Airships (4 page)

“His mother just screamed. She's running out in the field to get him.”

I thought we'd blinded him, but we hadn't. I thought the Quadberrys would get the police or call my father, but they didn't. The upshot of this is that Quadberry had a permanent white space next to his right eye, a spot that looked like a tiny upset crown.

I went from sixth through half of twelfth grade ignoring him and that wound. I was coming on as a drummer and a lover, but if Quadberry happened to appear within fifty feet of me and my most tender, intimate sweetheart, I would duck out. Quadberry grew up just like the rest of us. His father was still a doctor—professor of history—at the town college; his mother was still blond, and a musician. She was organist at an Episcopalian church in Jackson, the big capital city ten miles east of us.

As for Radcleve, he still had no ear for music, but he was there, my buddy. He was repentant about Quadberry, although not so much as I. He'd thrown the mud grenade over the fence only to see what would happen. He had not really wanted to maim. Quadberry had played his tune on the sax, Radcleve had played his tune on the mud grenade. It was just a shame they happened to cross talents.

Radcleve went into a long period of nearly nothing after he gave up violent explosives. Then he trained himself to copy the comic strips,
Steve Canyon
to
Major Hoople
, until he became quite a versatile cartoonist with some very provocative new faces and bodies that were gesturing intriguingly. He could never fill in the speech balloons with the smart words they needed. Sometimes he would pencil in “Err” or “What?” in the empty speech places. I saw him a great deal. Radcleve was not spooked by Quadberry. He even once asked Quadberry what his opinion was of his future as a cartoonist. Quadberry told Radcleve that if he took all his cartoons and stuffed himself with them, he would make an interesting dead man. After that, Radcleve was shy of him too.

When I was a senior we had an extraordinary band. Word was we had outplayed all the big A.A.A. division bands last April in the state contest. Then came news that a new blazing saxophone player was coming into the band as first chair. This person had spent summers in Vermont in music camps, and he was coming in with us for the concert season. Our director, a lovable aesthete named Richard Prender, announced to us in a proud silent moment that the boy was joining us tomorrow night. The effect was that everybody should push over a seat or two and make room for this boy and his talent. I was annoyed. Here I'd been with the band and had kept hold of the taste among the whole percussion section. I could play rock and jazz drum and didn't even really need to be here. I could be in Vermont too, give me a piano and a bass. I looked at the kid on first sax, who was going to be supplanted tomorrow. For two years he had thought he
was the star, then suddenly enters this boy who's three times better.

The new boy was Quadberry. He came in, but he was meek, and when he tuned up he put his head almost on the floor, bending over trying to be inconspicuous. The girls in the band had wanted him to be handsome, but Quadberry refused and kept himself in such hiding among the sax section that he was neither handsome, ugly, cute or anything. What he was was pretty near invisible, except for the bell of his horn, the all-but-closed eyes, the Arabian nose, the brown hair with its halo of white ends, the desperate oralness, the giant reed punched into his face, and hazy Quadberry, loving the wound in a private dignified ecstasy.

I say dignified because of what came out of the end of his horn. He was more than what Prender had told us he would be. Because of Quadberry, we could take the band arrangement of Ravel's
Bolero
with us to the state contest. Quadberry would do the saxophone solo. He would switch to alto sax, he would do the sly Moorish ride. When he played, I heard the sweetness, I heard the horn which finally brought human
talk
into the realm of music. It could sound like the mutterings of a field nigger, and then it could get up into inhumanly careless beauty, it could get among mutinous helium bursts around Saturn. I already loved
Bolero
for the constant drum part. The percussion was always there, driving along with the subtly increasing triplets, insistent, insistent, at last outraged and trying to steal the whole show from the horns and the others. I knew a large boy with dirty blond hair, name of Wyatt, who played viola in the Jackson Symphony and sousaphone in our band—one of the rare closet transmutations of my time—who was forever claiming to have discovered the central
Bolero
one Sunday afternoon over FM radio as he had seven distinct sexual moments with a certain B., girl flutist with black bangs and skin like mayonnaise, while the drums of Ravel carried them on and on in a ceremony of Spanish sex. It was agreed by all the canny in the band that
Bolero
was exactly the piece to make the band
soar—now especially as we had Quadberry, who made his walk into the piece like an actual lean Spanish bandit. This boy could blow his horn. He was, as I had suspected, a genius. His solo was not quite the same as the New York Phil's saxophonist's, but it was better. It came in and was with us. It entered my spine and, I am sure, went up the skirts of the girls. I had almost deafened myself playing drums in the most famous rock and jazz band in the state, but I could hear the voice that went through and out that horn. It sounded like a very troubled forty-year-old man, a man who had had his brow in his hands a long time.

The next time I saw Quadberry up close, in fact the first time I had seen him up close since we were eleven and he was bleeding in the cornfield, was in late February. I had only three classes this last semester, and went up to the band room often, to loaf and complain and keep up my touch on the drums. Prender let me keep my set in one of the instrument rooms, with a tarpaulin thrown over it, and I would drag it out to the practice room and whale away. Sometimes a group of sophomores would come up and I would make them marvel, whaling away as if not only deaf but blind to them, although I wasn't at all. If I saw a sophomore girl with exceptional bod or face, I would do miracles of technique I never knew were in me. I would amaze myself. I would be threatening Buddy Rich and Sam Morello. But this time when I went into the instrument room, there was Quadberry on one side, and, back in a dark corner, a small ninth-grade euphonium player whose face was all red. The little boy was weeping and grinning at the same time.

“Queerberry,” the boy said softly.

Quadberry flew upon him like a demon. He grabbed the boy's collar, slapped his face, and yanked his arm behind him in a merciless wrestler's grip, the one that made them bawl on TV. Then the boy broke it and slugged Quadberry in the lips and ran across to my side of the room. He said “Queerberry” softly again and jumped for the door. Quadberry plunged across the room and tackled him on the threshold.
Now that the boy was under him, Quadberry pounded the top of his head with his fist made like a mallet. The boy kept calling him “Queerberry” throughout this. He had not learned his lesson. The boy seemed to be going into concussion, so I stepped over and touched Quadberry, telling him to quit. Quadberry obeyed and stood up off the boy, who crawled on out into the band room. But once more the boy looked back with a bruised grin, saying “Queerberry.” Quadberry made a move toward him, but I blocked it.

“Why are you beating up on this little guy?” I said. Quadberry was sweating and his eyes were wild with hate; he was a big fellow now, though lean. He was, at six feet tall, bigger than me.

“He kept calling me Queerberry.”

“What do you care?” I asked.

“I care,” Quadberry said, and left me standing there.

We were to play at Millsaps College Auditorium for the concert. It was April. We got on the buses, a few took their cars, and were a big tense crowd getting over there. To Jackson was only a twenty-minute trip. The director, Prender, followed the bus in his Volkswagen. There was a thick fog. A flashing ambulance, snaking the lanes, piled into him head on. Prender, who I would imagine was thinking of
Bolero
and hearing the young horn voices in his band—perhaps he was dwelling on Quadberry's spectacular gypsy entrance, or perhaps he was meditating on the percussion section, of which I was the king—passed into the airs of band-director heaven. We were told by the student director as we set up on the stage. The student director was a senior from the town college, very much afflicted, almost to the point of drooling, by a love and respect for Dick Prender, and now afflicted by a heartbreaking esteem for his ghost. As were we all.

I loved the tough and tender director awesomely and never knew it until I found myself bawling along with all the rest of the boys of the percussion. I told them to keep setting up,
keep tuning, keep screwing the stands together, keep hauling in the kettledrums. To just quit and bawl seemed a betrayal to Prender. I caught some girl clarinetists trying to flee the stage and go have their cry. I told them to get the hell back to their section. They obeyed me. Then I found the student director. I had to have my say.

“Look. I say we just play
Bolero
and junk the rest. That's our horse. We can't play
Brighton Beach
and
Neptune's Daughter
. We'll never make it through them. And they're too happy.”

“We aren't going to play anything,” he said. “Man, to play is filthy. Did you ever hear Prender play piano? Do you know what a cool man he was in all things?”

“We play. He got us ready, and we play.”

“Man, you can't play any more than I can direct. You're bawling your face off. Look out there at the rest of them. Man, it's a herd, it's a weeping herd.”

“What's wrong? Why aren't you pulling this crowd together?” This was Quadberry, who had come up urgently. “I got those little brats in my section sitting down, but we've got people abandoning the stage, tearful little finks throwing their horns on the floor.”

“I'm not directing,” said the mustached college man.

“Then get out of here. You're weak, weak!”

“Man, we've got teen-agers in ruin here, we got sorrowville. Nobody can—”

“Go ahead. Do your number. Weak out on us.”

“Man, I—”

Quadberry was already up on the podium, shaking his arms.

“We're right here! The band is right here! Tell your friends to get back in their seats. We're doing
Bolero
. Just put
Bolero
up and start tuning.
I'm
directing. I'll be right here in front of you. You look at
me
! Don't you dare quit on Prender. Don't you dare quit on me. You've got to be heard.
I've
got to be heard. Prender wanted me to be heard. I am the star, and I say we sit down and blow.”

And so we did. We all tuned and were burning low for the advent into
Bolero
, though we couldn't believe that Quadberry was going to remain with his saxophone strapped to him and conduct us as well as play his solo. The judges, who apparently hadn't heard about Prender's death, walked down to their balcony desks.

One of them called out “Ready” and Quadberry's hand was instantly up in the air, his fingers hard as if around the stem of something like a torch. This was not Prender's way, but it had to do. We went into the number cleanly and Quadberry one-armed it in the conducting. He kept his face, this look of hostility, at the reeds and the trumpets. I was glad he did not look toward me and the percussion boys like that. But he must have known we would be constant and tasteful because I was the king there. As for the others, the soloists especially, he was scaring them into excellence. Prender had never got quite this from them. Boys became men and girls became women as Quadberry directed us through
Bolero
. I even became a bit better of a man myself, though Quadberry did not look my way. When he turned around toward the people in the auditorium to enter on his solo, I knew it was my baby. I and the drums were the metronome. That was no trouble. It was talent to keep the metronome ticking amidst any given chaos of sound.

But this keeps one's mind occupied and I have no idea what Quadberry sounded like on his sax ride. All I know is that he looked grief-stricken and pale, and small. Sweat had popped out on his forehead. He bent over extremely. He was wearing the red brass-button jacket and black pants, black bow tie at the throat, just like the rest of us. In this outfit he bent over his horn almost out of sight. For a moment, before I caught the glint of his horn through the music stands, I thought he had pitched forward off the stage. He went down so far to do his deep oral thing, his conducting arm had disappeared so quickly, I didn't know but what he was having a seizure.

When
Bolero
was over, the audience stood up and made meat out of their hands applauding. The judges themselves applauded. The band stood up, bawling again, for Prender and because we had done so well. The student director rushed out crying to embrace Quadberry, who eluded him with his dipping shoulders. The crowd was still clapping insanely. I wanted to see Quadberry myself. I waded through the red backs, through the bow ties, over the white bucks. Here was the first-chair clarinetist, who had done his bit like an angel; he sat close to the podium and could hear Quadberry.

“Was Quadberry good?” I asked him.

“Are you kidding? These tears in my eyes, they're for how good he was. He was too good. I'll never touch my clarinet again.” The clarinetist slung the pieces of his horn into their case like underwear and a toothbrush.

I found Quadberry fitting the sections of his alto in the velvet holds of his case.

“Hooray,” I said. “Hip damn hooray for you.”

Arden was smiling too, showing a lot of teeth I had never seen. His smile was sly. He knew he had pulled off a monster unlikelihood.

“Hip hip hooray for me,” he said. “Look at her. I had the bell of the horn almost smack in her face.”