Babylon and Other Stories Part 4

In the middle of the night he thought he heard a scream and jumped up out of bed. Standing outside their door, listening, he heard his mother sob. Was it the baby? So heavy that it dropped out of her, ripping her open? "Mom?" he said.

"Go to sleep, Kev," Brian said. "Everything's fine."

Kevin looked at the closed door. "Mom?" he said.

Finally she called, "It's okay."

He was still standing there, and Brian said, "Did you hear her, bud? Go back to bed."

In the morning, they were still asleep when he left for his piano lesson. He drank a gla.s.s of juice and ate some toast and walked around the park, green and weedy now. He rang the doorbell at Mrs. Tanizaki's.

"Come in, Kevin," she said. "Today I've got a surprise for you."

He followed her into the house. Lawrence stood in the kitchen doorway, chewing. When Kevin pa.s.sed by, he opened his mouth wide and showed him the pile of chewed-up food on his tongue. Kevin stared.

"When you're finished eating," Mrs. Tanizaki called, "we'll be waiting for you, Lawrence."

Lawrence smiled at him with his mouth still open and his tongue covered with food. His eyes were barely visible behind his gla.s.ses and his hair. Kevin sped past him.

"Sit over here, Kevin," Mrs. Tanizaki said, pointing to the chair at the back of his room, where Lawrence used to sit chewing his sandwiches. "Where is your book?"

He opened his backpack and took it out.

"Open to the last page," she said. "I want you to learn this piece. This section in your book is just a small part of the piece. But Lawrence knows the whole piece and plays it very well, so I asked him to play it for you. And I want you to listen to it very carefully."

"Okay."

"Lawrence, are you ready?"

Lawrence came into the room with his mouth closed and sat down on the piano bench. Kevin looked at his slouching back. All he could think about was bits of food falling out of his mouth and landing on the white and black keys, and when Lawrence started playing he could barely hear the music. He was thinking about the food, and the notes were wooden and dull. He closed his eyes. Lawrence's fingers moved over the piano without ceasing, and he pictured them and made them into his own fingers, and then he was playing and finally he could hear the piano. He heard it without Lawrence in it. And there it was. The notes lined up, partnered and separated and circled, moving swiftly through a clear, empty hall; there were no smells in this place, just a pale and pure background, like water. Then he thought, This is the castle. These are the dancers.

A cascade, a chord, a castle.

The music stopped, and he opened his eyes. Mrs. Tanizaki smiled down at him, not at his face but at his hands, and he looked and saw they were balled into fists. Lawrence made a snorting sound.

"Thank you, Lawrence," Mrs. Tanizaki said. "Kevin, would you like to thank Lawrence for his performance?"

"Okay."

"Kevin," she said.

"I mean thank you," he said.

"No big deal. Can I go now, Mom?"

"Yes, Lawrence."

He slipped heavily off the bench and disappeared into the kitchen, where Kevin could hear him opening and closing the refrigerator door, then took his place at the piano.

"Now, you try," Mrs. Tanizaki said, opening the book.

Kevin's fingers moved thickly, sluggishly through the first bars, and it sounded nothing like what he had just heard. He thought about his paper piano and his mother and his father there or not there and his fingers making empty sounds on a flat surface and he bit down, hard, on the inside of his cheek. His fingers stopped.

"It's all right, Kevin," Mrs. Tanizaki said. "It takes practice. If you go home and practice, you'll be able to play the piece, I guarantee it."

He looked at her dark eyes. She was the teacher. He bent his head over the keys.

When he got home his father was not there. His mother looked dazed, and kept moving her hands over her swollen stomach, from top to bottom, over and over.

"I don't think he's coming back this time," she said. "He packed a bag."

Kevin set his own backpack down, as if it incriminated him, and put his hands in his pockets.

"The duffel bag," Rachel said. "He took the duffel bag this time." She looked at Kevin, his thin arms poking out of his T-s.h.i.+rt. "Sit down at the table," she said. "He's not coming back, okay? But we're going to be fine. I'm going to make lunch."

She heated up some soup in the microwave, then brought it to the table and poured him a gla.s.s of milk. She sat down opposite him and crossed her arms. "How was your lesson?"

"I'm not going back," Kevin said.

"What do you mean? You love the piano."

He shook his head. He picked up his spoon and slurped down some soup. Even though he'd had his eyes closed during Lawrence's performance, he couldn't stop picturing his hands moving quickly, unhesitatingly, over the keys, gathering the notes into perfect strands, as Mrs. Tanizaki watched. The two of them sat together at the piano under the pool of light. It was their world, and he did not belong in it. He saw himself walking slowly toward them, a sheet of paper in his hand, and Mrs. Tanizaki didn't hear him; but Lawrence turned and saw Kevin and he was laughing, his head flung back.

"I hate her." He couldn't say her name. "I'm not going back."

"You really don't want to? You don't like the piano anymore?"

"I'm not going there anymore."

"Come here," she said. "Stop eating and come here."

He obeyed, walking around the table and standing next to her. They looked into each other's pale blue eyes. Then his lower lip, still orange with soup, trembled, and tears slipped down his cheeks. Rachel felt her blood pump in her veins-moving through her, waking her up-and she put her hands on the slight, slack muscles of his upper arms.

"I won't let you stop," she said, and her fingers sent strength into his skin. Her voice was the world's warmest sound. It pulled and pulled him until he found himself leaning close against her, and he pressed his forehead to her neck.

You Are Here.

There were three days left of life in the suburbs; afterwards, it would all vanish. From her bedroom window, Iz could already see it starting to disappear, color bleeding from the edges of parks and elementary schools, asphalt thinning in driveways. This was in August, and all the neighborhood came out at dusk to walk their dogs in the park across the street. When Iz was in her room painting she kept the window open and could hear them calling their pets, names echoing in the twilight, like those of lost children. All the dogs ignored their owners. Off leashes, they danced and spun in the center of the park, barking and biting, threatening to bring or, again like children, come to harm.

Iz was leaving. School started Tuesday, and then she would not look back; she would never come back, either, except possibly in the very distant future, when she was either rich or an aristocrat. But until Tuesday she had to wait and, today, had to go shopping with her mother. In order to survive their trip to the mall, she was treating it as a sociological expedition, a journey into the heart of America. Also, she was pretending to be French. She would address silent queries to her mother: Please, could you tell me what ees Orange Julius? Eet ees not in my dictionary. Seen through this lens, American culture was fascinating.

"Izzy, are you ready? Is that what you're wearing to go shopping?" Her mother stood on the landing outside Iz's room, adjusting the straps of her purse and wearing a light blue seersucker dress. She was of a generation that did not choose to leave the house in slacks. She was of a generation that used the word slacks.

"It's hot, Mom. I'm wearing shorts." Please, what ees the difference between slacks and trousers?

Her mother, who didn't know she was French, who thought Iz was from Newton, Ma.s.sachusetts, sighed and shook her head. "Well, you're all grown up now, so do whatever you want," she said, in a tone that meant just the opposite. Iz's wearing shorts to a public place and going off to study art against her father's wishes-he thought she should major in business or computer science or both-were to her equally incomprehensible actions. She always sighed and shook her head. And it drove Iz crazy, this failure to discriminate between tragedies.

Her mother was in her element in the shopping mall; she responded to the filtered light and Muzak like some kind of specialized plant. At home she was mostly quiet and withdrawn, obeying Iz's father's barked, alcoholic commands; she spent a lot of time sitting in armchairs, reading thrillers under isolated pools of light. But once they got inside the mall she drew herself up to her fullest height and took a deep breath. Iz lagged behind, watching packs of teenaged boys pick up teenaged girls. The boys, white kids from Chestnut Hill, were wearing huge, baggy jeans and hundred-dollar sneakers. The girls' hair was sculpted up above their foreheads like a wall of defense.

"Excuse me, but isn't your name Samantha?" one of the boys said, lying in wait outside of the Gap.

"No."

"Oh. Well, what is your name?"

At the black map of stores, Iz's mother hummed and pointed. She was wearing a shade of nail polish called One Perfect Coral. Iz had no nails to speak of; shards of oil paint were visible beneath what was left.

"Now, let's see," breathed her mother. "We are ... here." She pointed to the red dot labeled YOU ARE HERE. Vous etes ici, said Iz to herself.

"And we want to go ... here, I think. Is that all right, Izzy?"

"Whatever, Mom. I don't really have an opinion."

"Oh, don't be ridiculous," said her mother. "Of course you do."

By the time she left for school, Iz owned three color-coordinated outfits she would never wear: angora sweaters and corduroy skirts, Shetlands and kilts, clothes her mother must have seen on the front of New England college brochures. At school she wore jeans and a man's b.u.t.ton-down s.h.i.+rt every day and slept whenever she could in the studio. Her roommate was a girl from Houston who wanted to be an accountant or else marry one. She was the daughter Iz's parents should've had. She wanted to stay up late and make brownies and talk about life; she wanted them to gain the freshman fifteen together. Her name was s.h.i.+relle, like the all-girl group. Excusez-moi, could you tell me please, what ees a s.h.i.+relle? Eet sounds like a kind of, how do you say, mushroom. But eet ees not a mushroom, ees eet?

Iz was now Izabel and she was still from France. She had toned down the accent and was telling people that although she was American she'd grown up in Europe, and would ask them to explain simple things. What ees mac-and-cheese, please? What ees gangsta rap? Ah, oui, le rap des gangsters. It had become a game that gave so much protection she couldn't let go of it. She was mightily disappointed to discover that the people she met at school were from backgrounds just like hers, from indistinguishable suburbs all over the country. They sat around talking about TV shows they all remembered from childhood, as if this represented some kind of shockingly universal human condition, and held contests to see who could remember the most theme songs, or even the most lines from The Facts of Life. "You take the good you take the bad you take them both and there you have the facts of life, the facts of life." Please, who ees Mrs. Garrett?

She escaped to the studio and stayed there whether she was painting or not. Sometimes she just sat around reading books about Greek mythology. She was fascinated by the stories of G.o.ds and women, of rapes and transformations. Zeus came to Leda in the form of a swan. Apollo turned Daphne into a tree. She was sketching out a whole series of paintings where the women turned around and began l.u.s.tfully attacking the G.o.ds, who promptly ran away, terrified by the women's desire. The men, meanwhile, were turned into objects from the modern world of America, Kit-Kat bars and McDonald's golden arches. Apollo became the Lone Ranger, and Zeus became a 1970 s Corvette, his head sticking out in front, like a hood ornament. Her fellow artists thought this was a real critique.

Only one of them, Wade, thought it was bulls.h.i.+t. Short, dark, wiry, and intense, he was very hairy and always had five o'clock shadow, and he walked around the communal studio dropping art terms into casual conversation, contraposto, chiaroscuro. He was from New Jersey but said he was from New York. Supposedly his parents owned a gallery.

"Well, I mean, look, I like it, I do, I think it's clever, I certainly think it's very glib, very facile. I just think it's possibly a little bit too self-conscious, you know, the self-flagellating American artist?" This was what he said of Izabel's sketches, standing with one hand holding the other elbow, motioning with his thin, hairy fingers.

"Excuse me please, what ees self-flatulating?"

"Flagellating," said Wade.

"Oh," Izabel said, smiling apologetically. "Excusez-moi."

In cla.s.s discussion, Wade's remarks were articulate and penetrating and difficult for her to follow. Sometimes the professor, a short, rotund man with a plummy, not-quite-British accent like Cary Grant's, would abandon the pretense of speaking to the whole cla.s.s and converse with Wade for a few minutes, both men serious and collegial, holding certain things to be understood between them. The cla.s.sroom was dark, windowless, and hot, and Izabel frequently fell asleep during their discussions. Nevertheless she liked the dense, enclosed air and felt she continued to learn even when asleep, through osmosis, the art slides imprinting themselves on her brain, translucent and colored, like stained gla.s.s.

Wade drove around the ivy-walled campus in an old Toyota that had been crumpled in some accident and was missing all the windows on the left side. The whole left side of the car, in fact, was wrapped up in plastic and taped together. It looked like somebody's refrigerated leftovers. He asked Izabel to a movie and drove there talking the entire time, his thin fingers jerking and pointing. The art world was like the Roman Empire near the end, he told her, in that it had stopped responding to the world and responded only to itself, speaking its own decadent language. When he asked her if the situation was different in France, Izabel shrugged.

"I get it. I get it," said Wade, grinning, and tapping his fingers against the steering wheel. "The true artist cannot be moved by these considerations. Okay, I see, the artist creates outside of the inst.i.tutions that sponsor him-or her, as the case may be. Well, okay, fair enough. I mean, I understand there's a certain legitimacy to that point of view, but personally I think it's sort of naive in this day and age. I mean after the eighties you can't really think the art world exists outside of a context of politics and commerce, can you? I don't think anybody can, not even you."

"Not even me?" Izabel couldn't tell if he was being sarcastic. Feeling out of her depth, she turned to look out through the cloudy plastic. "Don't people in America fix their cars?"

After the movie they drank coffee while Wade continued to talk. He held pa.s.sionate views on many subjects, and Izabel was amazed by the sheer number of things he found to say. As he spoke he leaned very far over at the table and pressed his hand against his forehead, as if trying to contain all the furious activity inside his brain. After a while she became convinced that this was, in fact, what he was doing. Whenever he asked for her opinion, which wasn't often, she shrugged. The shrug, she decided, was her best weapon. She couldn't really follow all that he was saying, not because it was necessarily so difficult, but mostly because it was so rapid and exhausting. Her mind wandered. She looked at Wade's hand pressed up against his head and started thinking about one of the Barbie dolls she'd had as a child. Ballerina Barbie came with a crown sticking out of her blond hair like a tumorous silver growth. It looked all right when she was dancing, but when she was just hanging out it seemed ridiculous. Izabel had once tried to remove the crown with a pocket knife, but it wouldn't come off and eventually the doll was hospitalized in a s...o...b..x. She never recovered. She had a hard life compared to regular Barbie and Ken, whom Iz kept together in another s...o...b..x and who engaged constantly in pa.s.sionate, violent lovemaking. They did nothing else, had no other hobbies or jobs. Oh, Ken. Oh, Barbie. After the ballerina's operation, Ken and Barbie came to visit, sighing condolences, but then rapidly stole away to squirm and bash their plastic bodies against each other. They only ever had one thing on their plastic minds. While Wade spoke to Iz, she decided to work on a series of paintings in which Ken and Barbie reenacted the romances of Greek mythology. She would tell the cla.s.s, I call thees one "Ken Appears to Barbie in the Form of Campbell's Chicken Noodle Soup."

That night it turned out that Wade, too, only had one thing on his plastic mind. Back at the studio, they looked at some of his canvases, which were enormous, geometric and monochromatic. Izabel had no idea what they were supposed to be about.

"It's a post-Rothko thing," Wade said, and put his hand on her breast. His eyes were hazel, his expression as intense as a sideshow hypnotist's. Izabel couldn't help laughing, but to her surprise this didn't make him stop or even blush. He kept his hand there and started moving it around, and then she quit laughing, and they stayed together in a dark corner of the studio, behind a stack of stretched-out canvases. Oh, Ken. Oh, Barbie.

In cla.s.s they were studying eroticism in art. Everyone was working on being mature about it. They were looking at fairy tales and oil paintings, woodcuts, each detail laced with meaning, the importance of flowers and the angles of wrists. Professor Edelman was isolating the elements of the erotic, cataloging them with his plummy voice and his red laser. He had a dry wit and parchment skin to match it, and Izabel wondered if he could even imagine the physical realities, as opposed to their artistic representations: herself and Wade each night in the studio after everyone else had left, the messiness of their fluids and sounds. The professor pointed in the dark at women facing sideways, huge b.r.e.a.s.t.s projecting outward like crescent moons, their nipples like rocks. These b.r.e.a.s.t.s weren't just b.r.e.a.s.t.s, they represented the fertility of the earth. This was art, where layers of meaning were contained beneath the obvious. It was its own language, just like Wade said. Zee language of love.

By October, Wade would not leave her alone. He stood behind her and talked to her while she painted. She was trying to find the exact fake-flesh color for Barbie's b.r.e.a.s.t.s. Barbie was trapped in a prison, locked inside, but the prison was the regular kitchen of a suburban American home, with a red-checkered tablecloth on the table. Ken's head was vaporously visible in the steam rising from her bowl of chicken noodle soup. Her b.r.e.a.s.t.s leaned toward him precipitously, and tiny chunks of chicken hung from the non-separated strands of his hair. Barbie was looking at him with a complex swirl of emotions-shock, confusion, a terrified desire-that Izabel was trying to convey within the limited range of expression afforded by the trademark Barbie smile.

s.h.i.+relle had moved down the hall and was now rooming with a girl named Kelly. When Izabel went back to the dorm, to change clothes, she sometimes saw them in Kelly's room, the door open, watching movies under a poster of a Georgia O'Keeffe flower, eating microwave popcorn and giggling. Wade was following her back to the room by now. Professor Edelman had come to regard them as a couple and had given them to understand that he approved. A favored pair, they'd been over to his house for dinner and called him by his first name, Marius. After cla.s.s, they'd routinely have coffee or a drink in his office, the two of them slouching in front of his desk he sat behind, surrounded by shelves of papers and books and incunabula, pictures tacked up everywhere, a scholarly collage. He and Wade would discuss personalities of the art world while she stared at a p.o.r.nographic Mesopotamian piece directly behind Marius's head. It had dawned on her that Wade and Marius were the same person, just a few years apart: Wade was what Marius had been as a young man, and Marius was what Wade would become. In either case they were equivalent; it was a transitive property of men. She could see Wade at forty and at sixty, still intense and thin and profusely hairy, though his hair would turn salt-and-peppery and start sprouting out of his nose; he would still gesture with thin fingers in support of his many points.

While she painted, Wade would put his hands on her shoulders, or his arms would encircle her from behind. His body temperature was always high, as if to match his mental energy. He was in love with Izabel, he said, and he brought her gifts, including paints, books, cups of coffee. She didn't know when he found the time to paint, but his canvases grew daily, a huge seven-by-ten wall of color. Her paintings looked like watercolors by comparison, little washed-out sagas of women and men. While she painted, he whispered a stream of plans for their future together and memories of their past, to him already richly detailed. Their relations.h.i.+p was like a painting he was building on canvas, blocking it out section by section, adding layers and color; it had its own internal references and symbols, flowers and the angles of wrists, an iconography of past and future, things that stood for love.

On the phone Iz's mother wanted to know when she was coming home, her voice plaintive and distant. She was preparing a turkey for Thanksgiving, and making a special dressing. In the background Iz's father growled about the rising costs of college tuition. Iz imagined the clean, silent house, where all her old toys lay trapped in liquor boxes stored in the bas.e.m.e.nt, Ken and Barbie forever silent and entwined, like Baucus and Philemon, who grew into a tree. Ken and Barbie could never become a tree, except maybe a plastic one, and perhaps this could be another painting in the series: Ken and Barbie Grow Together into a Fake Potted Plant.

Iz's mother said, "Your father wants to know if you're taking any accounting cla.s.ses."

"Mom, I'm not taking accounting. I'm taking English, math, history, and Visions of the Erotic in Art. Do you remember me, Izzy, I'm an art major? Does he? Does he even remember who I am?"

Her mother sighed into the receiver, low and loose, a sound like flatulence: self-flatulating. Her father's voice rumbled darkly in the background. He had been like this all her life, a shadowy, angry figure, rarely present, issuing proxy commands, whose wrath must be avoided at all costs.

"Your father," translated her mother, "wants me to tell you that you should take economics or computer science. Otherwise he won't pay for next semester. It's a practical thing, Izzy. It's about your future."

Iz said, "Well, since this is my last semester of school, I might as well stay here for Thanksgiving. I guess I'd better get the most of it while I can."

Her mother sighed again and said, "Your father and I only want the best for you."

In France we do not celebrate Thanksgiving, said Izabel. Please, what ees sweet potato pie? Out of loyalty to her and her foreignness-"An exile in your own country," he said, "but aren't artists always exiles?"-Wade decided to stay on campus, too. The college saved on heating costs over the long weekend and the two of them shuffled morosely around the studio in winter coats, breathing clouds of smoke. Feeling like an orphan, Izabel caught cold and began to sniffle and cough. She did not paint. The canvas around Ken and Barbie was murky and indistinct, featureless and gloomy, like the November weather. This, she decided, was the landscape of the suburbs, so she kept it that way. Wade brought her chicken noodle soup and covered her with blankets on the mattress they kept in the corner.

Remote with fever, Izabel slept. She slipped into a dream that felt like church, floating under stained-gla.s.s lights; men murmured, first a drone and then a hum. Wade was on top of her, a solid, hairy weight, and she couldn't breathe. This was not a dream. She pushed him away, but this didn't stop him, any more than her laughter had stopped him the first time. Oh, Izabel. To him it was ecstasy, it was a frenzy of joining. She didn't need to see his face to know this. He was unstoppable as Zeus, but didn't need any disguise. The pain was the color red, and the sheets were red, and the sounds he was making were also red. The world was a canvas splotched with red, and she was the paint; she thinned and spread.

When she woke up, Wade was gone. She sat up and then, pain shooting, lay down again.

Wade came back and lay beside her, stroking her hair. "Are you all right? Do you feel okay?"

"Oui, ca va."

"Do you want any more soup?" The hair on his chin hurt her skin.

He held her in his arms. He still did not stop talking; he was incapable of silence. She closed her eyes and dreamt of men: young G.o.ds who spoke little, yet eloquently, in heavily accented English. A French trapeze artist, wearing tights, beckoned to her. Come away with me, Isabelle. I beg it of you. They would join le cirque and perform gravity-defying feats together, catching each other without fail midair. Or perhaps she'd had enough of French, and instead would meet a German, a n.o.bleman, and they would leave America together, travel to the Old Country, and live in the Black Forest, eating Black Forest cake. Dreaming again, she was now her own mother, walking through a church that was also a shopping mall but still beautiful, like a shopping mall in France or ancient Greece. In its high, domed ceilings, angels hung from the rafters singing songs of purchase, sweet hymns of sales reductions on ladies' wear and pantyhose, the sun shafting through the skylights down to the foodcourt and the altar. It was so beautiful, so warm and light, that she wanted to get closer, but she couldn't figure out how to. She couldn't move at all. She was in a world so beautiful that it didn't require signs or maps. All she needed was a red dot with an arrow labeled You are here. The angels swooped down toward her, singing You are here, holding red sheets open between them like a banner. Where is here? she asked, but the angels wouldn't stop to answer the question. They flew off, these pale, singing cherubs, toward a shoe store where everything was 40% Off.

After Thanksgiving, Izabel was sick for a long time. She moved back into her dorm room and stayed in her bed, sickness a haven she didn't want to leave. s.h.i.+relle came back to take care of her, clucking in a gratified, motherly way, and making her tea with mola.s.ses, which in s.h.i.+relle's family counted as a special treat. As Izabel moved in and out of fever, s.h.i.+relle sent Wade away every time he came to the door. Izabel had papers and tests, but did none of them, s.h.i.+relle writing notes for her and forging doctors' signatures. The college granted her extensions on everything: everything, they said, could wait. They were so kind that Izabel didn't have the heart to tell them she wouldn't be back. She was going to freeze in her bed and waste away like Echo, disappearing into sound. s.h.i.+relle wouldn't hear of this and brought her Rocky Road ice cream to eat in bed. Wade left a twenty-five-page letter in a manila envelope outside her door; it looked like a term paper, double-s.p.a.ced, in a ten-point font, complete with footnotes and an index of lists. In it various issues of importance to their relations.h.i.+p were exhaustively explained, all the scholarly evidence marshaled in favor of Wade's argument. Dear Izabel, I have been doing a lot of thinking and have come to certain conclusions, which are elaborated in the following pages. We can be friends, can't we? We have so much in common. For example ... he wrote, and then gave five pages of examples. He reproduced entire conversations. In conclusion, even if you don't love me anymore, we can be friends. Please be my friend. Be my best friend.

"No," said Iz out loud, sitting in bed. "No."

s.h.i.+relle said, "You should call the police."

"He loves me."

"So f.u.c.king what," said s.h.i.+relle, in her Texan accent.

Izabel looked at her with new appreciation.