Days were not always like this. There were days like white pages, when no squirrels screamed in the trees and no boys leafed through her albums and no plasterer sweated at her ceiling and a neighbor stinking of radicalism and a tenuous marriage did not sit grinding cigarettes into Isabel’s china teacups and enjoying the ginger ale Isabel could no longer taste while offering as conversational checkmate a neat implication of racism, days when the only dischord in the tall Dutch house was the orange cat clawing newspaper bundles in the basement apartment into frayed, piss-smelling bales, days when Isabel sat upstairs at her table, scraping the nib of her pen across the signature line of a check to some moderately worthy cause, or to her favorite and completely unworthy one, her nephew Croft who’d hidden himself at a commune in Bloomington, Indiana, after impregnating a black cook at the house in Silver Bay and who, she’d been assured, divided Isabel’s monthly donation neatly in half, sending one portion to the distant cook and her child and donating the other to the commune’s petty-cash reserves for food and marijuana. To hell with Rachel Ebdus. Isabel subsidized feral hippies and the mulatto offspring of her criminal relations and Rachel Ebdus could certainly send Dylan, God help him, to Public School 38 to show his sole white face among that ocean of brown, to air his waterfall of girlish hair among the Afros, if that was what suited her principles. Isabel could wish now for this day to be unsquirreled entirely, for it to be one spent not even at her desk but rather one in which she lay in bed still, ignoring the orange cat’s cries, rereading Maugham or De Maupassant.
She wondered if Rachel Ebdus would also have admired Croft’s ass. Likely so.
The boy put the big photo album on the cast-iron patio table and pointed. “That’s your name,” he said inquiringly. Isabel turned, surprised.
The long-ago photographer had in the darkroom burned a row of small white letters at the bottom corner of each of the black-and-white shots of the boats, the harbor, the parties on the lawn: VENDLE’S HARD, SILVER BAY, LAKE GEORGE, NY . The boy pressed his nubby fingertip to Isabel’s family name, and waited for an answer.
Vendle’s Hard. Cranberries soaked in cognac. Emptied bottles rolling in the belly of a skiff. The famous oar, fouled in aquatic vines, that shattered and speared her side, puncturing her lung nearly to the spine. The old injury around which she was so rigidly curled.
“He reads,” said Isabel, allowing herself to be mildly impressed.
“Mmmmh hmm,” said Rachel Ebdus, humming the syllables through the ignition of another cigarette. “He sure does. He reads Abraham’s New York Times.”
“He’ll be with children who’ll never learn,” said Isabel, feeling impulsive and a little cruel. The fact was undeniable. Let Rachel squirm now.
“Maybe he’ll teach them,” Dylan’s mother said easily, then laughed. “It’s a problem for him to solve, school. I did it, so can he.” Cigarette between her fingers pointed to the sky and leaking smoke, she put her hand in Dylan’s hair.
chapter 2
Skully did exist. It was a science more closely related to the Spirograph and the Etch A Sketch than to the spaldeen and Dylan fell on it with gratitude. In fact when it was actually played he lost the game more often than he won but skully was an art that involved the conveyance of a body of knowledge, like the methods of a guild, and by his second summer on the block Dylan had mastered all its peripheral notions and was widely recognized for this mastery. For instance drawing the skully board. The first step involved finding the ideal square of slate and so Dylan’s long communion with the Dean Street sidewalk was rewarded. The slate shouldn’t be flawed by a crack or vein, or tilted, or bowed. Dylan favored a square in front of the blue-painted brownstone, midway between the home of the woman his mother sometimes, laughingly, called Vendlemachine and Henry called the olelady, and Henry’s own house. It was Dylan’s secret that other squares of slate farther down the block were as good or better but that he preferred this one for being nearer his own house and close also to Henry’s, where the kids gathered, and for the way it was shaded by a particular tree—the dynamics of space and sound, the quality of privacy and access, for a whole series of subtle aesthetical distinctions and that he could still hear his mother if she called for him from the stoop of their house—it would have been impossible to express all that went into his selection and so Dylan instead declared it the best square for skully, on the whole. And he was believed. The kids might scratch a skully board into another square from time to time, testing the principle, but after Dylan’s declaration the principle was in place.
Then the chalking of the skully board on the slate. Dylan could draw, though he came to understand this only by the inability of the others to match him. They’d drop their chalk at the sight of his skully boards, and he’d be enlisted by Marilla to draw hopscotch diagrams for the girls who’d otherwise scoffed at his shoes and pants—he wore what they called roachsteppers and highwaters. His skully boards were straight and clean, the four corners numbered elegantly, one, two, three, four, the winner’s zone in the center embellished with a double circle, his own innovation. This, like his choice of slate, became institutional, so much that one day Lonnie and Marilla scoffingly insisted it had always been done that way, and Dylan’s authorship of the double-ringed winner’s circle was permanently obscured.
Other innovations were resisted outright. Dylan one day designed a star-shaped skully board, where players would be expected to shoot their caps from triangular corners into center stage, as in Chinese checkers, a game which Dylan had been taught in his kindergarten class. Nobody understood, nobody played—it wasn’t skully. Dylan wiped the board away but the six heavily chalked points of the star remained etched lightly on the slate to haunt him until the next hard rain.
Then there was the making of the skully caps. Metal bottle tops from soda or beer were the standard, and the slightly heavier tops lined with cork were best, though from time to time a kid would experiment with a plastic cap, or a wide metal one from some other type of jar or bottle, ketchup, even pickles or applesauce. The notion of a monster cap, one which would drive opponents off the board with crushing blows, haunted the institution of skully. But in practice the bigger caps were unwieldy, tended to hang across the boundary lines, and were painful to shoot hard across the board with flicked fingers. You could fool with a big cap before it was filled with wax but then it would skid and slide right off the board too easily, and anyway a cap not filled with wax wasn’t really skully. You wanted wax. Candles could be bought or “boosted”—shoplifted—from Mr. Ramirez’s bodega, or volunteered by Dylan from his mother’s bedside supply. And Dylan became an expert at melting the candles, an operation always performed on the stoop of the abandoned house in the cause of not freaking out either parents or “little kids”—though Dylan and Earl were still the littlest kids around, apart from a couple of mute girls in severe cornrows—with lit matches. Then damping the wax into the cap, so it hardened into a smooth whole without seams or bumps, one which wouldn’t pop out when struck by an opponent’s cap. Like a tiny factory Dylan made rows of perfect skully caps and lined them up along the stoop: vanilla Yoo-Hoo with pink wax, Coke with green, Coco Rico, the cork of the cap still stinking of sugar, with white.
Strangely, after Dylan’s rapid rise to chief alchemist and philosopher of skully, nobody seemed to want to play the game anymore. Dylan presided over an ideal slate which was persistently shirked, deserted in favor of just about anything including standing around Henry’s front yard with hands in pockets, kicking at one another’s ankles and saying, “Fuck you, motherfucker.” Perhaps the Dean Street kids had never really been able to keep their attention on skully but only on the attendant crafts, on puzzling out the tradition. So much easier to tell a younger boy that he didn’t know to play skully than to have to play him to take his caps away, and what good were the caps anyway? Everybody lost their caps or even perversely threw them at the passing bus to watch them ding harmlessly and go wheeling into the gutter. Maybe skully sucked. M
aybe to perfect a thing was to destroy it.
The Solver girls moved away. That was the first surprise. One day they were gone. Isabel Vendle peered out her window and saw the van, the movers tramping down the stoop with liquor-store boxes loaded with books and glassware, the girls on the sidewalk in the skates that seemed to grow from their ankles, whirling untouchable as ever, one final taunting pirouette. The girls’ parents hadn’t paid Isabel the courtesy of saying a word, hadn’t apparently known they were lines in a blueprint drawn by Isabel, founding participants in her Boerum Hill. So at the very start the circle shrank.
It didn’t matter much to Dylan, though. The Solver girls had gone to Saint Ann’s for school that first year, had vanished into Brooklyn Heights. They didn’t live on Dean Street, they floated above it. Dylan had gone to first grade at Public School 38 on the next block, real school, according to Rachel, public school. “He’s one of three white children in the whole school,” he’d overheard her boasting on the phone. “Not his class, not his grade—the whole school.”
She made it sound important. Dylan didn’t want to disillusion Rachel, but in fact each day his time in the classroom at P.S. 38 was only a prelude to affairs on the block. Kids in school didn’t look at each other, they looked at the teacher. Nobody Dylan knew from the street was in his class except Earl and one of the silent girls from Marilla’s yard. Henry and Alberto and the others were older and though they were presumably at the same school might as well have been in some other galaxy during the hours Dylan spent listening to Miss Lupnick teach the alphabet or how to tell time or what were the major holidays, hours Dylan spent reading the classroom’s small collection of tattered picture books over and over until he’d memorized them, hours spent abstracted, scribbling his pencil, drawing utopian skully boards with ten, twenty, fifty corners, drawing rectangles like frames of his father’s painted film and filling them in until they were entirely black. The alphabet Miss Lupnick taught was represented on the wall above her head by a series of personified cartoonlike letters—Mr. A, Eating an Apple; Mrs. B, Buying a Broom; and so on—and something insipid about the parade of grinning letters defeated Dylan’s will utterly. He sensed that no narrative could be constructed that would make Mr. A and Mrs. B do anything other than Eat an Apple or Buy a Broom and he couldn’t bear to drag his eyes along the row of letters atop the chalkboard to discover what it was that Mr. L or Mrs. T were doomed to do. Miss Lupnick read stories, so slowly it was agony. Miss Lupnick played records, songs about crossing the street and how different men had different jobs. Was someone trying to entertain him? Dylan had never learned less in his life. He glanced from side to side but the other kids sat blank-eyed in invisible cages at his left and right, legs tangled in the chair-desks, fingers up their noses. Some of them might be learning the alphabet, you couldn’t say from their faces. Some were from the projects. One girl was Chinese, which was strange if you thought about it. Whatever, they were helpless to assist or communicate with one another. Older kids picked up the first graders after class and led them away as though retarded, shaking their heads. What had the first graders done all day in class? Nobody could really say. The teacher talked to them like they were a dog all day and by three o’clock it was like leading a dog home.
The kids in your first-grade class might be in your second-grade class or you might never see them again. It might not matter. Even the ones you knew from the block you didn’t know in school. Dylan tried to touch his nose with his tongue until someone told him to stop. One or two kids didn’t ask to go to the bathroom until it was too late and they’d peed in their chair. One kid scratched his ear until it started bleeding. Sometimes Dylan could barely recall first grade seconds after bursting out onto Dean Street again.
The strange and unfortunate Abraham Ebdus might actually be on to something, she admitted privately. Time was indeed a series of days, and the film of the block’s changing was as static as a series of hand-painted frames, considered singly. The New York Times had put her new name for the neighborhood into print, Boerum Hill —that was something. But Isabel Vendle wished to see the film in motion now, the frames run together, trees hurrying in the wind instead of dying in the humid stillness, the abandoned house unbricked and rescued. Growth, process, renovation. The only thing that moved on the block were the boys in the traffic, like insects skating on the surface of a still pond, the one white skimming among the black. The incinerator at the Wyckoff Houses housing project was on fire every other day, or so it seemed, a plume rose which the air refused to dissolve. A single man had bought the house with the terrible blue siding and threatened to renovate so slowly that it might as well be never. He lived in one room near the back and renovated from the inside out so that no one could tell the house wasn’t a ruin. It was a ruin, the block was hopeless, and Pacific Street was progressing more quickly than Dean. Isabel wished she could tear away the blue siding with her own hands, an idiotic thought, but nevertheless: she wished she could paste money over the blue siding which stung her eyes like ointment, wished she could slather money over Dean Street entirely, could bribe the man with the car with the painted flames to polish it on Pacific or Nevins instead or just to drive it into the Gowanus Canal. She didn’t actually have so much money as that. She had white paper and envelopes and stamps and days which refused to end—a thunderstorm might break the heat and an hour afterward the humidity clamped itself over the block again as though no thunder had struck. She wrote to Croft, who’d gotten another woman on the commune pregnant, I’m running out of days, Croft, or maybe not. I can’t tell if I’m any older than I was forty-seven years ago when as a mere girl the oar pierced my side and Croft you’re a fool. Croft to her was becoming a character in Graham Greene, The Heart of the Matter or The Comedians, Croft ought to be made to swelter on some imperial island, he ought to be brought up on charges by outraged local authorities.
It was hard to say when Robert Woolfolk began hanging around. He was from somewhere down Nevins Street, maybe the projects, maybe not. One day he was there on the stoop of the abandoned house, another day he sat on Henry’s low wall and looked at the girls. Then he got into a game or two, though he wasn’t really a game player. Robert Woolfolk was taller than Henry and could fling a ball as far but there was something disorganizing in him as a presence that broke games apart, some slangy way of moving his arms and head that could only throw football interceptions or roof a spaldeen. Once he stood a few feet from the implacable surface of the abandoned house, while a catcher waited in the street, and somehow hurled a spaldeen in such a way that it flew directly sideways to smash a parlor window in the house next door. Woolfolk could run, they agreed after that. He’d danced around the corner of Nevins, like Henry after pretending to be hit by the bus, seemingly before the glass rained out of its frame to the garden below, while the ball itself actually penetrated the window to be lost inside the house, an unheard-of accomplishment. The other kids stood gazing in a mixture of astonishment and defiance. They hadn’t been the ones to throw it, after all. Robert Woolfolk didn’t appear again for two weeks after his miraculous aberrant throw, during which time the landlord next door to the abandoned house had replaced the pane with a cardboard patch, then stood every day on his stoop for a week glaring at the afternoon players, who dispersed guiltily into football or tag or just pushing one another off Henry’s low concrete wall, glancing back at the landlord and muttering softly, too softly for the landlord to hear, “Damn, man. What are you looking at?” until the landlord wearied of his symbolic protest and hired a glazier to replace the patch with a new pane. Once the Dean Street kids felt it safe to wield a spaldeen again they spent an afternoon or two trying to reproduce something like the perverse and famous throw but couldn’t, the angle was sheerly impossible. When Robert Woolfolk came peering back around the corner they tried to involve him in the experiment but he refused for days, sulking around the edges of the game. When, finally made curious by their egging, Robert Woolfolk consented to touch a spaldeen aga
in, it had an abrupt dampening effect. The kids scattered before he could approach the wall, traumatized by the possibility that his arm would shoot out again in its hectic way, and Robert Woolfolk was left to pocket their new spaldeen and go home, wherever that was.
Nobody seemed to know where Robert Woolfolk lived.
Robert Woolfolk might live in the projects and just not say.
Likely he did live in the projects.
“He’s got a fucked-up name,” said Henry one day, to nobody in particular.
“Who?”
“Will Fuck.”
“Mother fuck,” added Alberto, sort of generically inspired. No one else spoke.
That was the whole conversation. The words floated away, or so you would have thought. But two days later Robert Woolfolk lurked on Henry’s stoop and everyone sensed the unsavory weight of his vigil there. You could read it in the noncommittal language of the kids staked out at various distances, nobody playing anything specific in the claylike, immovable afternoon. Henry stood especially proud and oblivious, slanting handball shots from inside his yard into the joint of the pavement at his low wall, not looking at Robert Woolfolk.
“Why don’t you come here for a minute?” said Robert. He was leaned back, one knee up, other leg sprawled with toe pointing inward, elbows braced on the stoop, shoulders up around his ears, hands dangling dangerously. He resembled a puppet with live eyes, his strings limp just for a moment.
“I’m right here,” said Henry.
“Why don’t you say my name again?”
The question was what alliance ran invisibly around the corner to Nevins Street, whose voice had found Robert Woolfolk’s ear, and where, and when. Each kid wondered and had to consider the possibility that he alone didn’t know, that the lines of force were visible to the others. The Dean Street kids were widened in that instant, a gasp of breath went in and out of the lung of summer just then. It made you dizzy to taste the new air.
The Fortress of Solitude Page 3
