"I don't know," Bruno said, peering gloomily out the window.
"Did you like the movie?" Ira asked.
Bruno shrugged. "I don't know."
They went to a barbecue place and got ribs and chicken. "Let me pay for this," Ira said, though Zora hadn't offered.
"Oh, O.K.," she said.
Afterward, Zora dropped Ira at the curb, where he stood for a minute, waving, in front of his house. He watched them roll down to the end of the block and disappear around the corner. He went inside and made himself a drink with cranberry juice and rum. He turned on the TV news and watched the bombing. Night bombing, so you could not really see.
a few mornings later was the first day of a new month. The illusion of time flying, he knew, was to make people think that life could have more in it than it actually could. Time flying could make human lives seem victorious over time itself. Time flew so fast that in ways it failed to make an impact. People's lives fell between its stabbing powers like insects between raindrops. "We cheat the power of time with our very brevity!" he said aloud to Bekka, feeling confident that she would understand, but she just kept petting the cats. The house had already begun to fill with the acrid-honey smell of cat pee, though neither he nor Bekka seemed to mind. Spring! One more month and it would be May, his least favorite. Why not a month named Can? Or Must! Well, maybe not Must. Zora phoned him early, with a dour tone. "I don't know. I think we should break up," she said.
"You do?"
"Yes, I don't see that this is going anywhere. Things aren't really moving forward in any way that I can understand. And I don't think we should waste each other's time."
"Really?" Ira was dumbfounded.
"It may be fine for some, but dinner, a movie, and sex is not my idea of a relationship."
"Maybe we could eliminate the movie?" he asked desperately.
"We're adults—"
"True. I mean, we are?"
"—and what is the point of continuing, if there are clear obstacles or any unclear idea of where this is headed? It becomes difficult to maintain faith. We've hardly begun seeing each other, I realize, but already I just don't envision us as a couple."
"I'm sorry to hear you say that." He was now sitting down in his kitchen. He could feel himself trying not to cry.
"Let's just move on," she said with gentle firmness.
"Really? Is that honestly what you think? I feel terrible."
"April Fool's!" she cried out into the phone.
His heart rose to his throat then sank to his colon then bobbed back up close to the surface of his rib cage where his right hand was clutching at it. Were there paddles nearby that could be applied to his chest?
"I beg your pardon?" he asked faintly.
"April Fool's," she said again, laughing. "It's April Fool's Day."
"I guess," he said, gasping a little, "I guess that's the kind of joke that gets better the longer you think about it."
he had never been involved with the mentally ill before, but now more than ever he was convinced that there should be strong international laws against their being too physically attractive. The public's safety was at risk!
"How are you liking Zora?" Mike asked over a beer, after they'd mulled over the war and the details of Dick Cheney's tax return, which had just been printed in the paper. Why wasn't there a revolution? Was everyone too distracted with tennis and sex and tulip bulbs? Marxism in the spring lacked oomph. Ira had just hired someone to paint his house, so now on his front lawn he had two signs: "War Is Not the Answer" in blue and, on the other side of the lawn, in black and yellow, "Jenkins Painting Is the Answer."
"Oh, Zora's great." Ira paused. "Great. Just great. In fact, do you perhaps know any other single women?"
"Really?"
"Well, it's just that she might not be all that mentally well." He thought about the moment, just the night before, at dinner, when she'd said, "I love your mouth most when it does that odd grimace thing in the middle of sex," and then she contorted her face so hideously that Ira felt as if he'd been struck. Later in the evening, she'd said, "Watch this," and she'd taken her collapsible umbrella, placed its handle on the crotch of her pants, then pressed the button that sent it rocketing out, unfurled, like a cartoon erection. Ira did not know who or what she was, though he wanted to cut her some slack, give her a break, bestow upon her the benefit of the doubt—all those paradoxical cliches of supposed generosity, most of which he had denied his wife. He tried not to believe that the only happiness he was fated for had already occurred, had been with Bekka and Marilyn, when the three of them were together. A hike, a bike ride—he tried not to think that this crazy dream of family had shown its sweet face just long enough to torment him for the rest of his life, though scarcely long enough to sustain him through a meal. Torturing oneself with the idea of family happiness while not actually having a family, he decided, might be a fairly new circumstance in social history. People had probably not been like this a hundred years ago. He imagined an exhibit at the society. He imagined the puppets.
"Sanity's conjectural," Mike said. His brow furrowed thoughtfully. "Zora's very attractive, don't you think?"
Ira thought of her beautiful, slippery skin, the dark, sweet hair, the lithe sylph's body, the mad, hysterical laugh. She had once, though only briefly, insisted that Man Ray and Ray Charles were brothers. "She is attractive," Ira said. "But you say that like it's a good thing."
"Right now," Mike said, "I feel like anything that isn't about killing people is a good thing."
"This may be about that," Ira said.
"Oh, I see. Now we're entering the callow, glib part of spring."
"She's wack, as the kids say."
Mike looked confused. "Is that like wacko?"
"Yes. But not like Waco—at least not yet. I would stop seeing her, but I don't seem to be able to. Especially now, with all that's happening in the world, I can't live without some intimacy, companionship, whatever you want to call it, to face down this global insanity."
"You shouldn't use people as human shields." Mike paused. "Or—I don't know—maybe you should."
"I can't let go of hope, of the illusion that something is going to come out of this romance. I'm sorry. Divorce is a trauma, believe me, I know. It's death within life! Its pain is a national secret! But that's not it. I can't let go of love. I can't live without some scrap of it. Hold my hand," Ira said. His eyes were starting to water. Once, when he was a small child, he had got lost, and when his mother had finally found him, four blocks from home, she'd asked him if he'd been scared. "Not really," he had said, sniffling pridefully. "But then my eyes just suddenly started to water."
"I beg your pardon?" Mike asked.
"I can't believe I just asked you to hold my hand," Ira said, but Mike had already taken it.
on the bright side, the hashish was good. The sleeping pills were good. He was walking slowly around the halls at work in what was a combination of serene energy and a nap. With his birthday coming up, he went to the doctor for his triannual annual physical and, having mentioned a short list of nebulous symptoms, he was given dismissive diagnoses of "benign vertigo," "pseudo gout," or perhaps "migraine aura," the names, no doubt, of rock bands. "You've got the pulse of a boy, and the mind of a boy, too," his doctor, an old golfing friend, said.
Health, Ira decided, was notional. Palm Sunday—all these goyim festivals were preprinted on his calendar—was his birthday, and when Zora called he blurted out that information. "It is?" she said. "You old man! Are you feeling undernookied? I'll come over Sunday and read your palm." Wasn't she cute? Damn it, she was cute. She arrived with Bruno and a chocolate cake in tow. "Happy birthday," she said. "Bruno helped me make the frosting."
"Did you, now?" he said to Bruno, patting him on the back in a brotherly embrace, which the boy attempted to duck and slide out from under.
They ordered Chinese food and talked about high school, advanced-placement courses, homeroom teachers, and lames Galway (soulful mick o
r soulless dork, who could decide?). Zora brought out the cake. There were no candles, so Ira lit a match, stuck it upright in the frosting, and blew it out. His wish was a vague and general one of good health for Bekka. No one but her. He had put nobody else in his damn wish. Not the Iraqi people, not the G.I.s, not Mike, who had held his hand, not Zora. This kind of focussed intensity was bad for the planet.
"Shall we sit on Bruno?" Zora was laughing and backing her sweet tush into Bruno, who was now sprawled out on Ira's sofa, protesting in a grunting way. "Come on!" she called to Ira. "Let's sit on Bruno."
Ira began making his way toward the liquor cabinet. He believed there was some bourbon in there. He would not need ice. "Would you care for some bourbon?" he called over to Zora, who was now wrestling with Bruno. She looked up at Ira and said nothing. Bruno, too, looked at him and said nothing.
Ira continued to pour. At this point, he was both drinking bourbon and eating cake. He had a pancreas like a rock. "We should probably go," Zora said. "It's a school night."
"Oh, O.K.," Ira said, swallowing. "I mean, I wish you didn't have to."
"School. What can you do? I'm going to take the rest of the cake home for Bruny's lunch tomorrow. It's his favorite."
Heat and sorrow filled Ira's face. The cake had been her only present to him. He closed his eyes and nuzzled his head into hers. "Not now," she whispered. "He gets upset."
"Oh, O.K.," he said. "I'll walk you out to the car." And there he gave her a quick hug before she walked around the car and got in on the driver's side. He stepped back onto the curb and knocked on Bruno's window to say goodbye. But the boy would not turn. He flipped his hand up, showing Ira the back of it.
"Bye! Thank you for sharing my birthday with me!" Ira called out. Where affection fell on its ass, politeness might rise to the occasion. Zora's Honda lights went on, then the engine, and then the whole vehicle flew down the street.
at the cuckoo private school to which Marilyn had years ago insisted on sending Bekka, the students and teachers were assiduously avoiding talk of the war. Bekka's class was doing finger-knitting while simultaneously discussing their hypothetical stock-market investments. The class was doing best with preferred stocks in Kraft, G.E., and G.M.; watching them move slightly every morning on the Dow Jones was also helping their little knitted scarves. It was a right-brain, left-brain thing. For this, Ira forked over nine thousand dollars a year. Not that he really cared. As long as Bekka was in a place safe from death—the alerts were moving from orange to red to orange; no information, just duct tape and bright, warm, mind-wrecking colors—turning her into a knitting stock-broker was O.K. with him. Exploit the system, man! he himself used to say, in college. He could, however, no longer watch TV. He packed it up, along with the VCR, and brought the whole thing over to Zora's. "Here," he said. "This is for Bruno."
"You are so sweet," she said, and kissed his ear. Possibly he was in love with her.
"The TV's broken," Ira said to Bekka, when she came that weekend and asked about it. "It's in the shop."
"Whatever," Bekka said, pulling her scarf yarn along the floor so the cats could play.
the next time he picked Zora up to go out, she said, "Come on in. Bruno's watching a movie on your VCR."
"Does he like it? Should I say hello to him?"
Zora shrugged. "If you want."
He stepped into the house, but the TV was not in the living room. It was in Zora's bedroom, where, spread out half naked on Zora's bedspread, as Ira had been just a few days before, lay Bruno. He was watching Bergman's The Magic Flute.
"Hi, Brune," he said. The boy said nothing, transfixed, perhaps not hearing him. Zora came in and pressed a cold glass of water against the back of Bruno's thigh.
"Yow!" Bruno cried.
"Here's your water," Zora said, walking her fingers up his legs.
Bruno took it and placed it on the floor. The singing on the same television screen that had so recently brought Ira the fiery bombing of Baghdad seemed athletic and absurd, perhaps a kind of joke. But Bruno remained riveted. "Well, enjoy the show," Ira said. He hadn't really expected to be thanked for the TV, but now actually knowing that he wouldn't be made him feel a little crestfallen.
On the way back out, Ira noticed that Zora had added two new sculptures to the collection in the living room. They were more abstract, made entirely out of old recorders and wooden flutes, but were recognizably boys, priapic with piccolos. "A flute would have been too big," Zora explained.
At the restaurant, the sound system was playing Dinah Washington singing "For All We Know." The walls, like love, were trompe-l'oeil—walls painted like viewful windows, though only a fool wouldn't know that they were walls. The menu, like love, was full of delicate, gruesome things—cheeks, tongues, thymus glands. The candle, like love, flickered, reflected in the brass tops of the sugar bowl and the salt and pepper shakers. He tried to capture Zora's gaze, which seemed to be darting around the room. "It's so nice to be here with you," he said. She turned and fixed him with a smile, repaired him with it. She was a gentle, lovely woman. Something in him kept coming stubbornly back to that. Here they were, two lonely adults lucky to have found each other, even if it was just for the time being. But now tears were drizzling down her face. Her mouth, collecting them in its corners, was retreating into a pinch.
"Oh, no, what's the matter?" He reached for her hand, but she pulled it away to hide her eyes behind it.
"I just miss Bruny," she said.
He could feel his heart go cold, despite himself. Oh, well. Tomorrow was Easter. Much could rise from the dead. Yesterday had been "Good Friday." Was this all cultural sarcasm—like "Labor Day" or "Some Enchanted Evening"?
"Don't you think he's fine?" Ira tried to focus.
"It's just—I don't know. It's probably just me coming off my antidepressants."
"You've been on antidepressants?" he asked sympathetically.
"Yes, I was."
"You were on them when I first met you?" Perhaps he had wandered into a whole "Flowers for Algernon" thing.
"Yes, indeedy. I went on them two years ago, after my 'nervous breakdown.'" Here she raised two fingers, to do quotation marks, but all of her fingers inadvertently sprang up and her hands clawed the air.
He didn't know what he should say. "Would you like me to take you home?"
"No, no, no. Oh, maybe you should. I'm sorry. It's just I feel I have so little time with him now. He's growing up so fast. I just wish I could go back in time." She blew her nose.
"I know what you mean."
"You know, once I was listening to some friends talk about travelling in the Pacific. They left Australia early one morning and arrived in California the evening of the day before. And I thought, I'd like to do that—keep crossing the international date line and get all the way back to when Bruno was a little boy again."
"Yeah," Ira said. "I'd like to get back to the moment where I signed my divorce agreement. I have a few changes I'd like to make."
"You'd have to bring a pen," she said strangely.
He studied her, to memorize her face. "I would never time-travel without a pen," he said.
She paused. "You look worried," she said. "You shouldn't do that with your forehead. It makes you look old." Then she began to sob.
He found her coat and drove her home and walked her to the door. Above the house, the hammered nickel of the moon gave off a murky shine. "It's a hard time in the world right now," Ira said. "It's hard on everybody. Go in and make yourself a good stiff drink. People don't drink they way they used to. That's what started this whole Iraq thing to begin with: it's a war of teetotallers. People have got to get off their wagons and high horses and—" He kissed her forehead. "I'll call you tomorrow," he said, though he knew he wouldn't.
She squeezed his arm and said, "Sleep well."
As he backed out of her driveway, he could see Bruno laid out in a shirtless stupor on Zora's bed, the TV firing its colorful fire. He could see Zora come in, sit down, cu
ddle close to Bruno, put her arm around him, and rest her head on his shoulder.
Ira brusquely swung the car away. Was this his problem? Was he too old-fashioned? He had always thought he was a modern man. He knew, for instance, how to stop and ask for directions. And he did it a lot! Of course, afterward, he would sometimes stare at the guy and say, "Who the hell told you that bullshit?"
He had his limitations.
he had not gone to a single seder this week, for which he was glad. It seemed a bad time to attend a ceremony that gave thanks in any way for the slaughter of Middle-Eastern boys. He had done that last year. He headed instead to the nearest bar, a dank, noisy dive called Sparky's, where he had often gone just after Marilyn left him. When he was married he never drank, but after the divorce he used to come in even in the mornings for beer, toast, and fried side meat. All his tin-pot miseries and chickenshit joys would lead him once again to Sparky's. Those half-dozen times that he had run into Marilyn at a store—this small town!—he had felt like a dog seeing its owner. Here was the person he knew best in life, squeezing an avocado and acting like she didn't see him. Oh, here I am, oh, here I am! But in Sparky's he knew he was safe from such unexpected encounters. He could sit alone and moan to Sparky. Some people consulted Marcus Aurelius for philosophy about the pain of existence. Ira consulted Sparky. Sparky himself didn't actually have that much to say about the pain of existence. He mostly leaned across the bar, drying a smudgy glass with a dingy towel, and said, "Choose life!" then guffawed.
"Bourbon straight up," Ira said, selecting the barstool closest to the TV, from which it would be hardest to watch the war news. Or so he hoped. He let the sharp, buttery elixir of the bourbon warm his mouth, then swallowed its neat, sweet heat. He did this over and over, ordering drink after drink, until he was lit to the gills. At which point he looked up and saw that there were other people gathered at the bar, each alone on a chrome-and-vinyl stool, doing the same. "Happy Easter," Ira said to them, lifting his glass with his left hand, the one with the wedding ring still jammed on. "The dead are risen! The damages will be mitigated! The Messiah is back among us squeezing the flesh—that nap went by quickly, eh? May all the dead arise! No one has really been killed at all—O.K., God looked away for a second to watch some I Love Lucy re-runs, but he is back now. Nothing has been lost. All is restored. He watching over Israel slumbers not nor sleeps!"
The Collected Stories of Lorrie Moore Page 7
