The dinner ended in a kind of explosion of goodwill.
Joelle’d felt half-crazed. She could detect nothing fake about the lady’s grace and cheer toward her, the goodwill. And at the same time felt sure in her guts’ pit that the woman could have sat there and cut out Joelle’s pancreas and thymus and minced them and prepared sweetbreads and eaten them chilled and patted her mouth without batting an eye. And unremarked by all who leaned her way.
On the way back home, in a cab whose company’s phone-number Hal had summoned from memory, Orin hung his leg over Joelle’s crossed legs and said that if anybody could have been counted on to see that the Stork needed to use Joelle somehow, it was the Moms. He asked Joelle twice how she’d liked her. Joelle’s cheek muscles ached something awful. When they got back to the brownstone co-op on that last pre-Subsidized Thanksgiving was the first historical time Joelle intentionally did lines of cocaine to keep from sleeping. Orin couldn’t ingest anything during the season even if he wanted to: B.U.’s major-sport teams Tested randomly. So Joelle was awake at 0400, cleaning back behind the refrigerator for the second time, when Orin cried out in the nightmare she’d somehow felt should have been hers.
—pages 736–747
11 November
Year of the Depend Adult Undergarment
PART OF MARIO’S footage for the documentary they’re letting him do on this fall’s E.T.A. consists of Mario just walking around different parts of the Academy with the Bolex H64 camera strapped to his head and joined by coax cable to the foot-treadle, which he holds against his sweatered chest with one hand and operates with the other. At 2100 at night it’s cold out. The Center Courts are brightly lit, but only one court is being used, Gretchen Holt and Jolene Criess still winding up some sort of marathon challenge from the P.M. session, the hands around their grips bluish and sweaty hair frozen into electrified spikes, pausing between points to blow noses on sleeves, wearing so many layers of sweats they look barrel-bodied out there, and Mario doesn’t bother with the change in film-speed he’d need to record them through the steamed window of Schtitt’s room, where he is. The room’s noise is deafening.
Coach Schtitt’s room is 106, next to his office on the first floor of Comm.-Ad., past Dr. Rusk’s office and down a two-corner hall from the lobby.
It’s a big empty room, built for its stereo. Hardwood floor in need of sanding, a wooden chair and a cane chair, an army cot. A little low table just big enough for Schtitt’s pipe rack. A folding card table folded up and leaning against the wall. Acoustic damping-tile on all the walls and nothing decorative hanging or mounted on the walls. Acoustic tiling on the ceiling also, with a bare overhead light with a long chain mounted in a dirty ceiling fan with a short chain. The fan never rotates but sometimes emits a sound of faulty wiring. There’s a faint odor of Magic Marker in the room. There is nothing upholstered, no pillow on the cot, nothing soft to absorb or deflect the sound of the equipment stacked on the floor, the black Germanness of a top-shelf sound system, a Mario-sized speaker in each corner of the room with the cloth cover removed so each woofer’s cone is exposed and mightily throbbing. Schtitt’s room is soundproofed. The window faces the Center Courts, the transom and observatory directly overhead and mangling the shadows of the courts’ lights. The window is right over the radiator, which when the stereo is off makes odd hollow ringing clanky clunks as if someone deep underground were having at the pipes with a hammer. The cold window over the radiator is steamed and trembles slightly with Wagnerian bass.
Gerhardt Schtitt is asleep in the cane chair in the middle of the empty room, his head thrown back and arms hanging, hands treed with arteries you can see his slow pulse in. His feet are stolidly on the floor, his knees spread way out wide, the way Schtitt always has to sit, on account of his varicoceles. His mouth is partly open and a dead pipe hangs at an alarming angle from its corner. Mario records him sleeping for a little while, looking very old and white and frail, yet also obscenely fit. What’s on and making the window shiver and condensed droplets gather and run in little bullet-headed lines down the glass is a duet that keeps climbing in pitch and emotion: a German second tenor and a German soprano are either very happy or very unhappy or both. Mario’s ears are extremely sensitive. Schtitt sleeps only amid excruciatingly loud European opera. He’s shared with Mario several different tales of grim childhood experiences at a BMW-sponsored ‘Quality-Control-Orientated’ Austrian Akademie to account for his REM-peculiarities. The soprano leaves the baritone and goes up to a high D and just hangs there, either shattered or ecstatic. Schtitt doesn’t stir, not even when Mario falls twice, loudly, trying to get to the door with his hands over his ears.
The Community-Administration stairwells are narrow and no-nonsense. Red railings of cold iron whose red is one coat of primer. Steps and walls of raw-colored rough cement. The sort of sandy echo in there that makes you take stairs as fast as possible. The salve makes a sucking sound. The upper halls are empty. Low voices and lights from under the doors on the second floor. 2100 is still mandatory Study Period. There won’t be serious movement till 2200, when the girls will drift from room to room, congregating, doing whatever packs of girls in robes and furry slippers do late at night, until deLint kills all the dormitory lights at the dorms’ main breaker around 2300. Isolated movement: a door down the hall opens and shuts, the Vaught twins are heading down the hall to the bathroom at the far end, wearing only an enormous towel, one of their heads in curlers. One of the falls in Mr. Schtitt’s room had been on the burnt hip, and squunched salve from the bandage is starting to darken the corduroys at that side of the pelvis, though there is zero pain. Three tense voices behind Carol Spodek and Shoshana Abram’s door, lists of degrees and focal lengths, a study group for Mr. Ogilvie’s ‘Reflections on Refraction’ exam tomorrow. A girl’s voice from he can’t tell which room says ‘Steep hot beach sea’ twice very distinctly and then is still. Mario is leaning back against a wall in the hallway, panning idly. Felicity Zweig emerges from her door by the stairwell carrying a soap-dish and wearing a towel tied at that breast-level, as if there were breasts, moving toward Mario on her way to the head. She puts her hand out straight at his head’s camera, a kind of distant stiff-arm as she passes:
‘I’m wearing a towel.’
‘I understand,’ Mario says, using his arms to turn himself around and pointing the lens at the bare wall.
‘I’m wearing a towel.’
Brisk controlled sounds of retching from behind Diane Prins’s door. Mario gets a couple seconds of Zweig hurrying away in the towel, tiny little bird steps, looking terribly fragile.
The stairwells smell like the cement they’re made of.
Behind 310, Ingersoll and Penn’s door, is the faint rubbery squeak of somebody moving around on crutches. Someone in 311 is yelling ‘Boner check! Boner check!’ A lot of the third floor is for boys under fourteen. The hall carpet up here is ectoplasmically stained, the expanses of wall between doors hung with posters of professional players endorsing gear. Someone has drawn a goatee and fangs on an old Donnay poster of Mats Wilander, and the poster of Gilbert Treffert is defaced with anti-Canadian slurs. Otis Lord’s door has Infirmary next to his name on the door’s name-card. Penn’s room’s door’s card’s name also had Infirmary. Sounds of someone talking low to someone who’s sobbing from Beak, Whale, and Virgilio’s room, and Mario resists an impulse to knock. LaMont Chu’s door next door is completely covered with magazines’ action-shots of matches. Mario is leaning back to get footage of the door when LaMont Chu exits the bathroom at this end in a terry robe and thongs and wet hair, literally whistling ‘Dixie.’
‘Mario!’
Mario gets him bearing down, his calves hairless and muscular, hair-water dripping onto his robe’s shoulders with each step. ‘LaMont Chu!’
‘What’s happening?’
‘Nothing’s happening!’
Chu stands there just within conversation-range. He’s only slightly taller than Mario. A door down the hall ope
ns and a head sticks out and scans and then withdraws.
‘Well.’ Chu squares his shoulders and looks into the camera atop Mario’s head. ‘You want me to say something for posterity?’
‘Sure!’
‘What should I say?’
‘You can say anything you want!’
Chu draws himself way up and looks penetrating. Mario checks the meter on his belt and uses the treadle to shorten the focal length and adjust the angle of the camera’s lens slightly downward, right at Chu, and there are tiny grinding adjustment-sounds from the Bolex.
Chu’s still just standing there. ‘I can’t think what to say.’
‘That happens to me all the time.’
‘The minute your invitation became official my mind went blank.’
‘That can happen.’
‘There’s just this staticky blank field in there now.’
‘I know just what you mean.’
They stand there silent, the camera’s mechanism emitting a tiny whir.
Mario says ‘You just got out of the shower, I can tell.’
‘I was talking with good old Lyle downstairs.’
‘Lyle’s terrific!’
‘I was going to just whip right over into the showers, but the locker room’s got this, like, odor.’
‘It’s always great to talk with good old Lyle.’
‘So I came up here.’
‘Everything you’re saying is very good.’
LaMont Chu stands there a moment looking at Mario, who’s smiling and Chu can tell wants to nod furiously, but can’t, because he needs to keep the Bolex steady. ‘What I was doing, I was filling Lyle in on the Eschaton debacle, telling him about the lack of hard info, the conflicted rumors that are going around, about how Kittenplan and some of the Big Buds are going to get blamed. About disciplinary action for the Buds.’
‘Lyle’s just an outstanding person to go to with concerns,’ Mario says, fighting not to nod furiously.
‘Lord’s head and Penn’s leg, the Postman’s broken nose. What’s going to happen to the Incster?’
‘You’re acting perfectly natural. This is very good.’
‘I’m asking if you’ve heard from Hal what they’re going to do, if he’s in on the blame from Tavis. Pemulis and Kittenplan I can see, but I’m having trouble with the idea of Struck or your brother taking discipline for what happened out there. They were strictly from spectation for the whole thing. Kittenplan’s Bud is Spodek, and she wasn’t even out there.’
‘I’m getting all this, you’ll be glad to know.’
Chu is now looking at Mario, which for Mario is weird because he’s looking through the viewfinder, a lens-eye view, which means when Chu looks down from the lens to look at Mario it looks to Mario like he’s looking down south somewhere along Mario’s thorax.
‘Mario, I’m asking if Hal’s told you what they’re going to do to anybody.’
‘Is this what you’re saying, or are you asking me?’
‘Asking.’
Chu’s face looks slightly oval and convex through the lens’s fish-eye, a jutting aspect. ‘So what if I want to use this that you’re saying for the documentary I’ve been asked to make?’
‘Jesus, Mario, use whatever you want. I’m just saying I have conscience-trouble with the idea of Hal and Troeltsch. And Struck didn’t even seem like he was conscious for the debacle itself.’
‘I should tell you I feel like we’re getting the totally real LaMont Chu here.’
‘Mario, camera to one side, I’m standing here dripping asking you for Hal’s impressions of when Tavis called them in, as in did he give you impressions. Van Vleck at lunch said he yesterday saw Pemulis and Hal coming out of Tavis’s office with the Association urine-guy holding them both by the ear. Van Vleck said Hal’s face was the color of Kaopectate.’
Mario directs the lens at Chu’s shower-thongs so he can look over the viewfinder at Chu. ‘Are you saying this, or is this what happened?’
‘That’s what I’m asking you, Mario, if Hal told you what happened.’
‘I follow what you’re saying.’
‘So you asked whether I was asking, and I’m asking you about it.’
Mario zooms in very tight: Chu’s complexion is a kind of creamy green, with not one follicle in view. ‘LaMont, I’m going to find you and tell you whatever Hal tells me, this is so good.’
‘So then you haven’t talked to Hal?’
‘When?’
‘Jesus, Mario, it’s like trying to talk to a rock with you sometimes.’
‘This is going very well!’
Someone gargling. Guglielmo Redondo’s voice going through the rosary, it sounds like, just inside his and Esteban Reynes’s door. The Clipperton Suite in East House had had a bright-yellow strip of B.P.D. plastic for over a month, he remembers. The Boys Room door a different kind of wood than the room doors. The Clipperton Suite had a glued picture of Ross Reat pretending to kiss Clipperton’s ring at the net. The roar of a toilet and a stall door’s squeak. The Academy’s plumbing is high-pressure. It takes Mario longer to walk down a set of stairs than to walk up. Red primer stains his hand, he has to hold the railing so tight.
The special hush of lobby carpet, and smells of Benson & Hedges brand cigarettes in the reception area off the lobby. The little hall doors that are always closed and never locked. The rubber sheaths on the knobs. Benson & Hedges cost $5.60 O.N.A.N. a pack at Father & Son grocery down the hill. Lateral Alice Moore’s desk’s plaque’s DANGER: THIRD RAIL light is unilluminated, and her word-processing setup wears its cover of frosted plastic. The blue chairs have the faint imprints of people’s bottoms. The waiting room is empty and dim. Some light from the lit courts outside. From under double doors is lamplight, much attenuated by double doors, from the Headmaster’s office, which Mario doesn’t explore; Tavis is unnerved into such gregarity around Mario it’s awkward for all parties.316 If you asked Mario whether he got on with his Uncle C.T. he’d say: Sure. The Bolex’s light-meter is in the No Way range. Most of the waiting area’s available light comes from the doorless Dean of Females’s office. Meaning the Moms is: In.
Heavy shag carpet is especially treacherous for Mario when he’s top-heavy with equipment. Avril Incandenza, a fiend for light, has the whole bank of overheads going, two torchères and some desk lamps, and a B&H cigarette on fire in the big clay ashtray Mario’d made her at Rindge and Latin School. She is swivelled around in her swivel-chair, facing out the big window behind her desk, listening to someone on the phone, holding the transmitter violin-style under her chin and holding up a stapler, checking its load. Her desk has what looks like a skyline of stacks of file folders and books in neat cross-hatched stacks; nothing teeters. The open book on top facing Mario is Dowty, Wall and Peters’s seminal Introduction to Montague Semantics,317 which has very fascinating illustrations that Mario doesn’t look at this time, trying to film the cock of the Moms’s head and the phone’s extended antenna against the cumulus of her hair from behind, capturing her back unawares.
But the sound of Mario entering even a shag-carpeted room is unmistakable, plus she can see his reflection in the window.
‘Mario!’ Her arms go up in a V, stapler open in one hand, facing the window.
‘The Moms!’ It’s a good ten meters past the seminar table and viewer and portable blackboard to the far part of the office where the desk is, and each step on the deep shag is precarious, Mario resembling a very old brittle-boned man or someone carrying a load of breakables down a slick hill.
‘Hello!’ She’s addressing his reflection in the quartered window, watching him put the treadle down carefully on the desk and struggle with the pack on his back. ‘Not you,’ she tells the phone. She points the stapler at the image of the Bolex on the image of his head. ‘Are we On-Air?’
Mario laughs. ‘Would you like to be?’
She tells the phone she’s still here, that Mario’s come in.
‘I don’t want to intercept your call.??
?
‘Don’t be absurd.’ She talks past the phone at the window. She rotates her swivel-chair to face Mario, the receiver’s antenna describing a half moon and now pointing up at the window behind her. There are two blue chairs like the reception-area chairs in front of her desk; she doesn’t indicate to Mario to sit. Mario’s most comfortable standing and leaning into the support of the police lock he’s trying to detach from his canvas plastron and lower, shucking the pack off his back at the same time. Avril looks at him like the sort of stellar mother where just looking at her kid gives her joy. She doesn’t offer to help him get the lock’s lead brace out of the pack because she knows he’d feel completely comfortable asking for her help if he needed it. It’s like she feels these two sons are the people in her life with whom so little important needs to be said that she loves it. The Bolex and support-yoke and viewfinder over his forehead and eyes give Mario an underwater look. His movements, setting and bracing his police lock, are at once graceless and deft. The lit Center Courts, now empty, are visible out the left side of Avril’s window, if you lean far forward and look. Someone has forgotten a gear bag and pile of sticks out by the net-post of Court 17.
Silences between them are totally comfortable. Mario can’t tell if the person on the phone is still talking or if Avril just hasn’t put the dead phone down. She still holds the black stapler. Its jaws are open and it looks alligatorish in her hand.