Текст книги "The Exquisite"

Автор книги: Laird Hunt

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SEVEN

Mr. Kindt liked the museums. He liked the marble on the floor and the possibility of grand staircases and the displays so brightly and evenly spaced. He liked the statues with the arms snapped off and the small ivory carvings and the ancient bone-and-wood playing boards and the skeletons comparatively displayed. He liked the thick glass, with its “strange, dissipated reflections.” He liked the roped-off areas and the animals made of plastic and clay. He liked the displays with sounds and the possibility of narration. He had often wished, he said, he could play a substantive role in the creation of the text for these narratives and wondered how well his voice would be suited to high-quality recording. He liked the short explanatory notes by the exhibits, which he said were “like funereal inscriptions,” and he liked the proximity of dead languages, and the juxtapositions of artists and the guards and monitors and checkpoints. He liked the people moving slowly and silently, and the art holding its position, absolutely still.

Look at that,he liked to say in the museums. He liked to say, ah, yes, this one, or, compare this one to that one, or, just, ah … He liked to bend, carefully, and to straighten, slowly, and to hold out his hand and to take it away. Mr. Kindt always wore his hat in the museums. For that matter, with rare exceptions, he always wore his hat in the house. It was a black felt hat with a large floppy brim. He liked that kind of hat. He liked, in fact, for me to wear a similar hat, a black job with a slightly smaller brim, which he handed me one day when I walked through the door.

Uh? I said.

Would you, Henry, my boy?

It wasn’t so bad because Tulip also had a hat, floppy and black. Although it wasn’t quite as stylish as the aviator’s hat, the fringe of spun gold falling in sheets from the dark felt was, as Mr. Kindt put it one afternoon as we ate sliced hard sausage, pâté, and leftover meatloaf prior to going out, a truly noteworthy sight.

So the three of us would sit there at the table or would stand there in the museum. With meat in our mouths. Chewing in the yellow light. Or not chewing, no meat, at the American Museum of Natural History, in front of the Animals of the Plains exhibit – a life-sized diorama with stuffed grazing animals and a stuffed carnivorous animal and a painted background behind glass. Tulip especially liked the next diorama over – the Displaced Animals in Urban Environments exhibit – which showed a flock of cherry-head conures perched in a tree next to a wooden balcony where some long-ago shellacked seed had been spread. Painted on the curved wall behind them was a broad-stroke rendition of San Francisco, with the bay off in the distance. A pair of the conures had been frozen in what was supposed to be midflight, but this potentially dynamic touch hadn’t been carried off as successfully as it could have been. A number of the birds that weren’t focused on the seed had their heads cocked to the left and were peering skyward, presumably, we decided, at the tiny painted hawk circling far overhead. After we’d stood there a minute, Tulip spotted a conure with a blue head nestled in a spray of bright orange trumpet flowers. The explanatory note, which Mr. Kindt conjectured had been assembled in haste, made no mention of this handsome aberration. It spoke only of the redheaded variety that was “already several generations into its stay in the wilds of San Francisco.” Apparently the “wilds” of New York were also home to an unnamed variety of nondomesticated parrot, although they had not been quite as successful as their cousins by the bay. Seeing an opportunity to draw Tulip out, I made some light remarks about birds, flapped my arms a few times to demonstrate what it was I thought was off about the conures that were supposed to be caught in flight, then asked her why she liked this display so much. Instead of answering me directly, she took Mr. Kindt’s arm, dabbed at her upper lip with the pointed end of her tongue, and said to both or neither of us that after the events downtown she had seen a very large parrot with a yellow head vanish into the haze over the water near Battery Park.

Perhaps the most beautiful of the exhibits in the museum was the Hall of Planet Earth. Here there were sulfur chimneys from the floor of the ocean and zircon crystals from near the beginning of time. Mr. Kindt stopped and stood for a long while in front of the display on tectonic displacement and even longer in front of the garnets set in black granite pulled out of the heart of the Adirondacks, a range he was fond of because of its many streams and lakes. An illuminated globe on the ceiling demonstrated the effects of drastic climate change, and Mr. Kindt sat so long on the circular recessed benches under it, watching the clouds vanish and the continents go brown and the oceans evaporate and the reverse of this process, that Tulip and I fell asleep. I woke, I thought, to Mr. Kindt whispering in my ear: it was like that, it will be like that; and to Tulip, her eyes glinting in the reflected light of the barren continents, looking at me.

Or we would go to the movies. Mr. Kindt liked the old films. The black-and-white ones with all their “precise inaccuracies,” with all their instances of exaggeration for the purposes of evoking artifice and, for the same reason, settings that were not quite right.

It is the almost-world I have so often dreamed of, Mr. Kindt said one afternoon as the credits rolled on a film in which a man and a woman had walked for fictional hours through a fabric jungle. The world that all these so-called realist films we have today have banished from the screen. Imagine, my dears, if we could forever slip, or, more important, feel ourselves slipping, like the floodlit ghosts of those old actors and actresses, from one happily constructed world to another, rather than, as we flesh-based units are obliged, from inexplicable light to inexplicable gloom.

Sometimes, if the theater was crowded, we would take our hats off and fan ourselves with them. We would sit there, the three of us, or the two of us if Tulip hadn’t come, and the mouths on the walls of light would move and the sound would come out of the walls and our hats would move back and forth in front of us like instances of pure darkness that looked lost in the brightness that lit our faces in sporadic bursts.

Mr. Kindt liked to sit in the front row. He liked, in looking up at the screen, he said, to have to arch his neck, and he liked for his neck, as a reminder, he said, to have to hurt.

Reminder of what? I asked.

Of my namesake, he said.

Your namesake? I said.

But he didn’t answer.

Sometimes, as we watched, I would let my hand move behind Mr. Kindt’s pale white neck and I would allow my fingers to exert a certain amount of pressure that Mr. Kindt, his desire to have his neck hurt notwithstanding, loved.

It was this deep enjoyment of orchestrated experiences in which pain and pleasure lay tightly coiled that had prompted Mr. Kindt, I presumed, to take out a membership at the Eleventh Street Russian baths, a venerable mobster-frequented establishment where what I took to be blast furnaces filled with boiling, beet-red lumps of flesh coexisted with sinister massage cabinets and a deep icy pool. Because of a recent change in management policy, a coeducational sweat-extruding experience was available most days, meaning both Tulip and I could accompany Mr. Kindt and partake with him of his biweekly round of steams and saunas and lashings with oak leaves. It was Mr. Kindt’s rule, one that Tulip and I were both happy to comply with, that if we went with him we did all of it. So it was that, to my surprising delight, I had a huge guy sit on my back, soap me up, whack me with oak branches, and time and again pour near-frozen water on me. Also, of course, I got to witness Tulip, who was built even more extraordinarily than I have helped you to imagine, in a wickedly petite gold-and-green bikini, receiving the same. It was also pleasurable, though differently, less dramatically, to watch Mr. Kindt – in part for the blissful smile that would spread over his mottled features as he was being smushed and swatted, in part for the gleam, through the dim, burning air, of his little blue eyes. So it was, anyway, that after changing into bathing suits, over which, at the start of each session, we draped a sort of house-issue smock, we went down into the steamy gloom of the baths and moved together from one area to the next, a progression that always ended with a collective shriek in the pool of ice water and a race, well, a race between me and Tulip, back upstairs.

Sometimes we went out to eat. When Mr. Kindt wasn’t at home he liked variety in his dinners, which meant we split time between North African, Thai, Chinese, Japanese, and Indian. Mr. Kindt’s preferred Indian establishment was a little spot on the corner of First and Sixth. The tiny dining room was festooned to the point of feeling overrun with garlands of flashing red lights that were reflected, in ever-receding depths, by panels of glossy plastic and hand-cut disks of wrinkled foil. Mr. Kindt, who was well liked by the staff for his generous tips, loved the minuscule tables and the jostling of the waiters and the 3-D wallpaper and the accelerant effect all this had on the complex combinations of tastes and smells. “Cardamom diffused throughout a blend of lamb and cream and good Bengal curry is magnificent, but cardamom diffused throughout a blend of lamb and cream and good Bengal curry under blinking Christmas lights is sublime” being the sort of remark he was apt to offer us or the waiter or even fellow diners.

Mind your fucking business, the larger and more aggressively postured of a pair of young men sitting at a table near us said one evening after Mr. Kindt had directed a like observation in their direction.

Pardon me, gentlemen, but you aremy business, Mr. Kindt said.

Both young men slowly turned their heads toward Mr. Kindt.

Then both young men flinched.

Oh …, the smaller of the two said.

Not to worry, Mr. Kindt said. The two of you will leave now and when you leave I will put money on your table to pay for your abrogated dinner. How was your abrogated dinner? I hope that you had time to enjoy one or two bites before you addressed yourselves so unpleasantly, so gratuitously, to me.

We should have known better, the larger one said.

Yes, you should have known better, so good-night, boys. Good-night, boys, and don’t fucking come back, Mr. Kindt said.

When the two of them had left, Mr. Kindt reached over and put some money on their table. He also took a piece of their untouched chicken tikka and put it on Tulip’s plate.

Everywhere we went, Mr. Kindt paid. He always had a tremendous amount of cash with him and he was not averse to slipping a couple of twenties into my pocket at the end of an evening before I went home. After a while, I asked Tulip about this, and if she thought Mr. Kindt was expecting a little something in return.

He’s just generous, she said.

Right, I said.

She smiled.

Why don’t you ask him what he wants? I don’t know.

I did. It was evening, and he had just been showing me something about the lights in Tompkins Square Park from his window, how “lovely and scattered” they were, especially through the black netting, like some kind of “sparkling sea creature,” or maybe, I said to myself, not really getting what he was trying to show me, like a sparkling sea creature that has been blown to bits. We were still standing there, gazing, when I said, Mr. Kindt, is there anything you would like me to do for you?

He looked up at me.

How do you mean, Henry?

I mean you’ve been very generous.

Have you been enjoying yourself?

Sure. Yes – absolutely.

Well then that’s perfect.

So there’s nothing I can do for you?

You can get Tulip off my bed and tell her it’s time to eat.

I looked at Mr. Kindt.

I meant I could help you, if you needed it, with your business engagements, or with, you know, anything you want.

Mr. Kindt took my arm. He held it for a moment in one of his cold little hands then let go and gave it a few pats.

Don’t worry about my business affairs, they are quite well looked after, such as they are at this late stage in my career, my boy, he said. As far as anything else goes, I am an old man and like to talk and I do not like to talk alone. Tulip has been a wonderful companion to me, but it occurred to both of us that another friend might be even more wonderful, and now we are fortunate to have you. It is certainly true that, on occasion, friends do things for each other, but for now I’m not sure what it is exactly besides rousing that lovely wisp of a Tulip you can do.

I looked at him.

He looked at me.

All right, sure, I said.

EIGHT

The early, the innocent, the unambiguous days and nights in the hospital gave way to an indeterminate period during which I thought I had received my discharge orders and returned to the world of cars and bricks and clogged gutters – where things went well then badly then worse – but then I was back or had never left, I had never left, there I was, and in the deep and dark hours of the night I woke from the dream of wind and voices and met an old man.

May I call you Henry? he said.

Yes, of course, I said.

My name is Aris Kindt.

I saw you today when they were looking at your throat are you sick they tell me I’m not well but I’m better what’s wrong with you? I said.

I know, he said.

What do you mean, you know?

His upper lip curled a little. He shrugged.

Well, Mr. Kindt, may I call you Mr. Kindt, then you also know that I’m a thief – that I’m thieving in this establishment, that I’m making a fucking killing. And speaking of fucking, I wouldn’t mind, that is, with my doctor, she’s a peach, a pale yellow one with funny ears, do you know her?

My throat is fine, he said. It’s much better. Thank you for asking.

Your throat?

His lip curled again.

Dr. Tulp, I said. Best thing about this place, very bright, an incandescent bulb, a light-emitting diode. She’s getting a green card. She likes me a lot, takes my case very seriously. I’m in her office all the time. My humble room here is her second home. Peaches. I grew up on Long Island. Well, Staten Island too. That’s my story. My father was in construction. Do you know Job? We’re in business. We’re practically fucking partners.

Shhh, he said, putting a hand on my shoulder. That’s the morphine talking. It often talks much louder than is necessary about things not everybody need hear. I haven’t even properly introduced myself yet – we can allow a greater measure of detail into our discussions after I have done so. Does that sound like a good idea?

It does, I said.

I went quiet. I closed my eyes. When I woke again he was gone.

He reappeared the next night and sat very still for a long time. We stared at each other and then he went away. He came back minutes or hours later with a large red balloon and asked me if I wanted a bite.

I nodded and he brought the balloon close to my mouth. It bobbed in front of my face. I shook my head.

There is less morphine in you now than there was earlier, certainly less than there was last night, he said. He ate his balloon, very slowly, very neatly. It didn’t pop, just grew smaller, bite by careful bite. When he was finished, he said, we have things in common, young thief, then he went away.

He came back near dawn.

What do you want? I said.

Listen, dear Henry, and I’ll tell you. May I?

I nodded. He crossed his legs and wrapped his hands around his knee. He cracked his neck loudly then began speaking.

Once upon a time, he said, there was a man who lived in a large Dutch town in the center of drab, flat farmland, where he had been obliged to do day labor as a child and to eat all manner of foul things, which were advertised as fresh and healthy and were neither. The man had grown up to become a maker of inexpensive quivers and had been bad at it and had married unsuccessfully because that was the sort of luck he had so he became a thief. He stole scrap iron from a blacksmith to sell to a cooper and flour from a baker to sell to local housewives. He stole three copper coins from an apothecary and a bolt of blue silk off the back of a milliner’s cart. He stole eggs and whole cheeses and bundles of hops and once the corpse of a foal, which he attempted to sell for its hooves. For a long time he was unable to rid his mind of the smell of the rotting foal, even though he had tied a rope to it and dragged it well behind him. Then he got run out of town. He was not hurt badly, but was badly scared and was nervous around open fire for the brief remainder of his days. For a time he wandered. Autumn gave way to brutal winter. After knocking about at loose ends for some weeks he ended up in Amsterdam. In Amsterdam, his luck went from poor to very bad. A woman he groped at one night took his purse and left blood dripping from his right eye. The next day he attempted to knock someone down and to steal this someone’s cape. He had been drinking. A kind of potato spirit. Very potent. He had procured a large knife, a jagged, rusty job with a bad handle. What he attempted to do was not what he did. His efforts were approximate. The someone he attempted to knock down and whom he had slightly wounded with the knife, the handle of which had crumbled during the attack, was a magistrate. Not a great magistrate. Not the magistrate behind door number one or two, the magistrate behind door number four or five, but still, a magistrate, and a vigorous, broad-shouldered one at that, who got up, flung down our drunken thief, and promised, through clenched teeth, to deliver him to justice. He was duly arrested, beaten, tried, hung. Within hours, perhaps as an extension of his punishment, his corpse was taken to the Waaggebouw, a medical amphitheater, where, before an audience of Amsterdam’s finest citizens and foreign guests, possibly including such luminaries as René Descartes and Sir Thomas Browne, it was opened and sectioned with a scalpel and a number of fine saws. Rembrandt, who was also in attendance that day and made sketches, later immortalized the event in one of his most famous paintings, The Anatomy Lesson.Are you familiar with that painting?

I think so, I said.

I’m sure you know it. I’ll have to see if I can put my hands on a reproduction, there are some very faithful ones available. Of course these widely available reproductions lack texture and ruin the colors, but they will give you the idea, put across the gist.

I’d like that, but …

But why, my dear Henry, am I telling you this?

I nodded.

You should sleep now, he said. You are not well and I’ve troubled you enough.

No trouble at all, I said.

That’s very nice of you to say, but still, I should go.

Before you do, why don’t you tell me what it is you think we have in common?

Mr. Kindt looked at me with his pale blue eyes. He licked his lips and leaned closer.

What we have in common is that we’re both thieves, Henry. Not terribly successful ones.

NINE

New York is swell. It is swell on a cold wet night and it is swell on a cold clear dawn. It is swell with the cars coming fast toward you and it is swell down by the subway tracks, where the people come to gather and watch each other and wait. It is swell with the attractive denizens and with those who are not, including those, like you, who might once have been. It is swell with the shop lights and it is swell with its skyscrapers and acres of rubble and brilliant glass-strewn streets with everyone loving everything and moving through the haze of airborne particles saying fuck you. It is swell with its parks and harsh, windswept open spaces, with its beautiful giant bridges, with its great river and grim estuary, its cardboard villages, its scaffolding, its doves in the morning, its sparrows and pigeons and hawks and wild parrots basking in the sun. Its layers of sonic and visual complexity are swell. Swell too is the little girl screeching with delight on the carousel at Bryant Park, while the cars go by, bits of garbage flick through the air, the wind irritates the trees, chairs are scraped again and again over gravel, the ground rumbles distantly as the trains plow the dark tunnels, grackles fight, small, unseen electric explosions, wrecking balls, gobs of spittle smacking the pavement, someone claps, someone taps the Gertrude Stein statue on the shoulder, someone stumbles on an abandoned bright pink beauty-company supply case. Astoria and Fort Greene and Hell’s Kitchen and Spanish Harlem and Washington Heights and Cobble Hill are swell. Swell, as we have already seen, are the museums, movies, bathhouses, and restaurants frequented by petty hoods. A woman says, where are they all going? Another slaps her Bible shut. A man groans a little as he stoops to pick up a weather-stained pamphlet from the Church of Scientology. Two boys dressed in identical oversized Knicks jerseys take turns kicking a plastic Yoo-hoo bottle and doing beautiful 360-degree jumps over every crack. New York is unbelievably swell with its loud surfaces and sharp, sweeping contours, even more so with its endless peripheral zones. There people are told to hush or leave, to stand with their faces pressed against wet brick, to back away slowly, to curl up in a ball, to pay for that hot dog, to hand over a few bucks for a little New York City porn. You get, say, five minutes, and you open the magazine you’ve chosen and you’ve got this guy and another guy and three gals and some objects or you’ve got this gal and this gal and maybe a table and some green underwear or maybe a couch and a guy and a magazine or a guy with big hair and bad features wearing bell-bottoms, holding a book, listening to a “hi-fi,” and a young gal wearing a cream-colored fur-lined negligee enters stage left looking surprised and even more surprised, in the next panel, when the guy is standing and opening his pants.

New York is swell, you think, as you leave the brightly lit shop, warmed in the body though not in the heart, and get back onto the glittering, grimy street. As you walk toward the neon billboards and giant television screens of Times Square you think about New York’s swellness in almost cosmic terms, wondering where it begins and where it stops, and what is all that why in the middle, and then you leave off thinking and are just walking, past face after face backed by stone, steel, and dark brick, down into the subway and then out again at Fourteenth and First, where your mind flicks back on and you realize you just spent five bucks in a porn shop looking at what now seem like grotesqueries, pure and simple, and that you’re broke and hungry and that, even though things have been much better lately, even though New York is so swell in so many ways, things are still far from perfect, far from soothing, far from, moment to moment, ideal. So you head over to see Mr. Kindt, your dear friend, who often feeds you, who often talks to you at great length about not uninteresting things, who frequently eases the pain of parting, now that you have exhausted your own supply of funds, at the end of the evening. Mr. Kindt, who greets you at the door on this particular night, this night that is now in question, before you’ve even rung the bell and who says to you, come in, come in, Henry, I’m so glad you decided to drop by. It feels like it has been ages. What on earth have you been up to? Was it just the day before yesterday that you accompanied me to Russ and Daughters? There is a little of the pickled whitefish left and some dried pears. You can take it with you later. Where have you been? Never mind. I’m so happy to see you. Your timing couldn’t be more perfect. Mr. Kindt, who says, you see, I would like, this evening, to introduce you to a murderer.

A murderer? you say.

He has ushered you into the front room. There is some unfamiliar outerwear hanging on the eighteenth-century cherrywood coatrack. You hear voices. You go into the living/dining room, Mr. Kindt’s hand on your elbow, his breathing a little louder than usual. A small man with gray hair, deep wrinkles, and large, indistinct features turns toward you.

Here he is, says Mr. Kindt.

Hello, you say.

Hello, says the murderer.

He cordially shakes your hand and asks you how you do and you tell him that the day has been difficult for various reasons, but, as is always the case when you walk through Mr. Kindt’s front door, things have improved.

I know exactly what you mean, says the murderer.

You are both too kind, but there is really no need, says Mr. Kindt.

Then you eat, the four of you, no, the five – you, plus Mr. Kindt, plus Tulip, plus the murderer, plus the murderer’s guest, who is just returning to the room from the toilet with a cell phone pressed against her ear. She is a knockout. She is almost as tall as Tulip, has gorgeous mahogany skin, broad shoulders, and mile-long legs, and is bald. She slips her tiny phone into an orange shoulder bag.

I hope it’s all right, she says, not to you but to Mr. Kindt. I’ve asked a friend to join us.

Mr. Kindt does not mind. He says as much and smiles, and when he smiles his little blue eyes are sucked back into his face and his rather bad but not unsightly teeth are exposed. He waves his hand over the bowls of nuts and olives and cubed Gouda that are spread out over the table. He says, we will just nibble and chat until they get here.

We nibble and chat. The knockout tells a story about a cab that almost ran her over and how she took off her heels, chased it down at the next light, and smashed out one of its rearview mirrors with a rock. You don’t believe a word of the story but admire the way she tells it, punctuating her sentences with the brisk ingestion of carrots and cheese cubes. You know this is not how she is doing it, but each time you look away you have the impression that she is lifting the cheese and carrots with a single finger and popping them into her mouth. There are numerous embellishments to the story. You all listen, although for part of her account, the murderer and Mr. Kindt put their heads together and murmur. While she speaks, you try lifting an olive with your index finger and send it rolling toward Tulip, who doesn’t notice its approach. It leaves a line of oil on the dark wood, a faint trace of its pointless trajectory. The murderer, whom you think you have just heard say “the Benny problem,” although it could just as easily have been “the Lenny or the Kenny problem,” pulls his head away from Mr. Kindt’s, reaches over, winks at you, and plucks it up.

The buzzer sounds and the knockout’s friend has arrived, only it is three friends not one. So now you are dining in company with seven people, one of whom is a murderer, or actually two of whom are murderers, you find out after you’ve all begun tucking into Mr. Kindt’s heavy beef and carrot and shiitake stew.

I have just recently, says the second murderer, by way of introduction, become one.

Job, I say.

I go by Anthony, he says.

No one else makes any introductory statement.

Mr. Kindt, who has been seeing to something in the kitchen, comes and puts his hand on your shoulder and leans close and tells you that although it had never crossed his mind prior to your “kind intervention,” he has given some desultory thought to your offer to help him.

Yeah? you say.

Tonight, my boy, he says, there might be something you could do, or that you might wish to do, and that I would be happy for you to do, if you decide to.

His hand presses into your shoulder and you notice the first murderer looking and smiling at you and you notice Tulip looking at the first murderer and smiling at him.

Does it possibly have anything to do with me murdering anyone? you say.

Yes, Mr. Kindt says. I hope the prospect doesn’t bother you.

Not at all, you say, not sure how else to answer, given the hush you feel surrounding you.

That’s fine, Henry, Mr. Kindt says, and returns to his seat.

Not at all, you say again.

Then the first murderer begins talking about the close connection between the sugar industry and the art world in Europe, and Mr. Kindt is all ears.

The connection is very clear, says the murderer.

I’m sure it is, says Mr. Kindt.

The knockout is talking again too – she has started up a conversation with Tulip and the two other friends. The two friends watch her very closely, their heads making small, quick gestures, and Tulip pours and sips brandy and you, although you are just slightly discomfited by the outcome of your offer to reciprocate Mr. Kindt’s kindness, eat your stew.

It is as if, the murderer says, all the great works were dipped in and coated with sugar …

And the knockout says, and that is how, after the second incident, I repaired my arm …

I have been tempted, at the Munch Museum for instance, though I did not in fact do it, to slip forward, tongue-first, and test the veracity of this proposition …

You can see, if you look closely, that it really was very badly damaged, and that my method was quite effective …

Of course I know I would be disappointed …

In the final analysis, there was no lasting harm …

I find Munch most fascinating, but not for The Scream.I admire The Scream,in fact once I owned a good print, but I have never found it fascinating …

Look, you can still see it …

Etc.

Later, after dinner, you have a chance to speak privately with the knockout.

Wanna come home with me, take a number, she says.

You withdraw.

Job, who goes by Anthony, a.k.a. the second murderer, whom you have not seen at the bar in quite some time, is standing near the window. Dark hair, long, taut muscles. Very handsome.

Hey, you say.

Evening, he says.

You ask him if he minds talking.

As long as it isn’t about my name or about my former place of employment or about anything personal, he says.

So how you got involved in this is out-of-bounds?

He thinks a minute. He shrugs. Tulip’s a friend, he says. She told me about the opening. She introduced me around. I’ve got debts.