The Collected Stories of Lorrie Moore (89 page)

Gramma just has to speak to the doctor before she can leave here, she says.

I am shocked that my mother is talking about leaving. Does she no longer think of herself as mad? As Catholic? I look at her face and it is smiling, softened like ice cream.

Mother, do you mean that? Will you come home with us? I feel equivocal and liver-lipped.

We'll see, she says, has forever said, as I sometimes do now to Jeffrey. And yet it seems more hopeful, more certain. I feel, however, the slow creep of ambivalence in me: How will she behave, will she insist on refrying the pork chops, will she snore unforgivably from the den?

Ladies always say that, announces my clever son. He has now wandered over to the window and stands tiptoe, just barely able to peer out at the emergency entrance in the wing directly opposite this one. Wow, he shouts. Ampulnses. Neato.

Mother, I think it would be great for you to leave here, and as I've said before, we would love to have you. I sit at the bed squeezing her hand, having no idea what I really want her to do, astounded at my disingenuousness—would she just watch TV nice and quiet all day on the couch?

Jeffrey is still watching things out the window, saying: They take sick people for rides, right Gramma?

  i
haven't been able
to stop eating. Amahara remarks today when I put three Lifesavers in my mouth at once: Boy, don't you know it's Lent? You haven't stopped eating for weeks. Silence. Have you?

I am reminded of a man's coat I bought once at a used clothing store, a store of dead people's clothes, and how I found an old Lifesaver in the pocket and popped it in my mouth, a dead man's candy. You'll eat anything, won't you, said Tom.

I am suddenly angry at Amahara. I march out wordlessly, straightening my spine. I stand next to Mrs. Rosenbaum our best charge customer and recommend the Korean paisleys while every cell in my body grumbles and gossips. Later I do a small operation with the Ann Klein receipts in the back. I will buy a new dishwasher.

I steal back into dreams of you, your unmade bed a huge open-faced sandwich. I lie back against you, fit the crook of your arm around my neck and into the curve at the base of my skull, bring your hand around to meet my mouth, chewing on your fingers, one by one, as a child might, listening to you tell stories.

Once upon a time I was in a strange position regarding women, you begin. I saw myself, as someone once said of Mohammed Ali, as a sort of pelvic missionary.

Ah, I murmur. The pelvic missionary position.

And your calluses press against my lips and teeth and your fingers strum my smile like a harp I am yours, yours, despite your stories I am yours.

i
want to diet.
I want to slink. I want to slink in a mink at the sink.

Batman is giving me dance lessons again before dinner. Glide, glide, goom-bah, he says, his lithe little body cutting S-weaves across the floor. Mom, he sighs, feigning exasperation at my swivel-hipped attempt to do what he is doing. He is imperious, in imitation of his teacher, a frustrated bursitic Frenchman named Oleg. Move just your feet. Everything else will follow. Goom-bah!

Do I grow slinky? I think of carrot sticks and ice and follow Jeffrey's lead. I am snapping my fingers, wiggling, bumping, grinding. Mom, giggles Jeffrey. That's too kinky.

And later, alone, the night outside grows inky, like my thoughts, my thoughts.

I am dying for a Twinkie.

tom is home
tonight from Scranton. We curl up on the couch together, under a blanket, whisper I love you, I missed you, confusing tenses I think. Jeffrey comes clunking in on a small broken three-wheeled fire engine.

Dad, Mom said to ask you if I could have a BB gun.

Jeffrey, I say, flabbergasted. I told you you could
not
have a BB gun.

Your mother's right on that score, says Tom, sounding weird—on that score, what the hell is that, he sounds like some oily sportscaster.

Geeze, mutters Jeffrey, maneuvering the firetruck into a three-point turn and back down the hallway. Fuck it damn it all, he says. I am startled.

Watch the mouth, young man, shouts Tom.

during lunch hour
today I stop by Mr. Fernandez's school. There are about fifteen kids there and they all seem quiet and good and engrossed in making block forts or cleaning up finger paint. Jeffrey looks up from behind some blocks, yells hi Mom, then resumes work on some precarious architectural project, which is probably also supposed to be a fort. I find a seat nearby and watch. Jeffrey suddenly stands up and looks fidgety, holding his crotch with one hand. Yikes! I gotta go! he shouts and bolts out of the room. While he is in the bathroom, I ask Mr. Fernandez about Jeffrey's language, whether he has noticed anything, any obscenities.

No, says Mr. Fernandez, looking puzzled.

Jeffrey emerges from the John, pulling up his pants.

amahara chews
an office property pen and says, aw, he's probably just reading it on bathroom walls is all.

Fuck it damn it all? He's only four-and-a-half.

Sure, she says, absently cracking plastic between her snaggle teeth. Like: Aint got no toilet paper, fuck it damn it all. Or no nukes, fuck it damn it all. Or no nukes hire the handicapped. Or nuke the handicapped. Or fuck the handicapped, damn it all.

I make a face. Amahara, I say. You're just free-associating.

Best things in life are free, she sighs.

With Amahara, cliches can take on epiphanic dimensions, as perhaps they should.

Best things in
life are free
, she repeats with emphasis, getting up, casting me a dark glance, and walking out the door, leaves me to wonder what she is driving at.

tonight by his bed
I discover a chewed crayon and a letter Jeffrey has written. It says Dear Jesus and God Hi.

Sunday.
This cool cloudless afternoon I feel a pulsing at my neck and head and hips to escape. I drop Jeffrey and Tom off at the cinema for a Disney cartoon fest they both said they wanted to see, and I drive thirty miles or so out into Bucks County toward a gorge and waterfall I read about last summer in an
Inquirer
article entitled, "Nooks for Cooks—Great Spots for the Gourmet Picknicker."

All the way out I listen to the car AM radio, bad lyrics of trailer park love, gin and tonic love, strobe light love, lost and found love, lost and found and lost love, lost and lost and lost love—some people were having no luck at all. The DJ sounds quick and smooth and after-shaved, the rest of the world a mess by comparison.

I have to drive a mile on a narrow string of a dirt road, praying, as my father used to say, like a goddamned mantis that no one will come barreling toward me from the opposite direction. I then leave the car parked at the end of it—along with only one other car—and walk another quarter of a mile in. The trail is black and muddy with spring and as I slop along in old sneakers, I can hear the rush of the water already just a short distance away. Slop City, Batman would say if he were here. Slop, slop.

The trail down from the woods into the gorge is veined with large knobby roots and as I make my way down along them, strategically leaning from tree trunk to tree trunk, it occurs to me that I should be thinking I am too old for this, and yet I am not and instead am marveling, marveling. The smell of the soil is wet and silty and few of the branches of the softwoods even have buds on them yet. A raccoon, elegantly striped and masked as for a small mammalian ball, has come out of the bushes and approached the creek. I make little noises at it, noises I think might be appropriate raccoon noises: a trilling, clucking sort of chatter. The raccoon cocks its head to one side, curious. I try human language—Hey, Mr. Raccoon—and it yammers at me angrily, scurries away in a furry blur.

In the middle of the creek there are long flat slabs of slate and I can jump from rock to rock and without much difficulty land myself in the middle of the largest and sunniest of them. A few yards down, an old stone bridge spans the gorge, crumbled but stubborn, its stones chipped and spilled, its mortar cracked; it is like the weighted arc of a wise mouth, a large, tight-lipped stitch across the jagged brown banks. I turn from this, turn toward the shimmer upstream, the bright white of the water, god, the light of it, as it skis down over the rocks and ragged beginnings of mosses, all around the zig-zag of flaking shale, layered as old pastries. The light, something the article never talked about, flashing from bud and wave and ripple, everything lined and measured by it, in this sunken rip, the blinding living ice of it knocks me out, flat like a lizard on a rock I just lie here and begin to feel the sun warm my skin even through my clothes, and then I am taking them off: my jacket, my sneakers, socks, sweater, pants, underwear. The sun heats the hairs of my goosebumps, soaks into my shoulders, the vast incontinent continent of me; sun closes my eyes, this sun, my sun. The creek roars around me, waking from winter, strong and renewed. I have the urge, lying like that, like a fat snake, to squeal or shout. I stand up and dip my right foot into the creek. No one is around and I leap from flat rock to flat rock whooping like a cowgirl. God, you devil you, moments like these I do believe are you, are gods that hold you and love you happy that's what a god should do, hold you and love you happy someone is stealing my wallet.

Behind me there is a barebacked man in denim fumbling with my jacket pocket three rocks away.

I run behind a bush.

Now he is clambering up the slope thinking I haven't seen him. I can bring myself to say nothing and he gradually disappears into the trees. I turn away, listen again to the water. I am now getting cold. I go back to my rock and lie down, the earth moving, chafing beneath the blue membrane of the sky like a slow ball-bearing.

I rub my shins and get dressed.

luckily
I still have my keys. On the way back to pick up Jeffrey and Tom from the movie, the radio plays Barbra Streisand movie soundtracks. I take my time. In college there were three books I liked:
Walden, Agamemnon
, and
Waiting for Godot
. These were operations I understood. I hum to the radio. A Smokey the Bear commercial booms on and says that only I can prevent forest fires, I sweat with responsibility, and then the slick, mentholated DJ returns, announcing that now we return to The Way We Were. I drive slow, like an old man after a war.

sorry i'm late,
I yell out the window, parking lot gravel crunching beneath the tires. They are the only two people left at the cinema, and they are standing there like two lone cornstalks by the highway marquee, big and little in navy blue windbreakers. I reach over to unlock the door and they both climb in the front seat, Jeffrey in the middle. Tom slams the door shut.

Sorry I'm late, I say again, and Jeffrey puts one cold hand on my face to try to make me jump and Tom rubs his palms together beneath the glove compartment, saying don't you have the heater on?

I am too warm already, but I flick it to high. It responds with a roar and we are off down the road, a Maytag dryer on wheels. How was the movie?

Radishes are round, quotes my son. Radishes are red. Specially when you take them and bite off their heads.

That's what Danny the Dragon said, explains my husband.

It wasn't Danny the Dragon, argues Jeffrey. It was the duck that said that.

Tom, I chide, don't you know a duck from a dragon? A light turns yellow and I speed through it.

Tom looks out the window to his right: I'm telling you, it was the dragon.

Jeffrey looks straight ahead. There's no such thing as real dragons, right Mom?

I steal a quick look over his head at Tom, whose nostrils are flaring. We have stopped for a light at Quaker Boulevard. That's right, dear. I think, uh, they were mostly killed off in wars or something.

In the Vietnam war? he asks, so sincere, so interested.

In the War of the Roses, blurts Tom, impatiently, his hands tucked under his arms. Also heavy dragon casualties in the Glorious Revolution.

You'll confuse him, I sing through my teeth, flooring the gas as the light changes.

He's already confused! Tom suddenly shouts, angrily pounding the dashboard as Jeffrey hides his face in my sleeve. I tell you it wasn't the fucking duck!

i've been so touchy,
murmurs Tom in bed as we stare at the ceiling together in the dark. I turn my head to look at him. He has been crying. Sharp triangles of hair are plastered to his forehead. Help me, Riva, he gasps, and his face cracks open again, but this time waterlessly. I feel the heaving of his rib cage. He brings his arm up over his face and hides in the angle it forms. I move toward him, on my side, press myself against him, cradle his head, pry loose his arm, and say: Tom, tell me. It's Scranton again, isn't it? He starts to shake his head no but then gives up. He nods yes and somehow it helps lessen the heaving. His eyes look at me, frantic, desperate. I place my hand gently to his cheek, but I do not kiss him.

  i
am sure the lady
at the health food store is dying. Her eyes are puffy and her lips are dried, stuck together. If she opened her mouth, it would sound like Velcro pulling apart. The door clacks and tinkles behind me.

Hi, I say cheerily. Well, you know, guess what, Scranton's back in the picture again that tenacious dame. What can you do? No water can be thicker than water, you know what I mean?

I have no idea what I'm saying. I just want to save her life.

Tom's okay, I continue. I mean, we all have our bad habits. Me, for instance, I eat graham crackers like crazy.

Her mouth lets in air, a grinning fish. Sorry to hear that, she says.

But I don't know whether she means Scranton or the graham crackers, and so I just say yeah, well, I'm sure I need some sort of vitamin, and look woefully toward the shelf.

amahara,
can you come here please and take care of Mrs. Baker's account?