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Overview
In this superb novel composed of fragments of memory, Gilbert Sorrentino captures the unconventional nuances of a conventional world. A masterful collage of events is evocatively chained together by secrets and hidden truths that are almost accidentally revealed. Each episode, affectingly textured with penetrating detail, ferrets out the gristle and unconventional beauty found in the voices of the working-class inhabitants from an irretrievable, golden age Brooklyn.
Product Details
| ISBN-13: | 9781566892889 |
|---|---|
| Publisher: | Coffee House Press |
| Publication date: | 11/27/2012 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 220 |
| File size: | 2 MB |
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CHAPTER 1
The imprint of death
People enter and then inhabit, help-lessly, periods of their lives during which they look as if death has spoken to them, or, even more eerily, as if they themselves are companions to death. It is not usual for others to notice this in daily intercourse, but the look is manifest in photographs taken during these periods.
He and his wife stand side by side in casual summer clothes, comfortable, and, as they say, contemporary, but in no other way remarkable. Behind them is a cluttered, even messy kitchen table, in the center of which, curiously, a tangerine sits atop a coffee mug, and on the wall behind that is a very poorly done pencil drawing made by a neighbor's daughter, a senior at the High School of Music and Art. Such infirm productions attest to the inevitable errors of talent selection. In the man's face we can see, clearly, the imprint of death left there years ago by the deaths of his mother and father, who died less than a year apart. They died badly, as do many people, gasping, fighting, twitching, their staring eyes registering amazement at how their bodies were impatiently closing themselves down, literally getting rid of themselves. Enough! Enough!
And then they were gone, they passed away. His wife's face has, uncannily, borrowed the subtly peaked, grayish blandness of his own, and so she, too, looks as if she has to do with the other side.
But here is another photograph of a middle-aged man, let's say he's the wife's brother, whose eyes, in a placid, contented, almost smug face, have the half-mad, glazed expression which used to be known, among infantrymen, as a thousand-yard stare. Precisely at the spot at which those thousand yards end, or, perhaps, begin, is the more precise word, stands death itself, in mundane disguise, of course, looking like James Stewart in one of his honest-friend roles. The face of the man in the photograph is unsettling, since its peaceful demeanor belies the crazed eyes, which reveal the dark truth. Death, as James Stewart, may have even been approaching when the photograph was taken. Which would go a long way toward explaining the ocular terror.
And here is a group of eight or nine children in a Brooklyn playground in 1959. There are four boys and two girls and they are smiling and mugging with their gap-toothed mouths, their shirts and shorts soaked from the sprinklers whose gossamer spray can be seen in the background. They are enough to break your heart. One of them, a sweet girl with straight black hair, cut short, and with a tiny Miraculous Medal on a chain around her neck, has her hands crossed on her chest. It is this pose which somehow allows access to the expression beneath the sweetness of her lovely face. The occulted expression is the one that can be seen on prisoners in Auschwitz, although this little girl knows nothing of Auschwitz. He puts the photograph down, he hides the photograph, but has no true idea why. Yet the message has been delivered, oh yes. It is at such times that we are brought to consider how completely strange death is, how remote from us, how foreign, how impenetrable, how unfriendly. In its ineradicable distance from our entire experience, it is inhuman.
* * *
Or: "Death is not an event in life: we do not live to experience death." (6.4311)
Click. Now you see us; now you don't.
Click.
Many people cannot understand why certain religions do not allow animals to enter heaven. Well, we know that they have no souls, but many people wonder about that, too. Do they? When the Rapture snatches Joe Bob Joe outen his Ford pickup, it'll be tough on Mr. Joe to leave Rend and Tear, his "really gentle" Rottweilers, behind.
"Let him change his religion and truly be saved!" Bob Joe Bob says, perhaps irrelevantly.
May their souls and the souls of all the faithful departed, through the mercy of God, rest in peace. Amen. Which implies, maybe, that if God does not wish, in, of course, selected cases, to be merciful, these faithful departed may not rest in peace.
Tangerine was, indeed, all they claimed, but she's been dead for about 50 years. Bob Eberle knew her well, and even, so they say, had an amour with her. He may be dead by now as well.
Of what is't fools make such vain keeping?
Sin their conception, their birth weeping,
Their life a general mist of error,
Their death a hideous storm of terror.
John Webster was, clearly, unfamiliar with the rhetoric of grief counseling.
I once heard Ray Eberle, Bob's brother, at the end of his rather undistinguished career, sing in a Brooklyn saloon named Henry's. His backup band was a disastrous trio, piano, accordion, and drums, but he was game. He bummed a cigarette from me at the bar. I was going to tell him that I'd seen him at the Paramount with Glenn Miller, but what was the point?
Click.
The chums of 6B4
Mario wore rubbers to school EVERY day, for the uppers of his shoes were cracked and split, and the soles worn all the way through. He could have chosen not to wear rubbers, of course, for this was, even in the thirties, America, and freedom, enough to choke a horse, was in the unfailing ascendant. An unkind youth with a belief in his own superiority once thought to bait him about these rubbers, industrial rubbers, as they surely were, slaughterhouse rubbers, with their unmistakable thick red soles. The rage that he saw within Mario's tautly held body dissuaded him, however, and warned him away. A lot of the boys in class, knowing of his plans, were disappointed, because they hoped that maybe Mario would, in the parlance of the day, clean the little bastard's fucking clock. Maybe, God willing, even kill him. Nobody would miss him, least of all the chums of 6B4.
* * *
"I wish that all the pain that _____ is feeling could be visited, in spades, on my worst enemy," is a refreshing phrase. If one can't wish one's enemies misery or death, what is the use of sin and redemption?
Follow the leader: Mario, after his bitter childhood years of poverty, which he shared with his older brother, Mike, followed Mike and Mike's wife, Connie, to Trenton, NJ, for God knows what reason. They may still live there, doing the Jersey bounce.
It is generally agreed, or so I understand, that the word "chum" is no longer in general use, save for ironic or parodic affect. It functions, that is, much like the well-made short story.
"Of which we've read, ah, plenty."
On a Studebaker coupe
He takes bubbsy, whom he hates, but has no idea why, up to the roof, for reasons never explained, reasons never even suggested by the quiet, handsome boy, who has lived, more or less, in saloons most of his life. His mother has kept him in food and clothes, despite the fact that she rarely leaves the bar, save to stagger into the ladies' room with one drunken lothario or another. He pulls Bubbsy, by the hair, to the edge of the roof, and throws him off. Bubbsy lands on a Studebaker coupe, crushing the roof with his head, which cracks open in a mess of blood and brains. He leans over the edge of the roof and lights a cigarette, then carefully drops a burnt match, aiming at the body, but the wind blows the match well off line and out of sight. He thinks that the coupe belongs to that stupid prick who lives over the candy store on the corner. That would be nice.
* * *
Hide and seek: death. He had been in Lincoln Hall. After the death of Bubbsy, he was sent to Coxsackie, then Dannemora. Nobody knew where he went from there, although there were recurring, preposterous rumors that he was acting in the movies, with a different face.
"They can do fuckin' anything in Hollywood."
Bubbsy liked to torture cats and cruelly tease and hurt little children. Had he lived, there is a good chance that he would have become a hail-fellow-well-met regular sport of a bully, drunk, and dedicated beater of women, like his older brother, Mac, the cop.
"There are always, sure, a few bad apples in the barrel, but it's very wrong to condemn and blacken all the other honest, hardworking, law-abiding people who and so forth, and who and so on, and who, day in and day out, do this and do that and do the other thing too."
It could happen to you. Hide. And seek.
The same darkness envelops them all.
The burdens of the Depression
Have a spaghetti sangwich! have a spaghetti sangwich with pieces of cold frankfurter on it! Have a cod-liver oil sandwich, a sammich that'll put hair on your chest, your head, your hands, and your freezing feet!
A ketchup sammich? A ketchup-and-mustard sammich? Or how does a cold stringbean sammich strike you, little fella? A canned pineapple sandwich might go well with a big jelly jar chock by Jesus Christ up to the brim with lemon Epco or grape Kool-Aid, as too might a canned-spinach sandwich. Succotash on moldy rye? Mmmm.
A cottage-cheese-and-cold-boiled-puhtaytuh sangaweech on stale Bond bread, now that is the absolute ticket! You're talking nutrition? Then, too, sandwiches of sliced green pepper and Crisco will surely refresh after a long day of career discussions. And don't neglect to pop over to friendly Gallagher's, sport, for a pitcher of Trommer's: crisp, light, and tingling! And zesty! It's the Ivy League beverage of choice, you'll recall?
How to feed your family of five, or even six, on a dollar a day, without endangering their health or welfare. Just takes a little g-u-m-p gumption!
Stay away, oh, stay far hence from those terrible crumb buns, cinnamon buns, coconut buns, crullers, doughnuts, and Danish pastries: they'll send you to your grave, yowzah.
Break out the lettuce-and-oleo sammiches, pliz. Look at those smiling children in the sunny kitchen! Look at those cavities and suppurating ears! Bacon and eggs and sausages and toast with butter, again! That will do it every time.
Afterward, when the coughing lets up a little, these tykes can build a little character selling Liberty at the subway station. "How to Feed Your Growing Family on Fifty Cents a Day" is in the latest issue, wow!
And for the love of God, who does not cotton to the idle poor, as we all know, please avoid those thick steaks, buttered mashed potatoes, rich sauces, cream-laden desserts, all those deadly foods that will damage the courageous heart, OK?
Lard on toast might allay certain yearnings, but moderation, moderation.
How amazing that the poor have always eaten a healthy diet, rich in vegetables, legumes, and whole grains, and low in fat and sugars. They've had it puhretty darn good!
Here you go — a kohlrabi sangwich on what looks like a fetching pale-green slice of Silvercup! Fulla vitamins Q and T.
* * *
Herbert Hoover died at the age of 137, of course. It is said that he never ate a steak in his life, and that his favorite dinner was farmer cheese on soda crackers with skim milk.
He did not call the unemployed "the shiftless idle," and the rumor that attributed this remark to him has been traced to Ethel and Julius Rosenberg, described as "Godless un-Cristian [sic] Jews" in Jesus Knows News. It is a cruel rumor, and one that is in very poor taste as well.
When the burdens of the Depression and such aberrations as the Bonus March could not be lightened by cheery thoughts of Tom Mix, Mr. Hoover often went fly-fishing, called "the sport of dukes." He wore his Stanford tie.
"Don't fence me in!" the doughty President would exultantly cry to the aromatic woods. And soon it would be time for a raw onion.
The very picture of loneliness
Desolate lot, a boy of perhaps four, in a tattered and patched hand-me-down windbreaker, a knitted cap on his head against the raw cold of a late March afternoon. He is alone, rooting with a stick in the rubble of broken red and buff bricks, shards of stained porcelain, diseased shingles, tree limbs, all the rubbish and detritus of this failing neighborhood, struggling for life on the thinnest edge of utter decay. It is the very picture of loneliness. The boy's father, who has gone to look for him as the bitter darkness begins to slide across the low roofs of the neighborhood houses, watches him, heartbrokenly, in silence. He knows, although he has no idea that he knows, that the boy, alone in the sad quiet of this gray, dispirited lot, will be alone always in his life, and that the distant, perplexing world that he is to inhabit is one to which he will be forever strange. This knowledge enters the father with viral efficiency, and years later, he will remember this day, even remember the shape of a brown leaf that lies at his feet, crepitant.
And years later, after a long period of estrangement and silence, the boy, now a solitary man, will write his father a letter, suggesting that the years of separation and misunderstanding might, possibly, be ended, might, possibly, be "cured," is his odd word. And the father, tentatively, carefully, replies, with guarded love and exquisite care, but hopelessly. The boy will have no memory of the death of hope that lay at the center of that lot, at the center of that raw afternoon, eerie in thin, failing sunlight and dirty cold. The father will have no way of telling his son of the truth that was thrust upon him, as he watched from the sidewalk before he called to him to come home. The fact of the loveless void of that shattered lot on that unremarkable block in Brooklyn in the fading years of the 1950s will be in and of his letter, and even as he mails it, the letter, full of carefully phrased sentences that demand nothing and expect nothing and promise nothing, that is but a salute, labored yet authentic, will not, he knows, be answered.
* * *
Céline writes that "the living people we've lost in the crypts of time sleep so soundly side by side with the dead that the same darkness envelops them all."
No one used to think that a vacant lot was owned, rather, lots were everybody's property, loci of quiet anarchy. A lot took its character from that of the surrounding neighborhood. Because of this, it was an accurate index of a neighborhood's present, but held no hint of its future. To place a living human figure in the center of a lot is to compose a kind of iconic reality that is, oddly, more real than the presence of an actual living figure in the center of a lot.
It is hard to be a father.
No love. No nothing.
The scow
The boy leaps from the slippery edge of the pier out toward the scow tied up alongside it. He's done this dozens of times over the past few years, timing the slow heave and slide of the clumsy vessel as the swells carry it toward the pier and then away from it, but this time he misjudges and, in midair, his arms outstretched and his legs pistoning, realizes that he won't land on the deck. His left foot touches the gunwale, but the scow is riding away from him on the water, glassy with oil. Some other boys stand in momentary silent terror, still, on the pier in the anemic sunlight and brisk wind of the October afternoon, knowing that their friend's foot has not gained purchase. He falls between the hull and the pier just as the scowreaches its maximum distance from the pier, and is held, wholly still, by its huge, splintery hawsers. As the boy surfaces, the scow lifts and begins its terrible slide toward him, the swell carrying it silently, calmly, toward the pier. A deckhand hears the screaming of the boys on the pier and emerges, half-drunk, from a makeshift cabin of planks and tarpaper on the deck, and knows, instantly, what has happened, and that there is nothing to be done. He stands at the gunwale and looks into the space between the hull and the pier, sees the boy's small, tough face white with shock and fear, and yells, in a voice high with rage and anguish, in a near-comic Norwegian accent, that the focking goddamn kid is focking goddamn crazy and to get the focking goddamn hell out of there, and then the boy is a soft crack and an explosion of gore and, weirdly, makes no sound as he is crushed to his filthy death.
* * *
"What did you see as you fell? What did you hear as you sank?/Did it make you drunken with hearing?"
The boy would not have understood these lines in any other way but the literal. That is, had anyone known to avail him of the poem from which they come. But who would have known?
Go fish. And blues in the night.
(Continues…)
Excerpted from "Little Casino"
by .
Copyright © 2002 Gilbert Sorrentino.
Excerpted by permission of COFFEE HOUSE PRESS.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
The imprint of death,
The chums of 6B4,
On a Studebaker coupe,
The burdens of the Depression,
The very picture of loneliness,
The scow,
A more innocent time,
Lest it be forgotten,
Spring colors,
The fool,
Absolutely beautiful,
The light of bowling alleys,
Imbecile and slave,
In Caldwell,
Costume parties,
The libertine's hell,
Beauty Parade,
The black force of Eros,
Mechanics of the dream world,
Poor banished children of Eve,
Shoes rain of the cops,
Presidential Greetings,
This is the life,
The salt of the earth,
The kisses of Dolores,
Stars of the silver screen,
An attractive woman,
The dark and iron world,
Shuffle off to Buffalo,
This valley of tears,
The true ciphers at last,
Four soldiers,
Martinis are blue,
Pitie them that weepe,
The Christmas tree,
4th of July,
Gallant improvisation,
Epistolary associates,
Clarity, neatness, and thoroughness,
The tomato episode,
Fats Navarro,
Mysteries of causes and effects,
Never trust a writer,
Little or no respect,
A scherzarade,
This indifferent earth,
A nice surprise,
Small magic,
In a Mellotone,
Helen and Connie,
Lakeside and oceanside,
The color of stars,