Eye of the Cricket (11 page)

And yes: in its mindless, rocklike, solid, unstoppable way, it pursues us.

Once, I'd begun a short story comprised of a series of footnotes to another, undivulged text, footnotes that were to form
among themselves a coherent, though discrete, text.

Another time I planned a novel each chapter of which would end midsentence, the next chapter scooping up the rest for its
own beginning. Each chapter also was to be in some way—thematically, symbolically, parodically—a mirror image of the one before.

"Footnotes" meant to express the way I think we live, our days and actions little more than second thoughts, improvisations,
elaborations, trills, upon some unperceived, unseen, probably imaginary text.

That both stoiy and novel were abandoned cannot mean nothing.

If we must learn to put our distress signals in code, perhaps it's not because that way lies communication, perhaps it's only
because the codes seem so much more meaningful, so much more fraught, than are our lives. Because we have somehow to imagine
ourselves larger than the sun's footprint. And if we can't have meaning, then at least we'll have the appearance of meaning:
its promise, heft, import.

I'd first come across that phrase, You must learn to put your distress signals in code, while browsing through literary magazines
at Beaucoup Books on Magazine. I bought the magazine and carried it off to Joe's (not Joe's from the Quarter but a later,
uptown incarnation that soon folded), where, drinking my way into evening, I read the rest of the magazine yet managed to
arrive home without it. Years later I'd been in the audience when the poet David Lunde came to UNO to read.

—Some of the things Deborah O'Neil and I talked about after her play on Sunday. A kind of heady conversation I seldom had.
Guiltily looking about as we sat in Rue de la Course (also on Magazine) over coffee, tea and biscotti, feeling again like
the undergraduate I'd been for only the shortest of times.

Deborah's play was the surprise she'd promised.

She told me about it over dinner at Commander's, fine paté woody cabernet sauvignon, swordfish steak with béarnaise, grilled
mushrooms, that amazing bread-pudding soufflé they do.

We slid into seats front row center moments before the show began. The theater was a warehouse off Julia Street whose conversion
seemed as superficial and tenuous as any Hollywood set. Behind pressed-fiber walls there would be echoing spaces of bare support
beams, girders thick with cobweb and grime, uninhabitable spaces. The whole thing could be struck in a few hours. Seats were
of the stackable plastic sort—contoured, they call them, though for what species I can't imagine. People sat in suits and
dresses, in torn jeans, flannel shirts, all black, in designer warm-ups and overalls and not much at all, sipping white jug
wine from plastic cups.

Onstage, characters at a dinner party swirled in eccentric orbits about one another. Obviously few were familiars; conversation
was mostly phatic, with sudden intrusions of intensely personal remarks that brought silence crashing down. Domestic employees
ferried through with platters of drinks, squab, canapes, tureens, covered dishes, but would not be detained.

All the actors wore masks, and the very moment we thought we had one of them pegged (manipulative CEO, poor-little-me wife,
kindhearted friend) he or she would trade masks with one of the others and in so doing become a wholly different character.

Twenty minutes into the play (as I resisted impulses to pull out my notebook, start making lists, try to keep track of all
this) one of the male actors left the stage and, stripping off everything but his mask, stepping into high heels and strapping
on a tray like those cigarette vendors once wore, strode through the audience passing out still more masks. These were blank,
but came with boxed crayons.

We were supposed to participate.

And some did, wonderfully.

The whole thing shimmered, changing again and again before our eyes—at once brilliant, prosaic, unheralded, obscene, chaotic,
challenging, comforting, silly, obvious, disturbing.

A man in a three-piece gray suit and red smiley-face mask stood at the back of the hall and, claiming to be the play's author,
confirming the disappointment he'd anticipated even from its inception, demanded that the production immediately be shut down.

Another, an emissary (he said) from the Arts Council in Washington, mask remaining blank, a form, praised free expression
in America in drumlike manner.

One rose and, having brought a hush to the house with an imploring wave of his hand, wearing no mask at all, simply stood
weeping.

Finally the cigarette vendor threw a kimono over substantial shoulders. Stepping back onstage, he said, "The rest is silence.
Unless . . ."

He paused.

" . . . I have a higher bid?"

And the curtain fell.

To resounding applause.

My own not the least, once I'd shaken myself loose from the spell. Even to move, I felt, somehow would violate what I'd just
experienced, bring mundane life crashing back in.

When I told her it was among the most powerful moments of theater I'd seen, she shut up and sat staring at me. All around
us people stood, easing back into ordinary lives.

"You're desperate, Lewis."

Of course. But that was hardly new.

Still in his kimono, heels exchanged for platform slippers, the cigarette vendor came out with a dozen red roses for Deborah.
She ducked her face into them.

"How embarrassing."

But couldn't escape standing to acknowledge the applause when it didn't stop.

When she did stand, swaying, I thought again, as I'd thought when I firstsaw her, of willows.

Afterwards, then, we repaired to Rue de la Course, there over French roast, Earl Grey and biscotti to speak of grand ideas,
ambition, disappointment, highrent and sleeping alone, ghosts, phantoms, demands of the past.

This part of town had just begun to crawl out from under years of abandon and disrepair as firstyoung people, then investors,
bought up the old Humpty-Dumpty houses and started putting them back together again. Even now, this late at night, a crew
was at work across the street on a swayback Colonial double, portions of which had been painted dull silver, like aircraft
models. Three men on ladders, spotlights directed up towards them as they scraped, sandpapered, sprayed, and hammered.

Deborah sat watching them. "You sure it wasn't too pretentious?"

No. Want another tea?

Why not.

I went inside. When I came out balancing full mugs, the workers across the street had stopped and begun packing everything—wire
brushes, sanders, paint, ladders, toolboxes, toolbelts, lights—into trucks and hatchbacks.

"Thanks," Deborah said. She drank. "What part did you like best?"

"Intellectually?"

"Whatever."

"Okay. I have to tell you: I found the guy wandering around nude in the audience a realturn-on."

"Yeah. Me too. Youreadyto go, Lewis?"

O yes.

No: not the precis of another heady discussion with Deborah O'Neil, though it might have been. And though Deborah was directly
responsible. For as I came to spend more and more time with her, within myself I sensed all manner of rumblings and unsettlings,
felt systems I'd thought shut down for good start kicking over again.

Lights flare, dim, dim further still—and finally catch. The survivors let out a long breath.

The long-disused engine turns over once, again, stalls with power surging audibly towards it before stuttering into full bloom.
The castaways will be able to escape after all.

Holy words.

Somehow we go on being given new chances.

—What I was thinking Sunday night (or Monday morning, whichever shore you watched from), having left Deborah's a little after
one. Lying with body exhausted, mind chugging away, in a bamboolike shaft of moonlight.

Late that afternoon I'd come home and, on my hurried way towards a shower and new clothes, gone into the kitchen for a bottle
of water only tofindrefrigerator, pantry and shelves stocked for the firsttime in years. With no one to cook for, I'd long
ago given it up. I ate out or nibbled at plates of cheese, crackers, sausage, raw vegetables.

A note scrawled in huge printed letters across three sheets of 8 V& X 11 paper, taped to the refrigerator door like a child's
school drawings put up on display, read:

I would have called back right then, but nobody'd be around on Sunday afternoon. I'd missed, what, one class? It seemed like
more. This week had been all over the damn place. Felt as though I needed a map and one of those time-lines-of-history charts.

"So many things happen to us," Deborah said, arm passing into light from the window as she gathered the pink cotton blanket
loosely about her. She sat, knees drawn up, against the headboard. "How are we ever supposed to know which are the important
ones, which ones matter?"

"I'd love to believe we have that much control over it." She sipped white wine from a tulip-shaped glass. "You never drink,
do you?"

"Only because for a long time that was mostly what I did. A lot of those things you say you don't know about, things that
are important and matter, things that don't, got lost forever because of it. Like people sinking into quicksand in old movies.
You watch them go down. In your own disabled way you try to hold on to them. Then you're there at the edge of the frame alone
again."

"My father was a drinker."

I made no reply. Became a receptacle.

"He'd been a tyrant a long time, I guess. Told my mother what to fix for dinner eveiy night, how much she could spend on the
household that week, when she could buy shoes for herself or the older kids. And he'd fly into these smashing, screaming fits
of rage when things went wrong. But by the time I came along—I was a late child, a surprise, my mother turned forty the year
after—he'd become an invalid, someone my mother had to care for totally. Wet brain, she called it Mostly what I remember is
the first time I brought a friend home from school. Had to be nine, ten years old, I guess. Mom would prop him up in a chair
in front of the TV. She'd tie a sheet around him to keep him from getting up and wandering off, and she made these diapers
out of old towels.

"What's he doing? Sue Ann asked, and I told her, finessing details I wasn't a hundred percent sure about now that I'd unexpectedly
become the voice of authority. Went on for some time. You have anything to eat? she said when I was through.

"I remember thinking how my father's thing looked like one of the slugs that came out at night and ate leftover cat food out
back."

She finished her wine and set the glass on the floor.

I moved up beside her and she leaned into me.

"I could end that way too, Lew." I felt the heat of her tears on my skin.

"We all can. All too easily."

Her finger traced the crater of a gunshot wound on my shoulder, a knife scar low in my ribs. The firstlooked like a smallpox
vaccination, the second like a zipper, or the backbone of some tiny animal.

"You're one of the important things, Lew. This matters."

I didn't respond, just pulled her closer to me.

"Okay. So it's romantic abandon you want, huh?"

"You have some?"

"Sure. I lang on, let me open a can. To tell the truth, there's a surplus. Lots of supply, no demand. How's your slug, by
the way?"

My slug was fine.

And now both slug and I had crawled home. One of us, at least, to sleep.

All day Sunday, I'd been out there beating bushes.

Hauled myself out of bed at seven, sliding from under Bat, asleep on my chest, to face a workingman's breakfast of scrambled
eggs, grits with jalapenos and cheese, toast, melon. Might as well use all this food, since it was here. Bat felt the same
way, circling back to his bowl again and again, mewing shrilly, as I ate. Drank a pot of coffee with breakfast and another
afterwards while cleaning up the kitchen.

Nerves honed to a fine point.

Whereupon I hit the streets.

There are several groups of people who make it their business to know who's in town, to notice new arrivals, take note of
weaknesses and dependencies. Some are (as they like to say) "with the government." Some work for even older and still more
centralized, if far-flung, organizations. A few are independents.

None more independent than Doo-Wop.

Actually, it's difficult to think of Doo-Wop ever being sufficiently integrated into the common society as even to be considered
independent of, apart, or exempt from it.

John Donne, obviously, never went drinking with him.

On the other hand, there weren't a lot of others who hadn't. And if so, he knew their stories. Had them fixedforever, flies
in amber, in his memoiy.

That time of day, it was relatively easy to find him. He'd be near one end or the other of his regular route. Some days he
started uptown and worked his way into the Quarter, others he did it in reverse. I took a guess. It was a little before nine
when I got to Lafitte's and the bartender, pushing a mop around the floor, avoiding things like tables and chair legs and
walls as though magnetically repelled, told me I'd just missed Doo-Wop. The bartender wore a stained, unironed white poet's
shirt so oversize that it resembled a dress. He was completely bald on top, hair at the side of his head long and twisted
into little pigtails. Looked like Pippi Longstocking after a sex change.

That's what Doo-Wop did: roamed the city, trading stories for drinks. Like Homer, the Middle Ages' wandering minstrels, Celtic
harpists such as O'Carolan, China's ancient poets.

So I went up the steps one by one.

Kenny's Shamrock on Burgundy, about the size of cinder-block toilets youfind in parks or roadsidestops and smelling not unlike
them, Ireland travel posters stapled to the walls.

Donna's on Rampart across from Louis Armstrong Park, good burgers and bar food, great brass-band music nights and weekends.

A bar on St. Ursulines that to the best of my knowledge has never had a name. Same bartender and to all appearances the same
patrons have been there for twenty years. I guess they all go home sometime, but it doesn't seem like it.

I caught up with him at Monster's. It had started life as a disco about the time discos were dying out, then briefly managed
to transform itself into a concert hall for the likes of Don McLean, Arlo Guthrie, John Lee Hooker. Minor balls still hung
over a dance floor crowded with stacked plastic chairs and unlit. Posters curled and cracked on the walls beside signed photographs
of musicians no one had ever heard of, some of them in leisure suits, tie-dye, Nehru jackets, Carnaby gear.

"My man," Doo-Wop said to my reflection in the mirror behind the bar. Silver had worn away in patches, erasing portions of
the world. "Been a while."

"Buy you a drink?"

Part of the ritual. New Orleans is a Catholic city, a pagan, voodoo city. It takes ritual to its heart.

Doo-Wop paused, head tiltingfirst right, then left, as though sampling winds. "Bourbon," he decided.

But Monster's has been hanging by its fingernailsfor too many years. Employees figure if they're gonna go down with it, why
break a sweat Makes it hard to motivate them. Glaring across the bar didn't work. Dropping a ten onto it did.

Bourbon appeared before Doo-Wop. He poured it straight down. In its former life the shot glass had been someone's souvenir
of Florida.

"Something I do keep wondering," Doo-Wop said.

I signaled for another bourbon. Wondering how long my luck and my ten will hold out.

"None of my business, of course." He sniffed this new shot of generic whiskey as though it's been aged in barrels. "You ever
find any of these folks you show up asking me about?"

"Some of them, sure."

"They want to get found?"

"Some of them."

He nodded and threw the bourbon back. Waited quietly. I glanced at the bartender. He put down another, but his look let me
know I was pushing it.

Doo-Wop's look, on the other hand, let me know we were ready for business.