This Is Where I Leave You

by Jonathan Tropper

  ment of the coffin onto the hydraulic frame rigged over the freshly dug grave. Paul and I are at the head of the coffin, and Wendy’s husband, Barry, is in the middle, across from the empty spot where Phillip would have been if he’d shown up. My uncle Mickey and his son Julius, fresh off the plane from Miami, carry the foot of the coffi

  n. We haven’t seen

  Mickey in decades—he and Dad had a falling-out over some money Dad lent him—and Julius is all but a stranger to us. They look like suntanned gangsters, this uncle and cousin, in their unnecessary designer sunglass­

  es, their slicked-back hair, their matching diamond pinky rings.

  “To the right,” Saint Nick says. “All together now. No one lower him yet. You in the back, come up about six inches . . . there you go. Now on 34

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  my mark, we’re going to lower him. Gentlemen at the feet, you’re out first, and watch your fingers . . .”

  Movie directors often shoot funerals in the rain. Th e mourners

  stand in their dark suits under large black umbrellas, the kind you never have handy in real life, while the rain falls symbolically all around them, on grass and tombstones and the roofs of cars, generating atmosphere. What they don’t show you is how the legs of your suit, caked with grass clippings, cling soaked to your shins, how even under umbrellas the rain still manages to find your scalp, running down your skull and past your collar like wet slugs, so that while you’re supposed to be meditating on the deceased, instead you’re mentally tracking that trickle of water as it slides down your back. The movies don’t convey how the soaked, muddy ground will swallow up the dress shoes of the pallbearers like quicksand, how the water, seeping into the pine of the coffin, will release the smell of death and decay, how the large mound of dirt meant to fill the grave will be transformed into an oozing pile of sludge that will splatter with each stab of the shovel and land on the coffin with an audible splat. And instead of a slow and dignified farewell, everyone just wants to get the deceased into the ground and get the hell back into their cars. We, the pallbearers, step away soaked and muddy from the grave and melt back into the fair-sized crowd gathered graveside, where an ineffective canvas pop-up shelter has been erected to fend off the rain. Friends, neighbors, and business associates all jockey for position under the canvas, the less fortunate ones forced to the edges, where the pooled water pours down from the roof in thick, drenching rivulets. Paul stands beside his wife, Alice, who leans against him to warm him as he cries. Barry finds Wendy, who hands him back his BlackBerry, which he can’t resist checking before sliding it into his belt holster like a gunslinger. I stand beside my mother, whose red eyes are dulled by the Valium she chose not to split today. Her hair, gray at the roots and auburn every­

  where else, is pulled into a tight bun. Her black suit is formfitting and, as

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  always, she’s showing way too much surgically enhanced cleavage. Th e

  height of her stiletto heels, like the diameter of her breast implants, is inappropriate for both her age and the occasion. She squeezes my hand, avoiding direct eye contact, and I feel Jen’s absence like a festering wound.

  “It’s okay to cry,” Mom says quietly.

  “I know.”

  “You can laugh too. There’s no correct emotional response.”

  “Th

  anks, Mom.”

  Mom is a shrink, obviously. But she’s more than that. Twenty-fi ve years ago she wrote a book called Cradle and All: A Mother’s Guide to Enlightened Parenting. The book was a national phenomenon and turned my mother into something of a celebrity expert on parenting. Predictably, my siblings and I were screwed up beyond repair. You’ve seen Cradle and All, thick as an almanac, with red and black borders and cover art of a naked toddler morphing into a teenager. Th e

  book starts with breast-feeding and toilet training and goes all the way through puberty (defecation to masturbation, we used to say), advising mothers in the same frank, maternal, gratuitously shocking tone Mom often used with us. On the back cover is a photo of Mom striking a sex kitten pose on our living room couch. There’s a tenth-anniversary edi­

  tion, a fifteenth, a twentieth, and next year they will be releasing an up­

  dated twenty-fifth-anniversary edition, and Mom will do a twenty-city signing tour and all the major talk shows. There has been talk of an Oprah segment and the possibility of a face-lift before the book tour.

  “Today we say good-bye to Morton Foxman, beloved husband and father, dear brother, and cherished friend.”

  The speaker is Boner Grodner. He was Paul’s best friend when we were kids. Now he’s Rabbi Charles Grodner of Temple Israel, but to those of us who grew up with him, who were invited to the back of the school bus, where he presided over private viewings of purloined pornography 36

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  from his father’s extensive collection, he will always be Boner. When Boner wasn’t smoking pot with Paul and trying to discern the hidden messages in Led Zeppelin songs, he was holding forth shamelessly on the pros and cons of various sex acts.

  “Mort was never a big fan of ritual . . . ,” Boner says.

  “Will you look at that,” Wendy says, elbowing me in the ribs. I follow her gaze across the cemetery to the access road, where a black Porsche has noisily pulled up. And for a moment, I don’t recognize him, this man attempting to knot his tie while running across the wet lawn in his rum­

  pled suit pants and motorcycle jacket like he’s finishing a marathon. And then I do, from the way he runs shamelessly toward us, without the slightest hint of decorum. He is wearing moccasins, of all things.

  “Phillip,” my mother says softly, and signals Boner to stop. By this point Phillip’s given up on the tie, which he leaves hanging unknotted around his neck. He comes running down the lawn and then slides the last few feet, like we used to do on the slight slope of our front lawn when it rained, coming to a stop right in front of my mother.

  “Mom,” he says, and throws his wet arms around her.

  “You came,” she says, overjoyed. Phillip is her baby, and he’s spent his life reeling in the slack as fast as she can cut it for him.

  “Of course I came,” he says. He pulls back and looks up at me.

  “Judd.”

  “Hi, Phillip.”

  He grabs my arm and pulls me into a dramatic hug. Phillip, my baby brother, who used to climb into bed with me, smelling of lavender baby shampoo, and press his smooth, rounded cheek against mine, gently pulling at my arm hairs as I told him stories. He loved to guess the mor­

  als of Aesop’s fables. Now he smells of cigarettes and mouthwash, and he’s put on a good ten pounds or so since I last saw him, most of it in his face. I feel the familiar wave of loss and regret that always seems to ac­

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  company our infrequent reunions. I’d give anything for him to be fi ve again, happy and unbroken.

  He reaches past me to shake hands with Paul, who reciprocates quickly and self-consciously, trying to speed things along and get the funeral back on track. Phillip kisses Wendy’s cheek.

  “You got fat,” she whispers.

  “You got old,” he responds in a stage whisper, loud enough for ev­

  eryone to hear. Behind him, Boner clears his throat. Phillip turns around and straightens his jacket. “Sorry, Boner. Please continue.” Wendy hits the back of his head. “Charlie! Sorry. Rabbi Grodner,” he says quickly, but the chuckles have already rippled through the crowd and Boner looks momentarily homicidal.

  “Before I call on Mort’s eldest son, Paul, to remember his father for us, I’d like to read a short psalm . . .”

  “I shouldn’t have called him that,” Phillip whispers to me, eyes wide.

  “Damn.”

  “It was an honest mistake.”

  “It was disrespectful.”<
br />
  I am tempted to point out that showing up a half hour late to his father’s funeral might also be construed as disrespectful, but it would be pointless. Phillip has always been happily impervious to advice and criticism.

  “Be quiet!” Paul hisses at us. Phillip winks at me. And here we stand at our father’s grave, the three Foxman men, all roughed from the same template but put through diff erent finishing processes. We each have our father’s dark curly hair and square, dimpled chin, but there would be no mistaking us for twins. Paul looks like me, only bigger, broader, and angrier; me on steroids. Phillip looks like me, only slimmer and much better-looking, his features rendered more gracefully, his smile wide and eff ortlessly seductive.

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  When Boner finishes reading his psalm, Paul steps up to deliver what is meant to be a eulogy but instead seems to be an acceptance speech for the Most Dedicated Son award. He thanks Dad for teaching him how to run the business; he thanks his wife, Alice, for taking a leave of absence from her job as a dental hygienist to help out at the stores when Dad fell ill, he thanks Mom for taking care of Dad, and then he talks at length about what it was like working with his father, running Foxman Sporting Goods, the Hudson Valley’s premiere sporting goods chain. He does not mention any of his siblings, all of whom are wet and cold and wishing for an orchestra to play him off the stage. When he finally wraps up, he seems surprised that there is no ap­

  plause. Saint Nick flips a switch on the hydraulics, and Dad’s coffin slowly descends into the grave. Once he is down, Boner steps forward and solemnly hands a tall garden shovel to Paul. “It is customary for members of the immediate family to each shovel some dirt into the grave, fulfilling the obligation of burying a loved one,” he says. “Our sages say burying someone is considered the truest form of kindness and respect, as the deceased will not be able to thank you for it.”

  That’s kind of funny, actually, since Dad was not exactly prone to expressing gratitude to his children when he was alive. You were either screwing up, or you were invisible. He was quiet and stern in a way that led you to expect an Eastern European accent. He had soft blue eyes and unusually thick forearms, and when he made a fist it looked like he could punch through anything. He mowed his own lawn, washed his own car, and painted his own house. He did all these things capably, painstak­

  ingly, and in a way that silently passed judgment on anyone who paid for someone else to do it. He rarely laughed at jokes, just nodded his under­

  standing, as if it was all pretty much what he’d expected. Of course, there was a lot more to him than that, it’s just that none of it is coming to me right now. At some point you lose sight of your actual parents; you just see a basketful of history and unresolved issues.

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  Paul digs into the large mound and tosses a scoop of muddy earth into the grave. He hands the shovel to me, and I do the same, and when the dirt hits the coffin I can feel something in me start to shake. I close my eyes against the hot wetness, and I can see Dad, reclining on a lounge chair in our backyard, gripping the hose gun and shooting at the moving targets of his young children as we ran between bases, making a machine-gun noise with his lips. He liked us as young children. It was when we grew older that he didn’t know what to make of us. Childhood feels so permanent, like it’s the entire world, and then one day it’s over and you’re shoveling wet dirt onto your father’s coffin, stunned at the impermanence of everything. I hand the shovel to Wendy, who digs up maybe a tablespoon or so of damp earth and who manages to miss the open grave entirely. Phillip, who is congenitally incapable of modera­

  tion, digs up a comically huge pile that turns out to have a stone in it. The stone hits the coffin like a gunshot, startling us all, and the gray si­

  lence is pierced by a long howl as Phillip falls to his knees, sobbing.

  “Daddy!” he cries, while the rest of us watch him unravel, standing by silently horrified and, probably, ever so slightly envious. Chapter 5

  1:55 p.m.

  We all reconvene at Knob’s End, the cul-de-sac where my par­

  ents’ house stands. The house, a large white colonial, stands at the center of the dead end, where the blacktop blossoms into a wide circle, ideal for street hockey and bike riding. West Covington is a major thoroughfare through Elmsbrook, winding its way past strip malls and corporate parks before finally veering off into the residential area, where at the last rotary, it becomes Knob’s End. When people give directions to any home or business on West Covington, they use our house as a negative landmark; if you see the big white house, then you’ve gone too far. Which is precisely what I’m thinking as I pull into the driveway. Dad was obsessive about maintaining the house. He was a handy guy, always painting and staining, cleaning out the gutters, changing out pipes, power-washing the patio. He was an electrician by trade, but he gave it up to go into business, and he missed working with his hands, couldn’t face the weekend without the prospect of manual labor. But now the paint is cracked and fl aking off the window frames, there’s an ugly brown water stain just below the roofline, the bluestones on the front walk rattle like loose teeth, and the rose trellises lean away from the house like they’re trying to escape. The lawn hasn’t been watered enough, and it’s brown in patches, but the twin dogwoods we used to climb are in full bloom, their crimson leaves fanned out like an awning

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  over the front walk. Consumed with Dad’s slow death, Mom forgot to cancel the pool service, and so the swimming pool in the yard glistens with blue water, but the grass is starting to come up through the paving stones around it. The house is like a woman you find attractive at a distance. The closer you get, the more you wonder what you were thinking.

  Linda Callen, our neighbor and my mother’s closest friend, opens the door and hugs each one of us as we step into the house. She’s a pearshaped woman with an easy smile, and there’s something vaguely rodentlike about her, not in a feral way, but more like a wise mother rat from a Disney cartoon, the sort that will sit in a tiny rocking chair and wear little rat glasses and be voiced by Judi Dench or Hellen Mirren. A kindly, regal, Academy Award–winning rat. She’s known us since birth and looks at us as her own children. Her son, Horry, stands behind her, star­

  ing at his feet as he takes our coats.

  “Hey, Judd,” he says to me.

  “Hey, Horry.”

  He stiffens up when I pat his back. “I’m very sorry about Mort.”

  “Th

  anks.”

  When Horry was a toddler, his father, Ted, got drunk and somehow managed to drown himself in little Horry’s inflatable wading pool while Linda was out shopping. She came home to find Horry shivering in the pool, crying hysterically over his partially submerged dead father. After that it was just the two of them, living up the block from us and, more often than not, in our house. A grade ahead of Paul and behind Wendy, Horry integrated seamlessly into our family. In high school, he fell for Wendy, like everyone else in Elmsbrook did at some point or another, but he had the inside track, and so for a year or so we would walk in on them making out in darkened rooms. Then, in his sophomore year of college, Horry got into a fight in a bar—details are sketchy—and the upshot was that someone took a sawed-off baseball bat to his head and 42

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  now Horry is a thirty-six-year-old man who lives with his mother and cannot drive a car or focus on anything for more than a few seconds. Sometimes he has these mini seizures where he stiffens up and loses the ability to speak. Every day my dad would pick him up and take him with him to the store, where Horry helped out in the stockroom and took everyone’s lunch orders. Now I guess he’ll be working for Paul. When Wendy sees Horry, she throws her arms around him without taking off her raincoat, and he drops the coats he’s gathered to hug her back.

  “Hey,
Sunfl ower.”

  “Horry,” she whispers into his neck.

  His shirt is speckled with raindrops from her coat. He kisses her wet scalp, and when she pulls back, her eyes are red.

  “Don’t cry,” he says.

  “I’m not,” she says, and then bursts into tears.

  “Okay, okay,” Horry says, blinking nervously as he bends down to pick up the coats he dropped.

  2:07 p.m.

  Serena, Wendy’s baby girl, screams like she’s been stabbed. We can all hear her in amplified stereo as we eat lunch, thanks to the high-tech baby monitor Wendy has set up on the table in the front hall, but Wendy doesn’t seem at all inclined to go upstairs and quiet the baby. “We’re Let­

  ting Her Cry,” she announces, like it’s a movement they’ve joined. If they’re letting her cry anyway, I don’t really see the point of the baby monitor, but that’s one of those questions I’ve learned not to ask, be­

  cause I’ll just get that condescending look all parents reserve for nonparents, to remind you that you’re not yet a complete person. And the screaming baby is the least of it. Ryan, Wendy’s six-year­

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  old, has discovered the living room piano, which hasn’t been tuned in decades, and he’s pounding out a throbbing cacophony with both fi sts. Barry, who has decided that now would be an optimal time to return some business calls, is pacing the hall between the dining room and the living room, loudly arguing the finer points of some deal that will no doubt add to his already grotesque fortune. Because he’s wearing a wire­

  less earpiece, he looks like a lunatic ranting to himself. “Th e Japanese

  will never go for that,” he says, shaking his head. “We’re ready to com­

  mit, but the paper price is unacceptable.”

  The thing about people who work in finance is that they consider their job infinitely more important than anything or anyone, and so it’s perfectly legitimate to tell everyone else to fuck off because they have a conference call with Dubai. Billions of dollars are involved, so things like a kid’s birthday or a wife’s dead father are simply not at the top of the agenda. Barry is almost never around, and when he is, he’s on the phone or scanning his BlackBerry with the furrowed brow of one who is deal­