditations for the daily search for food. The search is wearying and absurd in itself, but is made unbearable by the presence of the brutish cat. The mouse’s disdain for the cat is precise and abundant: he loathes the soft, heavy paws with their hidden hooks, the glinting teeth, the hot, fish-stinking breath. At the same time, he confesses to himself a secret admiration for the cat’s coarse energy and simplicity. It appears that the cat has no other aim in life than to catch the mouse. Although the faculty of astonishment is not highly developed in the mouse, he is constantly astonished by the cat’s unremitting enmity. This makes the cat dangerous, despite his stupidity, for the mouse recognizes that he himself has long periods when the cat fades entirely from his mind. Moreover, despite the fundamental simplicity of the cat’s nature, it remains true that the cat is cunning: he plots tirelessly against the mouse, and his ludicrous wiles require in the mouse an alert attention that he would prefer not to give. The mouse is aware of the temptation of indifference; he must continually exert himself to be wary. He feels that he is exhausting his nerves and harming his spirit by attending to the cat; at the same time, he realizes that his attention is at best imperfect, and that the cat is thinking uninterruptedly, with boundless energy, of him. If only the mouse could stay in his hole, he would be happy, but he cannot stay in his hole, because of the need to find cheese. It is not a situation calculated to produce the peace of mind conducive to contemplation.
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