Sally Poker would interrupt again. "It was Mr. Govisky that gave you the uniform, Papa, and he gave me the most exquisite corsage. Really, I wish you could have seen it. It was made with gladiola petals taken off and painted gold and put back together to look like a rose. It was exquisite. I wish you could have seen it, it was ..."
"It was as big as her head," the General would snarl. "I was tellin it. They gimme this uniform and they gimme this soward and they say, 'Now General, we don't want you to start a war on us. All we want you to do is march right up on that stage when you're innerduced tonight and answer a few questions. Think you can do that?' 'Think I can do it!' I say. 'Listen here. I was doing things before you were born,' and they hollered."
"He was the hit of the show," Sally Poker would say, but she didn't much like to remember the premiere on account of what had happened to her feet at it. She had bought a new dress for the occasion—a long black crepe dinner dress with a rhinestone buckle and a bolero—and a pair of silver slippers to wear with it, because she was supposed to go up on the stage with him to keep him from falling. Everything was arranged for them. A real limousine came at ten minutes to eight and took them to the theater. It drew up under the marquee at exactly the right time, after the big stars and the director and the author and the governor and the mayor and some less important stars. The police kept traffic from jamming and there were ropes to keep the people off who wouldn't go. All the people who couldn't go watched them step out of the limousine into the lights. Then they walked down the red and gold foyer and an usherette in a Confederate cap and little short skirt conducted them to their special seats. The audience was already there and a group of UDC members began to clap when they saw the General in his uniform and that started everybody to clap. A few more celebrities came after them and then the doors closed and the lights went down.
A young man with blond wavy hair who said he represented the motion-picture industry came out and began to introduce everybody and each one who was introduced walked up on the stage and said how really happy he was to be here for this great event. The General and his granddaughter were introduced sixteenth on the program. He was introduced as General Tennessee Flintrock Sash of the Confederacy, though Sally Poker had told Mr. Govisky that his name was George Poker Sash and that he had only been a major. She helped him up from his seat but her heart was beating so fast she didn't know whether she'd make it herself.
The old man walked up the aisle slowly with his fierce white head high and his hat held over his heart. The orchestra began to play the Confederate Battle Hymn very softly and the UDC members rose as a group and did not sit down again until the General was on the stage. When he reached the center of the stage with Sally Poker just behind him guiding his elbow, the orchestra burst out in a loud rendition of the Battle Hymn and the old man, with real stage presence, gave a vigorous trembling salute and stood at attention until the last blast had died away. Two of the usherettes in Confederate caps and short skirts held a Confederate and a Union flag crossed behind them.
The General stood in the exact center of the spotlight and it caught a weird moon-shaped slice of Sally Poker—the corsage, the rhinestone buckle and one hand clenched around a white glove and handkerchief. The young man with the blond wavy hair inserted himself into the circle of light and said he was really happy to have here tonight for this great event, one, he said, who had fought and bled in the battles they would soon see daringly reacted on the screen, and "Tell me, General," he asked, "how old are you?"
"Niiiiiinnttty-two!" the General screamed.
The young man looked as if this were just about the most impressive thing that had been said all evening. "Ladies and gentlemen," he said, "let's give the General the biggest hand we've got!" and there was applause immediately and the young man indicated to Sally Poker with a motion of his thumb that she could take the old man back to his seat now so that the next person could be introduced; but the General had not finished. He stood immovable in the exact center of the spotlight, his neck thrust forward, his mouth slightly open, and his voracious gray eyes drinking in the glare and the applause. He elbowed his granddaughter roughly away. "How I keep so young," he screeched, "I kiss all the pretty guls!"
This was met with a great din of spontaneous applause and it was at just that instant that Sally Poker looked down at her feet and discovered that in the excitement of getting ready she had forgotten to change her shoes: two brown Girl Scout oxfords protruded from the bottom of her dress. She gave the General a yank and almost ran with him off the stage. He was very angry that he had not got to say how glad he was to be here for this event and on the way back to his seat, he kept saying as loud as he could, "I'm glad to be here at this preemy with all these beautiful guls!" but there was another celebrity going up the other aisle and nobody paid any attention to him. He slept through the picture, muttering fiercely every now and then in his sleep.
Since then, his life had not been very interesting. His feet were completely dead now, his knees worked like old hinges, his kidneys functioned when they would, but his heart persisted doggedly to beat. The past and the future were the same thing to him, one forgotten and the other not remembered; he had no more notion of dying than a cat. Every year on Confederate Memorial Day, he was bundled up and lent to the Capitol City Museum where he was displayed from one to four in a musty room full of old photographs, old uniforms, old artillery, and historic documents. All these were carefully preserved in glass cases so that children would not put their hands on them. He wore his general's uniform from the premiere and sat, with a fixed scowl, inside a small roped area. There was nothing about him to indicate that he was alive except an occasional movement in his milky gray eyes, but once when a bold child touched his sword, his arm shot forward and slapped the hand off in an instant. In the spring when the old homes were opened for pilgrimages, he was invited to wear his uniform and sit in some conspicuous spot and lend atmosphere to the scene. Some of these times he only snarled at the visitors but sometimes he told about the premiere and the beautiful girls.
If he had died before Sally Poker's graduation, she thought she would have died herself. At the beginning of the summer term, even before she knew if she would pass, she told the Dean that her grandfather, General Tennessee Flintrock Sash of the Confederacy, would attend her graduation and that he was a hundred and four years old and that his mind was still clear as a bell. Distinguished visitors were always welcome and could sit on the stage and be introduced. She made arrangements with her nephew, John Wesley Poker Sash, a Boy Scout, to come wheel the General's chair. She thought how sweet it would be to see the old man in his courageous gray and the young boy in his clean khaki—the old and the new, she thought appropriately—they would be behind her on the stage when she received her degree.
Everything went almost exactly as she had planned. In the summer while she was away at school, the General stayed with other relatives and they brought him and John Wesley, the Boy Scout, down to the graduation. A reporter came to the hotel where they stayed and took the General's picture with Sally Poker on one side of him and John Wesley on the other. The General, who had had his picture taken with beautiful girls, didn't think much of this. He had forgotten precisely what kind of event this was he was going to attend but he remembered that he was to wear his uniform and carry the sword.
On the morning of the graduation, Sally Poker had to line up in the academic procession with the B.S.'s in Elementary Education and she couldn't see to getting him on the stage herself—but John Wesley, a fat blond boy of ten with an executive expression, guaranteed to take care of everything. She came in her academic gown to the hotel and dressed the old man in his uniform. He was as frail as a dried spider. "Aren't you just thrilled, Papa?" she asked. "I'm just thrilled to death!"
"Put the soward acrost my lap, damm you," the old man said, "where it'll shine."
She put it there and then stood back looking at him. "You look just grand," she said.
"God d
amm it," the old man said in a slow monotonous certain tone as if he were saying it to the beating of his heart. "God damm every goddam thing to hell."
"Now, now," she said and left happily to join the procession.
The graduates were lined up behind the Science building and she found her place just as the line started to move. She had not slept much the night before and when she had, she had dreamed of the exercises, murmuring, "See him, see him?" in her sleep but waking up every time just before she turned her head to look at him behind her. The graduates had to walk three blocks in the hot sun in their black wool robes and as she plodded stolidly along she thought that if anyone considered this academic procession something impressive to behold, they need only wait until they saw that old General in his courageous gray and that clean young Boy Scout stoutly wheeling his chair across the stage with the sunlight catching the sword. She imagined that John Wesley had the old man ready now behind the stage.
The black procession wound its way up the two blocks and started on the main walk leading to the auditorium. The visitors stood on the grass, picking out their graduates. Men were pushing back their hats and wiping their foreheads and women were lifting their dresses slightly from the shoulders to keep them from sticking to their backs. The graduates in their heavy robes looked as if the last beads of ignorance were being sweated out of them. The sun blazed off the fenders of automobiles and beat from the columns of the buildings and pulled the eye from one spot of glare to another. It pulled Sally Poker's toward the big red Coca-Cola machine that had been set up by the side of the auditorium. Here she saw the General parked, scowling and hatless in his chair in the blazing sun while John Wesley, his blouse loose behind, his hip and cheek pressed to the red machine, was drinking a Coca-Cola. She broke from the line and galloped to them and snatched the bottle away. She shook the boy and thrust in his blouse and put the hat on the old man's head. "Now get him in there!" she said, pointing one rigid finger to the side door of the building.
For his part the General felt as if there were a little hole beginning to widen in the top of his head. The boy wheeled him rapidly down a walk and up a ramp and into a building and bumped him over the stage entrance and into position where he had been told and the General glared in front of him at heads that all seemed to flow together and eyes that moved from one face to another. Several figures in black robes came and picked up his hand and shook it. A black procession was flowing up each aisle and forming to stately music in a pool in front of him. The music seemed to be entering his head through the little hole and he thought for a second that the procession would try to enter it too.
He didn't know what procession this was but there was something familiar about it. It must be familiar to him since it had come to meet him, but he didn't like a black procession. Any procession that came to meet him, he thought irritably, ought to have floats with beautiful guls on them like the floats before the preemy. It must be something connected with history like they were always having. He had no use for any of it. What happened then wasn't anything to a man living now and he was living now.
When all the procession had flowed into the black pool, a black figure began orating in front of it. The figure was telling something about history and the General made up his mind he wouldn't listen, but the words kept seeping in through the little hole in his head. He heard his own name mentioned and his chair was shuttled forward roughly and the Boy Scout took a big bow. They called his name and the fat brat bowed. Goddam you, the old man tried to say, get out of my way, I can stand up!—but he was jerked back again before he could get up and take the bow. He supposed the noise they made was for him. If he was over, he didn't intend to listen to any more of it. If it hadn't been for the little hole in the top of his head, none of the words would have got to him. He thought of putting his finger up there into the hole to block them but the hole was a little wider than his finger and it felt as if it were getting deeper.
Another black robe had taken the place of the first one and was talking now and he heard his name mentioned again but they were not talking about him, they were still talking about history. "If we forget our past, " the speaker was saying, "we won't remember our future and it will be as well for we won't have one." The General heard some of these words gradually. He had forgotten history and he didn't intend to remember it again. He had forgotten the name and face of his wife and the names and faces of his children or even if he had a wife and children, and he had forgotten the names of places and the places themselves and what had happened at them.
He was considerably irked by the hole in his head. He had not expected to have a hole in his head at this event. It was the slow black music that had put it there and though most of the music had stopped outside, there was still a little of it in the hole, going deeper and moving around in his thoughts, letting the words he heard into the dark places of his brain. He heard the words, Chick-amauga, Shiloh, Johnston, Lee, and he knew he was inspiring all these words that meant nothing to him. He wondered if he had been a general at Chickamauga or at Lee. Then he tried to see himself and the horse mounted in the middle of a float full of beautiful girls, being driven slowly through downtown Atlanta. Instead, the old words began to stir in his head as if they were trying to wrench themselves out of place and come to life.
The speaker was through with that war and had gone on to the next one and now he was approaching another and all his words, like the black procession, were vaguely familiar and irritating. There was a long finger of music in the General's head, probing various spots that were words, letting in a little light on the words and helping them to live. The words began to come toward him and he said, Dammit! I ain't going to have it! and he started edging backwards to get out of the way. Then he saw the figure in the black robe sit down and there was a noise and the black pool in front of him began to rumble and to flow toward him from either side to the black slow music, and he said, Stop dammit! I can't do but one thing at a time! He couldn't protect himself from the words and attend to the procession too and the words were coming at him fast. He felt that he was running backwards and the words were coming at him like musket fire, just escaping him but getting nearer and nearer. He turned around and began to run as fast as he could but he found himself running toward the words. He was running into a regular volley of them and meeting them with quick curses. As the music swelled toward him, the entire past opened up on him out of nowhere and he felt his body riddled in a hundred places with sharp stabs of pain and he fell down, returning a curse for every hit. He saw his wife's narrow face looking at him critically through her round gold-rimmed glasses; he saw one of his squinting bald-headed sons; and his mother ran toward him with an anxious look; then a succession of places—Chickamauga, Shiloh, Marthasville—rushed at him as if the past were the only future now and he had to endure it. Then suddenly he saw that the black procession was almost on him. He recognized it, for it had been dogging all his days. He made such a desperate effort to see over it and find out what comes after the past that his hand clenched the sword until the blade touched bone.
The graduates were crossing the stage in a long file to receive their scrolls and shake the president's hand. As Sally Poker, who was near the end, crossed, she glanced at the General and saw him sitting fixed and fierce, his eyes wide open, and she turned her head forward again and held it a perceptible degree higher and received her scroll. Once it was all over and she was out of the auditorium in the sun again, she located her kin and they waited together on a bench in the shade for John Wesley to wheel the old man out. That crafty scout had bumped him out the back way and rolled him at high speed down a flagstone path and was waiting now, with the corpse, in the long line at the Coca-Cola machine.
JAMES BALDWIN (1924-1987)
James Baldwin was not naturally a short story writer, though his much-anthologized "Sonny's Blues" is a short story classic. His gift was for longer, denser, more cohesive and combative forms: the novel, the essay, the speech, the memoir. Yet hi
s most passionate nonfiction work, Notes of a Native Son and The Fire Next Time for instance, have the force of fiction; just as the rich, meticulously detailed "Sonny's Blues" has the authenticity of memoir. In speaking of what it means to be black and American and—in such works as Giovanni's Room—homosexual, James Baldwin bore witness in a direct, unmediated way; he had no interest in formal or linguistic experimentation, like Ralph Ellison or the contemporary whom he most resembles, Norman Mailer.
Born in Harlem, the first of nine children, Baldwin began his writing career early. His association with Richard Wright, whom he admired, led to his writing and publishing essays in the influential journal Partisan Review, which were subsequently gathered into the collection Notes of a Native Son (1955). His first novel is the autobiographical Go Tell It on the Mountain (1953); his second, the more controversial Giovanni's Room (1956), which he had difficulty getting published. Another Country (1962) and Tell Me How Long the Train's Been Gone (1968) continue earlier themes of racial identity. The son of a Harlem preacher, and an intermittent preacher himself when a young man, Baldwin raised polemics to an art in his more celebrated works Nobody Knows My Name (1961), The Fire Next Time (1963), and No Name in the Street (1972). His collection of short stories is Going to Meet the Man (1965).
Sonny's Blues
The Oxford Book of American Short Stories Page 47
