The Moviegoer (23 page)

Kinchen asks me if I am going to be in the Cracker Barrel. He is very nervous: it seems he is program chairman and somebody defected on him. He takes me aside.

“Would you do me a favor? Would you kick off with a ten minute talk on Selling Aids?”

“Sure.”

We shake hands and part good comrades.

But I have to get out of here, good fellows or no good fellows. Too much fellow feeling makes me nervous, to tell the truth. Another minute and the ballroom will itself grow uneasy. Already the cellophane stove has begun to glow ominously.

“I have to find Harold Graebner,” I tell Kate.

I grab her hand and slip out and away into the perilous out-of-doors, find the tiniest bar in the busiest block of the Loop. There I see her plain, see plain for the first time since I lay wounded in a ditch and watched an Oriental finch scratching around in the leaves—a quiet little body she is, a tough little city Celt; no, more of a Rachel really, a dark little Rachel bound home to Brooklyn on the IRT. I give her a pat on the leg.

“What?” she says, hardly paying attention—she is busy finding Harold's address on the map and adding up the bar bill. I never noticed how shrewd and parsimonious she is—a true Creole.

“Sweet Kate,” say I patting her.

“All right, let's go.” But she does not leave immediately. We have six drinks in two bars, catch buses, cross a hundred miles of city blocks, pass in the neighborhood of millions of souls, and come at last to a place called Wilmette which turns out not to be a place at all since it has no genie, where lives Harold Graebner the only soul known to me in the entire Midwest. Him, one soul in five million, we must meet and greet, wish good luck and bid farewell—else we cannot be sure we are here at all—before hopping off again into the maze of a city set down so unaccountably under the great thundering-lonesome Midwestern sky.

Off the bus and hopping along Wilmette happy as jaybirds, pass within a few feet of noble Midwestern girls with their clear eyes and their splendid butts and never a thought for them. What an experience, Rory, to be free of it for once. Rassled out. What a sickness it is, Rory, this latter-day post-Christian sex. To be pagan it would be one thing, an easement taken easily in a rosy old pagan world; to be Christian it would be another thing, fornication forbidden and not even to be thought of in the new life, and I can see that it need not be thought of if there were such a life. But to be neither pagan nor Christian but this: oh this is a sickness, Rory. For it to be longed after and dreamed of the first twenty years of one's life, not practiced but not quite prohibited; simply longed after, longed after as a fruit not really forbidden but mock-forbidden and therefore secretly prized, prized first last and always by the cult of the naughty nice wherein everyone is nicer than Christians and naughtier than pagans, wherein there are dreamed not one but two American dreams: of Ozzie and Harriet, nicer-than-Christian folks, and of Tillie and Mac and belly to back.

We skip on by like jaybirds in July.

Harold lives in a handsome house in a new suburb back of Wilmette. His father left him a glass business in South Chicago and Harold has actually gotten rich. Every Christmas he sends a card with a picture of his wife and children and a note something like: “Netted better than thirty five thou this year—now ain't that something?” You would have to know Harold to understand that this is not exactly a boast. It is a piece of cheerful news from a cheerful and simple sort of a fellow who can't get over his good fortune and who therefore has to tell you about it. “Now ain't that something, Rollo?” he would say and put up his hands in his baby-claw gesture. I know what he means. Every time American Motors jumps two dollars, I feel the same cheerful and expanding benevolence.

Since Kate and I can hardly wait to be back on our rambles, we visit with Harold about twenty minutes. As I said before, Harold loves me because he saved my life. I love him because he is a hero. I have a boundless admiration for heroes and Harold is the real thing. He got the DSC for a patrol action in the Chongchon Valley. Another lieutenant leading the fix patrol—I, you may as well know—got himself hung up; Lieutenant Graebner, who had the support patrol, came roaring up through the mortar fire like old Pete Longstreet himself and, using his three five rocket launcher like a carbine, shot a hole through the concertina (we were hung up on a limestone knob encircled by the concertina) and set fire to an acre or so of Orientals. When I say he is an unlikely hero, I don't mean he is a modest little fellow like Audie Murphy—Audie Murphy is a hero and he looks like a hero. Harold is
really
unheroic—to such a degree that you can't help but feel he squanders his heroism. Not at all reticent about the war, he speaks of it in such a flat unlovely way that his own experiences sound disappointing. With his somewhat snoutish nose and his wavy hair starting half way back on his head and his singsongy way of talking, he reminds me of a TV contestant:

Harold's wife is a thin hump-shouldered girl with a beautiful face. She stands a ways off from us holding her baby, my godson, and hesitates between a sort of living room and a peninsula bar; she seems on the point of asking us to sit down in one place or the other but she never does. I keep thinking she is going to get tired herself, holding the big baby. Looking at her, I know just how Harold sees her: as beeyoutiful. He used to say that so-and-so, Veronica Lake maybe, was beeyoutiful—Harold is originally from Indiana and he called me peculiar Midwestern names like “heller” and “turkey”—and his wife is beautiful in just the same way: blond hair waving down her cheeks like a madonna, heavenly blue eyes, but stooped so that her shoulder-blades flare out in back like wings.

Harold walks up and down with both hands lifted up in the baby-claw gesture he uses when he talks, and there stands his little madonna-wife sort of betwixt and between us and the kids around the TV. But Harold is glad to see me. “Old Rollo,” he says, looking at the middle of my chest. “This is great, Rollo,” and he is restless with an emotion he can't identify. Rollo is a nickname he gave me in the Orient—it evidently signifies something in the Midwest which is not current in Louisiana. “Old Rollo”—and he would be beside himself with delight at the aptness of it. Now it comes over him in the strongest way: what a good thing it is to see a comrade with whom one has suffered much and endured much, but also what a wrenching thing. Up and down he goes, arms upraised, restless with it and not knowing what it is.

“Harold, about the baby's baptism—”

“He was baptized yesterday,” says Harold absently.

“I'm sorry.”

“You were godfather-by-proxy.”

“Oh.”

The trouble is there is no place to come to rest. We stand off the peninsula like ships becalmed—unable to move.

Turning my back on Harold, I tell Kate and Veronica how Harold saved my life, telling it jokingly with only one or two looks around at him. It is too much for Harold, not my gratitude, not the beauty of his own heroism, but the sudden confrontation of a time past, a time so terrible and splendid in its arch-reality; and so lost—cut adrift like a great ship in the flood of years. Harold tries to parse it out, that time and the time after, the strange ten years intervening, and it is too much for him. He shakes his head like a fighter.

We stand formally in the informal living area.

“Harold, how long have you been here?”

“Three years. Look at this, Rollo.” Harold shoves along the bar-peninsula a modernistic horsehead carved out of white wood, all flowing mane and arching neck. “Who do you think made it?”

“It's very good.”

“Old Rollo,” says Harold, eying the middle of my chest. Harold can't parse it out, so he has to do something. “Rollo, how tough are you? I bet I can take you.” Harold wrestled at Northwestern. “I could put you down right now.” Harold is actually getting mad at me.

“Listen, Harold,” I say, laughing. “Do you go into the city every day?”

Harold nods but does not raise his eyes.

“How did you decide to live here?”

“Sylvia's family live in Glencoe. Rollo, how do you like it way down yonder in New Orleans?”

Harold would really like to wrestle and not so playfully either. I walked in and brought it with me, the wrenching in the chest. It would be better for him to be rid of it and me.

Ten minutes later he lets us out at the commuter station and tears off into the night.

“What a peculiar family,” says Kate, gazing after the red turrets of Harold's Cadillac.

Back to the Loop where we dive into the mother and Urwomb of all moviehouses—an Aztec mortuary of funeral urns and glyphs, thronged with the spirit-presences of another day, William Powell and George Brent and Patsy Kelly and Charley Chase, the best friends of my childhood—and see a movie called
The Young Philadelphians.
Kate holds my hand tightly in the dark.

Paul Newman is an idealistic young fellow who is disillusioned and becomes cynical and calculating. But in the end he recovers his ideals.

Outside, a new note has crept into the wind, a black williwaw sound straight from the terrible wastes to the north. “Oh oh oh,” wails Kate as we creep home to the hotel, sunk into ourselves and with no stomach even for hand-holding. “Something is going to happen.”

Something does. A yellow slip handed across the hotel desk commands me to call operator three in New Orleans.

This I accordingly do, and my aunt's voice speaks to the operator, then to me, and does not change its tone. She does not bother to add a single overtone of warmth or cold, love or hate, to the monotone of her notification—and this is more ominous than ten thousand williwaws.

“Is Kate with you?”

“Yes ma'am.”

“Would you like to know how we found you?”

“Yes.”

“The police found Kate's car at the terminal.”

“The police?”

“Kate did not tell anyone she was leaving. However, her behavior is not unexplainable and therefore not inexcusable. Yours is.”

I am silent.

“Why didn't you tell me?”

I think. “I can't remember.”

4

IT IS IMPOSSIBLE
to find a seat on a flight to New Orleans the night before Mardi Gras. No trains are scheduled until Tuesday morning. But buses leave every hour or so
.
I send my aunt a telegram and call Stanley Kinchen and excuse myself from the talk on Selling Aids—it is all right: the original speaker had recovered. Stanley and I part even more cordially than we met. It is a stratospheric cordiality such as can only make further meetings uneasy. But I do not mind. At midnight we are bound for New Orleans on a Scenicruiser which takes a more easterly course than the Illinois Central, down along the Wabash to Memphis by way of Evansville and Cairo.

It is good to be leaving; Chicago is fit for no more than a short rotation. Kate is well. The summons from her stepmother has left her neither glum nor fearful. She speaks at length to her stepmother and, with her sure instinct for such matters, gets her talking about canceling reservations and return tickets, wins her way, decides we'll stay, then changes her mind and insists on coming home to ease their minds. Now she gazes curiously about the bus station, giving way every few seconds to tremendous face-splitting yawns. Once on the bus she collapses into a slack-jawed oblivion and sleeps all the way to the Ohio River. I doze fitfully and wake for good when the dawn breaks on the outskirts of Terre Haute. When it is light enough, I take out my paper-back
Arabia Deserta
and read until we stop for breakfast in Evansville. Kate eats heartily, creeps back to the bus, takes one look at the black water of the Ohio River and the naked woods of the bottom lands where winter still clings like a violet mist, and falls heavily to sleep, mouth mashed open against my shoulder.

Today is Mardi Gras, fat Tuesday, but our bus has left Chicago much too late to accommodate Carnival visitors. The passengers are an everyday assortment of mothers-in-law visiting sons-in-law in Memphis, school teachers and telephone operators bound for vacations in quaint old Vieux Carré. Our upper deck is a green bubble where, it turns out, people feel themselves dispensed from the conventional silence below as if, in mounting with others to see the wide world and the green sky, they had already established a kind of freemasonry and spoken the first word among themselves. I surrender my seat to Kate's stretchings out against me and double up her legs for her and for the rest of the long day's journey down through Indiana and Illinois and Kentucky and Tennessee and Mississippi hold converse with two passengers—the first, a romantic from Wisconsin; the second, a salesman from a small manufacturing firm in Murfreesboro, Tennessee, who wrecked his car in Gary.

Now in the fore seat of the bubble and down we go plunging along the Illinois bank of the Mississippi through a region of sooty glens falling steeply away to the west and against the slope of which are propped tall frame houses with colored windows and the spires of Polish churches. I read:

     We mounted in the morrow twilight; but long after daybreak the heavens seemed shut over us, as a tomb, with gloomy clouds. We were engaged in horrid lava beds.

The romantic sits across the aisle, slumped gracefully, one foot propped on the metal ledge. He is reading
The Charterhouse of Parma.
His face is extraordinarily well-modeled and handsome but his head is too small and, arising as it does from the great collar of his car coat, it makes him look a bit dandy and dudish. Two things I am curious about. How does he sit? Immediately graceful and not aware of it or mediately graceful and aware of it? How does he read
The Charterhouse of Parma?
Immediately as a man who is in the world and who has an appetite for the book as he might have an appetite for peaches, or mediately as one who finds himself under the necessity of sticking himself into the world in a certain fashion, of slumping in an acceptable slump, of reading an acceptable book on an acceptable bus? Is he a romantic?