After the cops left, I knew where I’d find her. In that room, the one where she does her painting. It was dark and she was sitting there in a straight-back chair staring out at the darkness. She said: “The picture in your wallet. That was the girl.” I denied it, and she said: “Please, George. You don’t have to lie. You’ll never have to lie again.”
And she slept in that room that night, and every night ever since. Keeps herself locked in there painting boats. A boat.
TC: Perhaps you did behave a bit recklessly. But I can’t see why she should be so unforgiving.
GEORGE: I’ll tell you why. That wasn’t our first visit from the police.
Seven years ago we had a sudden heavy snowstorm. I was driving my car, and even though I wasn’t far from home, I lost my way several times. I asked directions from a number of people. One was a child, a young girl. A few days later the police came to the house. I wasn’t there, but they talked to Gertrude. They told her that during the recent snowstorm a man answering my description and driving a Buick with my license plate had got out of his car and exposed himself to a young girl. Spoken lewdly to her. The girl said she had copied down the license number in the snow under a tree, and when the storm had stopped, it was still decipherable. There was no denying that it was my license number, but the story was untrue. I convinced Gertrude, and I convinced the police, that the girl was either lying or that she had made a mistake concerning the number.
But now the police have come a second time. About another young girl.
And so my wife stays in her room. Painting. Because she doesn’t believe me. She believes that the girl who wrote the number in the snow told the truth. I’m innocent. Before God, on the heads of my children, I am innocent. But my wife locks her door and looks out the window. She doesn’t believe me. Do you?
(George removed his dark glasses and polished them with a napkin. Now I understood why he wore them. It wasn’t because of the yellowed whites engraved with swollen red veins. It was because his eyes were like a pair of shattered prisms. I have never seen pain, a suffering, so permanently implanted, as if the slip of a surgeon’s knife had left him forever disfigured. It was unbearable, and as he stared at me my own eyes flinched away.)
Do you believe me?
TC (reaching across the table and taking his hand, holding it for dear life): Of course, George. Of course I believe you.
III Hidden Gardens
SCENE: JACKSON SQUARE, NAMED after Andrew Jackson—a three-hundred-year-old oasis complacently centered inside New Orleans’ old quarter: a moderate-sized park dominated by the grey towers of St. Louis Cathedral, and the oldest, in some ways most somberly elegant, apartment houses in America, the Pontalba Buildings.
Time: 26 March 1979, an exuberant spring day, Bougainvillaea descends, azaleas thrust, hawkers hawk (peanuts, roses, horse-drawn carriage rides, fried shrimp in paper scoops), the horns of drifting ships hoot on the closeby Mississippi, and happy balloons, attached to giggling skipping children, bounce high in the blue silvery air.
“WELL, I DO DECLARE, A boy sure do get around”—as my Uncle Bud, who was a traveling salesman when he could pry himself away from his porch swing and gin fizzes long enough to travel, used to complain. Yes, indeed, a boy sure do get around; in just the last several months I’ve been in Denver, Cheyenne, Butte, Salt Lake City, Vancouver, Seattle, Portland, Los Angeles, Boston, Toronto, Washington, Miami. But if somebody asked, I’d probably say, and really think: Why, I haven’t been anywhere, I’ve just been in New York all winter.
Still, a boy do get around. And now here I am back in New Orleans, my birthplace, my old hometown. Sunning myself on a park bench in Jackson Square, always, since schoolboy days, a favorite place to stretch my legs and look and listen, to yawn and scratch and dream and talk to myself. Maybe you’re one of those people who never talk to themselves. Aloud, I mean. Maybe you think only crazies do that. Personally, I consider it’s a healthy thing. To keep yourself company that way: nobody to argue back, free to rant along, getting a lot of stuff out of your system.
For instance, take those Pontalba Buildings over there. Pretty fancy places, with their grillwork façades and tall dark French-shuttered windows. The first apartment houses ever built in the U.S.A.; relatives of the original occupants of those high airy aristocratic rooms are still living in them. For a long time I had a grudge against the Pontalba. Here’s why. Once, when I was nineteen or so, I had an apartment a few blocks away on Royal Street, an insignificant, decrepit, roach-heaven apartment that erupted into earthquake shivers every time a streetcar clickety-clacked by on the narrow street outside. It was unheated; in the winter one dreaded getting out of bed, and during the swampy summers it was like swimming inside a bowl of tepid consommé. My constant fantasy was that one excellent day I would move out of that dump and into the celestial confines of the Pontalba. But even if I had been able to afford it, it could never have happened. The usual way of acquiring a place there is if a tenant dies and wills it to you; or, if an apartment should become vacant, generally it is the custom of the city of New Orleans to offer it to a distinguished local citizen for a very nominal fee.
A lot of fey folk have strolled about this square. Pirates. Lafitte himself. Bonnie Parker and Clyde Barrow. Huey Long. Or, moseying under the shade of a scarlet parasol, the Countess Willie Piazza, the proprietress of one of the ritzier maisons de plaisir in the red-light neighborhood: her house was famous for an exotic refreshment it offered—fresh cherries boiled in cream sweetened with absinthe and served stuffed inside the vagina of a reclining quadroon beauty. Or another lady, so unlike the Countess Willie: Annie Christmas, a female keelboat operator who was seven feet tall and was often observed toting a hundred-pound barrel of flour under either arm. And Jim Bowie. And Mr. Neddie Flanders, a dapper gentleman in his eighties, maybe nineties, who, until recent years, appeared in the square each evening, and accompanying himself on a harmonica, tap-danced from midnight until dawn in the most delicate, limber-puppet way. The characters. I could list hundreds.
Uh-oh. What’s this I hear across the way? Trouble. A ruckus. A man and a woman, both black: the man is heavyset, bull-necked, smartly coiffed but withal weak-mannered; she is thin, lemon-colored, shrill, but almost pretty.
HER: Sombitch. What you mean—hold out bread?! I ain’t hold out no bread. Sombitch.
HIM: Hush, woman. I seen you. I counted. Three guys. Makes sixty bucks. You onna gimme thirty.
HER: Damn you, nigger. I oughta take a razor on your ear. I oughta cut out your liver and feed the cats. I oughta fry your eyes in turpentine. Listen, nigger. Let me hear you call me a liar again.
HIM (placating): Sugar—
HER: Sugar. I’ll sugar you.
HIM: Miss Myrtle, now I knows what I seen.
HER (slowly: a serpentine drawl): Bastard. Nigger bastard. Fact is, you never had no mother. You was born out of a dog’s ass.
(She slaps him. Hard. Turns and walks off, head high. He doesn’t follow, but stands with a hand rubbing his cheek.)
FOR A WHILE I WATCH the prancing spring-spry balloon children and see them greedily gather around a pushcart salesman selling a concoction known as Sweetmouth: scoops of flaked ice flavored with a rainbow-variety of colored syrups. Suddenly I recognize that I am hungry, too, and thirsty. I consider walking over to the French Market and filling up on deep-fried doughnuts and that bitter delicious chicory-flavored coffee peculiar to New Orleans. It’s better than anything on the menu at Antoine’s—which, by the way, is a lousy restaurant. So are most of the city’s famous eateries. Gallatoire’s isn’t bad, but it’s too crowded; they don’t accept reservations, you always have to wait in long lines, and it’s not worth it, at least not to me. Just as I’ve decided to amble off to the Market, an interruption occurs.
Now, if there is one thing I hate, it’s people who sneak up behind you and say—
VOICE (whiskey-husky, virile, but female): Two guesses. (Silence) Come on, Jockey. You know it’s me. (Silence; then, removing her blindfolding hands, somewhat petulantly) Jockey, you mean you didn’t know it was me? Junebug?
TC: As I breathe—Big Junebug Johnson! Comment ça va?
BIG JUNEBUG JOHNSON (giggling with merriment): Oh, don’t let me commence. Stand up, boy. Give old Junebug a hug. My, you’re skinny. Like the first time I saw you. How much you weigh, Jockey?
TC: One twenty-five. Twenty-six.
(It is difficult to get my arms around her, for she weighs double that; more. I’ve known her going on forty years—ever since I lived alone at the gloomy Royal Street address and used to frequent a raucous waterfront bar she owned, and
