Jolene didn’t think much about Mickey, but she drew his face over and over. She drew headstones in a graveyard and then drew his face on the gravestones. This seemed to her a worthy artistic task. The more she drew of Mickey the more she remembered the details of how he looked out at her on the last evening of his life, but it was hard with just crayons—they would only give her crayons to draw with, not the colored pencils she asked for.
Then something good happened. One of the girls in the ward smashed the mirror over the sink in the bathroom and used a sliver of it to cut her wrists. Well, that of course wasn’t good, but all the mirrors in the bathroom were removed and nobody could see herself except maybe if they stood on the bed and the sunlight was in the right place in the windows behind the mesh screen. So Jolene began a business in portraits. She drew a girl’s face, and soon they were waiting in line to have her draw them. If they didn’t have a mirror, they had Jolene. Some of her likenesses were not very good, but since in most cases they were a lot better than the originals, nobody minded. Mrs. Ames, the head nurse, thought that was good therapy for everyone and so Jolene was given a set of watercolors with three brushes, and a big thick sketchpad, and when the rage for portraits had played itself out, she painted everything else—the ward, the game room, the yard where they walked, the flowers in the flower bed, the sunset through the black mesh, everything.
But since she was as sane as anyone, she was more and more desperate to get out of there. After a year or so she made the best deal she could, with one of the night attendants, a sharp-faced woman sallow in coloring but decent and roughly kind to people, name of Cindy. Jolene thought Cindy, with the leathery lines in her face, might be no less than fifty years old. She had an eye for Jolene right from the beginning. She gave her cigarettes to smoke outside behind the garbage bins, and she knew hair and makeup. She said, Red—Jolene had what they call strawberry hair, so that of course was her nickname there—Red, you don’t want to cover up those freckles. They are charming in a girl like you, they give your face a sunlight. And, see, if you keep pulling back your hair into ponytails your hairline will recede, so we’ll cut it just a bit shorter so that it curls up as it wants to and we let it frame your sweet face and, lo and behold, you are as pretty as a picture.
Cindy liked the freckles on Jolene’s breasts, too, and it wasn’t too bad being loved up by a woman. It was not her first choice, but Jolene thought, Once you get going it doesn’t matter who it is or what they’ve got—there is the same panic, after all, and we are blind at such moments. But anyway that was the deal, and though in order to get herself out of the loony bin she agreed to live with Cindy in her own home, where she would cuddle secretly like her love child, she did so only until she could escape from there as well. With just a couple of clicks of door locks, and some minutes of hiding in a supply closet, and then with more keys turning and a creak of gate swings, Jolene rode to freedom in the trunk of Cindy’s beat-up Corolla. It was even easier, after one night, walking out Cindy’s front door in broad daylight once the woman had gone back to work.
Jolene hit the road. She wanted out of that town and out of that county however she could. She had almost a hundred dollars from her watercolor business. She hitched some and rode some local buses. She had a small suitcase and a lot of attitude to get her safe across state lines. She worked in a five-and-ten in Lexington and an industrial laundry in Memphis. There was always a YWCA, to stay out of trouble. And while she did have to take a deep breath and sell it once or twice across the country, it had the virtue of hardening her up for her own protection. She was just seventeen by then but carrying herself with some new clothes like she was ten years older, so that nobody would know there was just this scared girl-child inside the hip slinger with the platform strap shoes.
Which brought her to Phoenix, Arizona, a hot flat city of the desert, but with a lot of fast-moving people who lived inside their air-conditioning.
SHE APPRECIATED THAT in the West human society was less tight-assed, nobody cared that much what you did or who your parents were and most everyone you met came from somewhere else. Before long she was working at a Dairy Queen and had a best friend, Kendra, who was one of her roommates, a northern girl from Akron, Ohio.
The Dairy Queen was at the edge of city life with a view over warehouses to the flat desert with its straight roads and brownish mountains away in the distance. She had to revert back to her real age to get this job. It involved roller-skating, a skill that she fortunately had not forgotten. You skated out to the customers with their order on a tray that you hooked to the car window. It was only minimum, but some men would give you a good tip, though women never did. And anyway that wasn’t to last long, because this cute guy kept coming around every day. He had long hair, a scraggly lip beard, and a ring in his ear—he looked like a rock star. He wore an undershirt with his jeans and boots, so you could see the tattoos that went up and down his arms, across his shoulders, and onto his chest. He even had a guitar in the back of his 1965 plum Caddy convertible. Of course she ignored his entreaties, though he kept coming back, and if another girl waited on him he asked her where Jolene was. All the girls wore name tags, you see. One day he drove up, and when she came back with his order he was sitting on the top of the front seat with a big smile, though a front tooth was missing. He strummed his guitar and he said, Listen to this, Jolene, and he sang this song he had made up, and as he sang he laughed in appreciation, as if someone else was singing.
Jolene, Jolene
She is so mean
She won’t be seen with me
At the Dairy Queen.
Jolene, Jolene
Please don’t be mean
Your name it means to me
My love you’ll glean from me
I am so keen to see
How happy we will be
When you are one with me
Jolene, Jolene
My Dairy Queen
Well, she knew he was a sly one, but he’d gone to the trouble of thinking it up, didn’t he? The people in the next car laughed and applauded and she blushed right through her freckles, but she couldn’t help laughing along with them. And of course with his voice not very good and his guitar not quite in tune, she knew he was no rock star, but he was loud and didn’t mind making a fool of himself and she liked that.
In fact, the guy was by profession a tattoo artist. His name was Coco Leger, pronounced Lerjay. He was originally from New Orleans, and she did go out dancing with him the next Saturday, though her friend Kendra strongly advised against it. The guy is a sleaze, Kendra said. Jolene thought she might be right. On the other hand, Kendra had no boyfriend of her own at the moment. And she was critical about most everything—their jobs, what she ate, the movies they saw, the furniture that came with the rental apartment, and maybe even the city of Phoenix in its entirety.
But Jolene went on the date and Coco was almost a gentleman. He was a good disco dancer, though a bit of a show-off with all his pelvic moves, and what was the harm after all. Coco Leger made her laugh, and she hadn’t had a reason to laugh in a long time.
One thing led to another. There was first a small heart to be embossed for free on her behind, and before long she was working as an apprentice at Coco’s Institute of Body Art. He showed her how to go about things, and she caught on quick and eventually she got to doing customers who wanted the cheap stock tattoos. It was drawing with a needle, a slow process like using only the tip of your paintbrush one dab at a time. Coco was very impressed with how fast she learned. He said she was a real asset. He fired the woman who worked for him, and after a serious discussion Jolene agreed to move in with him in his two rooms above his store, or studio, as he called it.
Kendra, who was still at the Dairy Queen, sat and watched her pack her things. I can see what he sees in you, Jolene, she said. You’ve got a trim little figure and everything moves the way it should without your even trying. Thank you, Kendra. Your skin is so fair, Kendra said. And you’ve got that no
se that turns up, and a killer smile. Thank you, Kendra, she said again, and gave her a hug because, though she was happy for herself, she was sad for Kendra, whose really pretty face would not be seen for what it was by most men in that she was a heavyset girl with fat on her shoulders who was not very graceful on skates. But, Kendra continued, I can’t see what you see in him. This is a man born to betray.
Still, she didn’t want to go back to skating for tips. Coco was teaching her a trade that suited her talents. But when after just a couple of weeks Coco decided they should get married, she admitted to herself she knew nothing about him, his past, his family. She knew nothing, and when she asked, he just laughed and said, Babe, I am an orphan in the storm, just like you. They didn’t much like me where I come from, but as I understan’, neither of us has a past to write home about, he said holding her and kissing her neck. What counts is this here moment, he whispered, and the future moments to come.
She said the name Jolene Leger, pronounced Lerjay, secretly to herself and thought it had a nice lilt to it. And so after another justice of the peace and a corsage in her hand and a flowered dress to her ankles and a bottle of champagne, she was in fact Jolene Leger, a married woman once again. They went back to the two rooms above the store and smoked dope and made love, with Coco singsonging to her in her rhythm Jolene Jolene she’s a love machine, and after he fell asleep and began to snore she got up and stood at the window and looked out on the street. It was three in the morning by then, but all the streetlights were on and the traffic signals were going, though not a human being was in sight. It was all busyness on that empty street in its silence, all the store signs blazing away, the neon colors in the windows, the Laundromat, the check-cashing store, the one-hour photo and passport, the newsdealer, the coffee shop, and the dry cleaner’s, and the parking meters looking made of gold under the amber light of the streetlamps. It was the world going on as if people were the last thing it needed or wanted.
She found herself thinking that if you shaved off Coco’s scraggly lip beard and if his tattoos could be scrubbed away, and you took off his boots with the lifts in them and got him a haircut and maybe set a pair of eyeglasses on his nose, he would look not unlike her first husband, the late Mickey Holler, and she began to cry.
For a while she was sympathetic to Coco’s ways and wanted to believe his stories. But it became more and more difficult. He was away in his damn car half the time, leaving her to man the shop as if he didn’t care what business they lost. He kept all moneys to himself. She realized she was working without a salary, which only a wife would do—who else would stand for that? It was a kind of slavery, wasn’t it? Which is what Kendra said, tactlessly, when she came to visit. Coco was critical of most everything Jolene did or said. And when she needed money for groceries or some such he would only reluctantly peel off a bill or two from his carefully hoarded wad. She began to wonder where he got all his cash—certainly not from the tattooing trade, which was not all that great once the dry, cold Arizona winter set in. And when a reasonable-looking woman did come in, he carried on saying all sorts of suggestive things as if they were the only two people in the room. I really don’t like that, Jolene told him. Not at all. You married yourself a good-lookin’ stud, Coco said. Get used to it. And when Jolene found herself doing a snake or a whiskered fish for some muscleman, and, as you’d expect working so close-up, he’d come on to her, all Coco could say when she complained was, That’s what makes the world go roun’. She became miserable on a daily basis. The drugs he was dealing took up more and more of his time and when she confronted him he didn’t deny it. In fact, he said, it was the only way to keep the shop going. You should know without I have to tell you, Jolene, no artist in this USA can make it he don’t have somethin’ on the side.
One day a taxicab pulled up and a woman carrying a baby and holding a valise came into the store. She was a blonde, very tall, statuesque even, and although the sign was clearly printed on the store window, she said, Is this the Institute of Body Art of which Coco Leger is the proprietor? Jolene nodded. I would like to see him, please, the woman said, putting the valise down and shifting the baby from one arm to the other. She looked about thirty or thirty-five and she was wearing a hat, and had just a linen jacket and a yellow dress with hose and shoes, which was most unusual on this winter day in Phoenix, or in any season of the year for that matter, where you didn’t see anyone who wasn’t wearing jeans. Jolene had the weirdest feeling come over her. She felt that she was a child again. She was back in childhood—she’d only been a pretend adult and was not Mrs. Coco Leger except in her stupid dreams. It was a premonition. She looked again at the baby and at that moment knew what she didn’t have to be told. Its ancestry was written all over its runty face. All it lacked was a little lip beard.
And you are? Jolene asked. I am Marin Leger, the wife of that fucking son of a bitch, the woman said.
As if any confirmation was needed, her large hand coming around from under the baby’s bottom had a gold band impressed into the flesh of its fourth finger.
I have spent every cent I had tracking him down and I want to see him now, this very instant, the woman said. A moment later, as if a powerful magic had been invoked, Coco’s Caddy rolled to the curb and it may have been worth everything to see the stunned expression on his face as he got out of the car and both saw Marin Leger and was seen by her through the shop window. But, being Coco, he recovered nicely. His face lit up and he waved as if he couldn’t have been more delighted. And came through the door with a grin. Looka this, he said. Will ya looka this! he said, his arms spread wide. Because she was the taller of the two, the hug he gave her mashed his face against the baby in her arms, who commenced to cry loudly. And as Coco stepped back he suffered the free hand of the woman smartly against his cheek.
Now, darlin’, just be calm, he told her, stay calm. There is an esplanation for everthin’. Come with me, we have to talk, he said to her, as if he’d been waiting for her all along. Believe it or not I am greatly relieved to see you, he said to her. He took no further notice of the kid in her arms, and as he picked up her bag and ushered her out the door, he looked back at Jolene and told her out of the side of his mouth to hold tight, to hold tight, and outside he gallantly opened the car door for Marin Leger and sat her and their baby down and went off with them in the plum-colored Caddy 1965 convertible he had once driven up every day to see Jolene wiggle her ass on skates.
Jolene, Jolene, of the Dairy Queen, she is so mean, she smashed the machinery … She had never been so calm in her life as she quietly and methodically trashed the Leger Institute of Body Art, turning over the autoclave, pulling down the flash posters, banging the tattoo guns by their cables against the rear exposed-brick wall until they cracked, scattering the needle bars, pouring the inks on the floor, pulling the display case of 316L stainless-steel body jewelry off the wall, tearing the paperback tattoo books in the rotating stand. She smashed the director’s chairs to pieces and threw a metal footstool through the back-door window. She went upstairs and, suddenly aware for the first time how their rooms smelled of his disgusting unwashed body, she busted up everything she could, tore up the bedding, swept everything out of the medicine cabinet, and pulled down the curtains she had chosen to make the place more homey. She took an armful of her clothes and stuffed them into two paper sacks and when she found in a shoe box on their closet shelf a ziplock plastic bag with another inside it packed with white stuff that felt under the thumb like baking powder, she left it exactly where it was and, downstairs again, cleaned out the few dollars that were in the cash register, picked up the phone, left a precise message for the Phoenix PD, and, putting up the BACK IN FIVE sign, she slammed the door behind her and was gone.
She was still dry-eyed when she went to the pawnshop two blocks away and got fifteen dollars for her wedding band. She waited at the storefront travel agency where the buses stopped and didn’t begin to cry till she wondered, for the first time in a long time, who her mom and d
ad might have been and if they were still alive as she thought they must be if they were too young to do anything but name her Jolene and leave her for the authorities to raise.
IN VEGAS SHE waitressed at a coffee shop till she had enough money to have her hair straightened, which is what the impresario of the Starlet Topless told her she had to do if she wanted a job. So if she shook her head as she leaned back holding on to the brass pole, her hair swished back and forth across her shoulders. Wearing a thong and high heels was not the most comfortable thing in the world, but she got the idea of things quickly enough and became popular as the most petite girl in the place. The other girls liked her, too—they called her Baby and watched out for her. She rented a room in the apartment of a couple of them. Even the bouncer was solicitous after she lied to him that she was involved.
When she met Sal, a distinguished gray-haired man of some girth, it was at the request of the manager, who took her to a table in the back. That this man Sal chose not to sit at the bar and stare up her ass suggested to her he was not the usual bum who came into Starlet’s. He was a gentleman who though not married had several grandchildren. The first thing he did on their first date when she came up to his penthouse suite was show her their pictures. That’s the kind of solid citizen Mr. Sal Fontaine was. She stood at the window looking out over all of Vegas. Quiet and soft-spoken Sal was not only a dear man, as she came to know him, but one highly respected as the founder and owner of Sal’s Line, with an office and banks of phones with operators taking calls from people all over the country wanting Sal’s Line on everything from horses to who would be the next president. Without ceremony, which was his way, he put a diamond choker on her neck and asked her to move in with him. She couldn’t believe her luck, living with a man highly regarded in the community in his penthouse suite of six rooms overlooking all of Vegas. It had maid service every morning. From the French restaurant downstairs you could order dinner on a rolling cart that turned into a table. Sal bought her clothes, she signed his name at the beauty parlor, and when they went out, though he was so busy it was not that often, she was treated with respect by the greeters, and by Sal’s associates, mostly gentlemen of the same age range as his. She was totally overwhelmed. With all the leggy ass in Las Vegas, imagine, little Jolene, treated like a princess! And not only that but with time on her hands to develop a line of her own, of greeting cards she drew, psychedelic in style, sometimes inspired by her experience with tattoo designs but always with the sentiments of loving family relationships that she dreamed up, as if she knew all about it.
All the Time in the World: New and Selected Stories Page 17
