The New York Trilogy (22 page)

As the days and weeks go by without any letter from Brown, Blue’s disappointment grows into an aching, irrational desperation. But that is nothing compared to what he feels when the letter finally comes. For Brown does not even address himself to what Blue wrote. It’s good to hear from you, the letter begins, and good to know you’re working so hard. Sounds like an interesting case. Can’t say I miss any of it, though. Here it’s the good life for me—get up early and fish, spend some time with the wife, read a little, sleep in the sun, nothing to complain about. The only thing I don’t understand is why I didn’t move down here years ago.

The letter goes on in that vein for several pages, never once broaching the subject of Blue’s torments and anxieties. Blue feels betrayed by the man who was once like a father to him, and when he finishes the letter he feels empty, the stuffing all knocked out of him. I’m on my own, he thinks, there’s no one to turn to anymore. This is followed by several hours of despondency and self-pity, with Blue thinking once or twice that maybe he’d be better off dead. But eventually he works his way out of the gloom. For Blue is a solid character on the whole, less given to dark thoughts than most, and if there are moments when he feels the world is a foul place, who are we to blame him for it? By the time supper rolls around, he has even begun to look on the bright side. This is perhaps his greatest talent: not that he does not despair, but that he never despairs for very long. It might be a good thing after all, he says to himself. It might be better to stand alone than to depend on anyone else. Blue thinks about this for a while and decides there is something to be said for it. He is no longer an apprentice. There is no master above him anymore. I’m my own man, he says to himself. I’m my own man, accountable to no one but myself.

Inspired by this new approach to things, he discovers that he has at last found the courage to contact the future Mrs. Blue. But when he picks up the phone and dials her number, there is no answer. This is a disappointment, but he remains undaunted. I’ll try again some other time, he says. Some time soon.

The days continue to pass. Once again, Blue falls into step with Black, perhaps even more harmoniously than before. In doing so, he discovers the inherent paradox of his situation. For the closer he feels to Black, the less he finds it necessary to think about him. In other words, the more deeply entangled he becomes, the freer he is. What bogs him down is not involvement but separation. For it is only when Black seems to drift away from him that he must go out looking for him, and this takes time and effort, not to speak of struggle. At those moments when he feels closest to Black, however, he can even begin to lead the semblance of an independent life. At first he is not very daring in what he allows himself to do, but even so he considers it a kind of triumph, almost an act of bravery. Going outside, for example, and walking up and down the block. Small as it might be, this gesture fills him with happiness, and as he moves back and forth along Orange Street in the lovely spring weather, he is glad to be alive in a way he has not felt in years. At one end there is a view of the river, the harbor, the Manhattan skyline, the bridges. Blue finds all this beautiful, and on some days he even allows himself to sit for several minutes on one of the benches and look out at the boats. In the other direction there is the church, and sometimes Blue goes to the small grassy yard to sit for a while, studying the bronze statue of Henry Ward Beecher. Two slaves are holding on to Beecher’s legs, as though begging him to help them, to make them free at last, and in the brick wall behind there is a porcelain relief of Abraham Lincoln. Blue cannot help but feel inspired by these images, and each time he comes to the churchyard his head fills with noble thoughts about the dignity of man.

Little by little, he becomes more bold in his strayings from Black. It is 1947, the year that Jackie Robinson breaks in with the Dodgers, and Blue follows his progress closely, remembering the churchyard and knowing there is more to it than just baseball. One bright Tuesday afternoon in May, he decides to make an excursion to Ebbets Field, and as he leaves Black behind in his room on Orange Street, hunched over his desk as usual with his pen and papers, he feels no cause for worry, secure in the fact that everything will be exactly the same when he returns. He rides the subway, rubs shoulders with the crowd, feels himself lunging towards a sense of the moment. As he takes his seat at the ball park, he is struck by the sharp clarity of the colors around him: the green grass, the brown dirt, the white ball, the blue sky above. Each thing is distinct from every other thing, wholly separate and defined, and the geometric simplicity of the pattern impresses Blue with its force. Watching the game, he finds it difficult to take his eyes off Robinson, lured constantly by the blackness of the man’s face, and he thinks it must take courage to do what he is doing, to be alone like that in front of so many strangers, with half of them no doubt wishing him to be dead. As the game moves along, Blue finds himself cheering whatever Robinson does, and when the black man steals a base in the third inning he rises to his feet, and later, in the seventh, when Robinson doubles off the wall in left, he actually pounds the back of the man next to him for joy. The Dodgers pull it out in the ninth with a sacrifice fly, and as Blue shuffles off with the rest of the crowd and makes his way home, it occurs to him that Black did not cross his mind even once.

But ball games are only the beginning. On certain nights, when it is clear to Blue that Black will not be going anywhere, he slips out to a bar not far away for a beer or two, enjoying the conversations he sometimes has with the bartender, whose name is Red, and who bears an uncanny resemblance to Green, the bartender from the Gray Case so long ago. A blowsy tart named Violet is often there, and once or twice Blue gets her tipsy enough to get invited back to her place around the corner. He knows that she likes him well enough because she never makes him pay for it, but he also knows that it has nothing to do with love. She calls him honey and her flesh is soft and ample, but whenever she has one drink too many she begins to cry, and then Blue has to console her, and he secretly wonders if it’s worth the trouble. His guilt towards the future Mrs. Blue is scant, however, for he justifies these sessions with Violet by comparing himself to a soldier at war in another country. Every man needs a little comfort, especially when his number could be up tomorrow. And besides, he isn’t made of stone, he says to himself.

More often than not, however, Blue will bypass the bar and go to the movie theater several blocks away. With summer coming on now and the heat beginning to hover uncomfortably in his little room, it’s refreshing to be able to sit in the cool theater and watch the feature show. Blue is fond of the movies, not only for the stories they tell and the beautiful women he can see in them, but for the darkness of the theater itself, the way the pictures on the screen are somehow like the thoughts inside his head whenever he closes his eyes. He is more or less indifferent to the kinds of movies he sees, whether comedies or dramas, for example, or whether the film is shot in black and white or in color, but he has a particular weakness for movies about detectives, since there is a natural connection, and he is always gripped by these stories more than by others. During this period he sees a number of such movies and enjoys them all: Lady in the Lake, Fallen Angel, Dark Passage, Body and Soul, Ride the Pink Horse, Desperate, and so on. But for Blue there is one that stands out from the rest, and he likes it so much that he actually goes back the next night to see it again.

It’s called Out of the Past, and it stars Robert Mitchum as an ex-private eye who is trying to build a new life for himself in a small town under an assumed name. He has a girlfriend, a sweet country girl named Ann, and runs a gas station with the help of a deaf-and-dumb boy, Jimmy, who is firmly devoted to him. But the past catches up with Mitchum, and there’s little he can do about it. Years ago, he had been hired to look for Jane Greer, the mistress of gangster Kirk Douglas, but once he found her they fell in love and ran off together to live in secret. One thing led to another—money was stolen, a murder was committed—and eventually Mitchum came to his senses and left Greer, finally understanding the depth of her corruption. Now he is being blackmailed by Douglas and Greer into committing a crime, which itself is merely a set-up, for once he figures out what is happening, he sees that they are planning to frame him for another murder. A complicated story unfolds, with Mitchum desperately trying to extricate himself from the trap. At one point, he returns to the small town where he lives, tells Ann that he’s innocent, and again persuades her of his love. But it’s really too late, and Mitchum knows it. Towards the end, he manages to convince Douglas to turn in Greer for the murder she committed, but at that moment Greer enters the room, calmly takes out a gun, and kills Douglas. She tells Mitchum that they belong to each other, and he, fatalistic to the last, appears to go along. They decide to escape the country together, but as Greer goes to pack her bag, Mitchum picks up the phone and calls the police. They get into the car and drive off, but soon they come to a police roadblock. Greer, seeing that she’s been double-crossed, pulls a gun from her bag and shoots Mitchum. The police then open fire on the car and Greer is killed as well. After that, there’s one last scene—the next morning, back in the small town of Bridgeport. Jimmy is sitting on a bench outside the gas station, and Ann walks over and sits down beside him. Tell me one thing, Jimmy, she says, I’ve got to know this one thing: was he running away with her or not? The boy thinks for a moment, trying to decide between truth and kindness. Is it more important to preserve his friend’s good name or to spare the girl? All this happens in no more than an instant. Looking into the girl’s eyes, he nods his head, as if to say yes, he was in love with Greer after all. Ann pats Jimmy’s arm and thanks him, then walks off to her former boyfriend, a straight-arrow local policeman who always despised Mitchum. Jimmy looks up at the gas station sign with Mitchum’s name on it, gives a little salute of friendship, and then turns away and walks down the road. He is the only one who knows the truth, and he will never tell.

For the next few days, Blue goes over this story many times in his head. It’s a good thing, he decides, that the movie ends with the deaf mute boy. The secret is buried, and Mitchum will remain an outsider, even in death. His ambition was simple enough: to become a normal citizen in a normal American town, to marry the girl next door, to live a quiet life. It’s strange, Blue thinks, that the new name Mitchum chooses for himself is Jeff Bailey. This is remarkably close to the name of another character in a movie he saw the previous year with the future Mrs. Blue—George Bailey, played by James Stewart in It’s a Wonderful Life. That story was also about small town America, but from the opposite point of view: the frustrations of a man who spends his whole life trying to escape. But in the end he comes to understand that his life has been a good one, that he has done the right thing all along. Mitchum’s Bailey would no doubt like to be the same man as Stewart’s Bailey. But in his case the name is false, a product of wishful thinking. His real name is Markham—or, as Blue sounds it out to himself, mark him—and that is the whole point. He has been marked by the past, and once that happens, nothing can be done about it. Something happens, Blue thinks, and then it goes on happening forever. It can never be changed, can never be otherwise. Blue begins to be haunted by this thought, for he sees it as a kind of warning, a message delivered up from within himself, and try as he does to push it away, the darkness of this thought does not leave him.

One night, therefore, Blue finally turns to his copy of Walden. The time has come, he says to himself, and if he doesn’t make an effort now, he knows that he never will. But the book is not a simple business. As Blue begins to read, he feels as though he is entering an alien world. Trudging through swamps and brambles, hoisting himself up gloomy screes and treacherous cliffs, he feels like a prisoner on a forced march, and his only thought is to escape. He is bored by Thoreau’s words and finds it difficult to concentrate. Whole chapters go by, and when he comes to the end of them he realizes that he has not retained a thing. Why would anyone want to go off and live alone in the woods? What’s all this about planting beans and not drinking coffee or eating meat? Why all these interminable descriptions of birds? Blue thought that he was going to get a story, or at least something like a story, but this is no more than blather, an endless harangue about nothing at all.

It would be unfair to blame him, however. Blue has never read much of anything except newspapers and magazines, and an occasional adventure novel when he was a boy. Even experienced and sophisticated readers have been known to have trouble with Walden, and no less a figure than Emerson once wrote in his journal that reading Thoreau made him feel nervous and wretched. To Blue’s credit, he does not give up. The next day he begins again, and this second go-through is somewhat less rocky than the first. In the third chapter he comes across a sentence that finally says something to him—Books must be read as deliberately and reservedly as they were written—and suddenly he understands that the trick is to go slowly, more slowly than he has ever gone with words before. This helps to some extent, and certain passages begin to grow clear: the business about clothes in the beginning, the battle between the red ants and the black ants, the argument against work. But Blue still finds it painful, and though he grudgingly admits that Thoreau is perhaps not as stupid as he thought, he begins to resent Black for putting him through this torture. What he does not know is that were he to find the patience to read the book in the spirit in which it asks to be read, his entire life would begin to change, and little by little he would come to a full understanding of his situation—that is to say, of Black, of White, of the case, of everything that concerns him. But lost chances are as much a part of life as chances taken, and a story cannot dwell on what might have been. Throwing the book aside in disgust, Blue puts on his coat (for it is fall now) and goes out for a breath of air. Little does he realize that this is the beginning of the end. For something is about to happen, and once it happens, nothing will ever be the same again.