her head and laughing
and sobbing. The man is watching the road, listening,
his own more diffuse unhappiness in abeyance,
and because, in the restaurant before the film
the woman had been describing the end of her marriage
and cried, they are not sure whether they are in the theater
or on the mountain road, and when the timber truck
comes suddenly around the bend, they both flinch.
He found that it was no good trying to tell
what happened that day. Everything he said
seemed fictional the moment that he said it,
the rain, the scent of her hair, what she said
as she was leaving, and why it was important
for him to explain that the car had been parked
under eucalyptus on a hillside, and how velvety
and blurred the trees looked through the windshield;
not, he said, that making fictions might not be
the best way of getting at it, but that nothing he said
had the brute, abject, unassimilated quality
of a wounding experience: the ego in any telling
was already seeing itself as a character, and a character,
he said, was exactly what he was not at that moment,
even as he kept wanting to explain to someone,
to whomever would listen, that she had closed the door
so quietly and so firmly that the beads of rain
on the side window didnât even quiver.
Names for involuntary movements of the bodyâ
squirm, wince, flinch, and shudderâ
sound like a law firm in Dickens:
âMr. Flinch took off his black gloves
as if he were skinning his hands.â
âQuiver dipped the nib of his pen
into the throat of the inkwell.â
The receptionist at the hospital morgue told him
to call the city medical examinerâs office,
but you only got a recorded voice on weekends.
Setup without the punchline:
three greenhorns are being measured for suits
by a very large tailor in a very small room on Hester Street.
Once there were two sisters called Knock Me and Sock Me;
their best friend was a bear named Always Arguing.
What kind of animals were the sisters? one child asked.
Maybe they could be raccoons, said the other.
or pandas, said the first. They could be pandas.
âWhy?â he asked. âBecause she was lonely,
and angry,â said the friend
who knew her better,
âand she âd run out of stories.
or come to the one story.â
It is good to sit down to birthday cake
with children, who think it is the entire point
of life and who, therefore, respect each detail
of the ceremony. There ought to be a rule,
he thought, for who gets to lick the knife
that cuts the cake and the rule should have
its pattern somewhere in the winter stars.
Which do you add to the tea first, he âd asked,
the sugar or the milk? And the child had said,
instantly: âThe milk.â (Laws as cool
and angular as words: angular, sidereal .)
Stories about the distribution of wealth:
once upon a time there was an old man
and an old woman who were very, very poor.
How Eldie Got Her Name
The neighborhood had been so dangerous,
she said, there was one summer when the mailmen
refused to deliver the mail. Her mother
never appeared and her grandmother,
who had bought a handgun for protection
and had also taught her how to use it,
would walk her to the post office for the sweet,
singsong, half-rhymed letters that smelled,
or that she imagined smelled, of Florida.
She had, when she was ten, shot at an intruder
climbing in the window. The roar,
she said, was tremendous and she doesnât know
to this day whether she hit the man or not.
(A big-boned young woman, skin the color
of the inside of some light-colored hazelnut
confection, auburn eyes, some plucked string
of melancholy radiating from her whole body
when she spoke.) Did her mama come back?
They had asked. She never came back.
The mail started up again but the letters stopped.
Turned out she was good in school, and that
was what saved her. She loved the labor
of schoolwork. Loved finishing a project
and