The Way the World Works: Essays (3 page)

Every week that summer I cleaned the fountain. Every week there was new money there to sweep up. I flipped more coins in myself; one nickel I deliberately left in place for a few weeks while I maneuvered away all the pennies around it, so that my wish-money would have more time to gather momentum. The next time, though, I swept it along with the rest, trying, however, to follow its progress as a crowd of coins lined up like piglets on the sow of the rubber blade. There were momentary collisions and overturnings, and the wavelets of the water added a confusion. My coin slid over another coin and fell to the right, and then, as I pushed them all into the corner pile, a mass of money avalanched over it and it was lost to view.

Once I came across a penny that had lain in the water under the stairs, unswept, for a very long time—perhaps years. Black it was and full of power. I pushed it into the heap with the others, dumped it into the washing machine, and delivered it to Diane at the bank.

(2001)

S
he was walking up a flight of stairs in a college dorm; I was carrying my bicycle down the stairs. I could hear the ticking sound of the slowly revolving tire as I introduced myself.

I stood in her room with my hands in my pockets while she did her Italian homework. She sat on the floor, leaning against the bunk bed, wearing clean, wrinkly T-shirts of various colors. She was dissatisfied with her clothes, and she often changed several times a day. She moved her head almost imperceptibly when a song came on that she liked. She didn’t own a bra, though her mother pleaded with her. She liked someone else who lived on the hall; I liked watching her blush when he dropped by. On our first date she wore a wonderful cashmere coat that she had bought at a thrift store. It had a shawl collar made of lambswool that went with her soft, thoughtful lips. I tried to get her to shoe-ski on the thin layer of snow on the sidewalk in front of the administration building, but she didn’t want to. It was snowing big intermittent designer flakes that night. She told me about a kitten she had found in one of the forums in Rome, who grew up to be an enormous, arrogant, affable
cat. Once, she said, it fell off the sixth-floor balcony of their apartment in the Piazza Paganica and broke its nose when it landed; its purr was especially loud and resonant after that fall.

(1993)

A
fter school, when I was thirteen, my bassoon teacher told me that the Rochester Philharmonic, where he played second bassoon, was rehearsing a piece of music called
La Mer
.
Mer
didn’t mean “mother,” he said—it meant “sea,” and the remarkable thing about
La Mer
was that it really and truly did sound like the sea. He played me some bits from the score while I put together my instrument. What he played didn’t sound like the sea to me, but that wasn’t surprising, because nothing sounds like the sea on the bassoon. A few months later, I bought a record of Pierre Boulez performing
La Mer
with the New York Philharmonic. I put on the heavy, padded headphones, that were like inflatable life rafts for each ear, and I heard Debussy’s side-slipping water-slopes, with cold spray blown off their crests, and I saw the sudden immensity of the marine horizon that followed the storm, and I was amazed by how true to liquid life it all was. It was just as good as Joseph Conrad’s “Typhoon,” then one of my favorite stories—maybe even better.

Later, after I’d applied to music school, I bought the pocket score of
La Mer
and tried to figure out how Debussy
did it, but the score didn’t help much. What gave Debussy the confidence to pick up half a melody and then flip it away, like a torn piece of seaweed, after a moment’s study? How did he turn an orchestra, a prickly ball of horsehair and old machinery, into something that splashed and surged, lost its balance and regained it? There may be things about
La Mer
that are slightly dissatisfying—there may be too much of the whole-tone scale in a few places (a novelty then, worn out by cop-show soundtracks now), and Debussy made a mistake, I think, when he revised the brass fanfare out of the ending—but this piece has so many natural wonders that you drive past the drab moments as if they were convenience stores, without paying attention to them, looking out at the tidal prodigies.

Debussy finished
La Mer
—adjusting its orchestration and correcting proofs—during a month in England in the summer of 1905, in Eastbourne, a late-Victorian summer resort where he had gone with Emma Bardac. Emma was married to a well-to-do banker at the time, and was very pregnant with Debussy’s only child. A few years ago, paging through one of the biographies, I stopped at a picture of Debussy frowning down into the viewfinder of a camera, on the stone-parapeted balcony of the Grand Hotel Eastbourne. The camera was pointed out at the English Channel. I was living in Ely at the time, north of Cambridge, but it occurred to me, as I consulted a map and a schedule, that I could easily go to Eastbourne and return the same day.

I rode the screeching, battered local train out one March morning; I walked into town and stopped at a used book store, which had nothing about Debussy, and then at the tourist information center, where a kind woman pulled out a red notebook entitled “Famous People,” with
entries for Wordsworth, Tennyson, Swinburne (who wrote “To a Seamew” nearby, at Beachy Head), King Arthur, and Debussy. The woman pointed me in the direction of the Grand Hotel, and when I finally found it, after turning the wrong way on the shore road, I was told that room 277 was the Debussy Suite, but that they couldn’t let me in to look out the windows of the suite because it was almost check-in time and that night’s guests might arrive at any moment.

So I sat in the garden on a white bench, with my back to the sea, looking up at the balcony where Debussy and Emma had, not so many years ago, looked out over the channel toward an invisible France. The balcony was right over the main entrance, under the letters that spelled “Grand Hotel.” In the pale sunlight, I sketched the facade of the hotel, with its eye-guiding beaux arts urns and scrolls (designed by R. K. Blessley in 1876); it seemed to me that Debussy, often penniless and foolish about money, had felt industriously rich here, perhaps for the last time, as he put the final touches on his ebullient sea poem. A few months later, back in Paris, his wife, abandoned and heartbroken, shot herself near the heart, and though she recovered, everyone’s life was different afterward.

I went back inside the hotel and up the fire stairs to the second floor. (The stairs had nicely carved banister knobs.) It was one of those buildings in which the flights of stairs and the placement of windows are out of synchrony: in the stairwell, the top of the window frame was low to the floor, so that I had to bend way down, my head pounding, to get a proper view. I had only a minute or two before I needed to leave to catch the train back. There was dried rain-dust on the outside of the glass, but I looked out over the water and saw, near to shore, an unexpected play of green and
gold and turquoise waves—not waves, really, because they were so small, but little manifestations of fluid under-energy. The clouds had the look that a glass of rinse water gets when you’re doing a watercolor—slowly diluting black roilings which move under the white water that you made earlier when you rinsed the white paint from the brush. But the sea didn’t choose to reflect the clouds that day; it had its own private mallard-neck palette, the fine gradations of which varied with the slopes of the wind-textured swells. Through the dirty window, I thought I saw, for a moment, what Debussy had seen.

(2001)

W
hen I was little, I played with the phone a lot. I liked the physical sensation of dialing, of having my finger guided in its numerical hole (first it was black metal, then more comfortable clear plastic) along arcs of a perfect circle, as if it were a pen in a Spirograph. Sometimes I hurried it back around and felt the center gear strain slightly.

Also, for a period of several years while I was growing up, no member of my family wore a watch, and our house had no dependably working clock. (We had an antique clock on the mantel but we often let it wind down.) My job was to call, often several times a day, the time-and-temperature number, sponsored by Rochester Savings Bank, and find out what time it was. I was delighted to make these calls. The other phone numbers I had memorized merely reached people my own age (e.g., my friend Fred, GI2-1397, and my friend Maitland, CH4-4158), but the time-temperature number linked me to a realer, kitchenless world of atomic clocks and compound interest and absolute zero, to times and temperatures thrillingly beyond dispute, endorsed, it seemed, by the National Bureau of Standards and the FDIC.
The day after daylight savings, the time-and-temperature number was always busy, a sign of simultaneous citywide activity as definite as the drop in water pressure during the ad breaks in the Super Bowl.

Later I learned the trick of calling myself up: you dialed some short number (was it 811?), and you made a carefully timed click of the cradle, and, miraculously, your own phone, the phone you were touching, would ring—a result that seemed, in those years before the discovery of other solitary auto-dialed pleasures, exotic and shocking and worthwhile.

It isn’t stretching things too much to say that in
Vox,
my phone-sex novel, I was performing the novelistic equivalent of these early telephonic diversions: I was calling up, or calling on, what I hoped were National-Bureau-of-Standards-level verities about the interests and flirtations of two representatively chatty single phoners, a pair who began as strangers to me and to each other and who thus had to move as mere voices from the absolute zero of their initial connection to the high-Fahrenheit range of their affectionate spoken orgasms. And at the same time, of course, I was making my own phone ring.

(1994)

A Contribution to
240
Ecrivains Racontent Une Journée du Monde,
the
Nouvel Observateur
’s anthology of events for April 29, 1994

I
took my daughter to school, and then, at my office, I wrote an e-mail about library catalogs, although I was supposed to be reviewing a novel. A fact-checker from a newspaper called, wanting to know if I was thirty-seven, and whether it was correct to say that a book of mine had been published on a certain day in 1992. I had lunch at a Chinese restaurant with my wife and sleeping five-month-old son. We talked about an article on homelessness that she had read in the
New York Review of Books
. Then I wrote about library catalogs some more. When I got home, my daughter was wearing a new Girl Scout Brownie uniform. She was proud of her long, blue-tasseled socks, and her pride made my eyes fill with tears, partly because I was tired from writing about libraries all day.

Outside on the back deck, we used strips of masking tape
to outline the dimensions of a possible second bathroom, to be installed in the laundry room. Chairs stood for the sink and the toilet; the space proved to be too small to accommodate a shower.

I bought hamburgers for dinner and rented
Arsenic and Old Lace
for us to watch as a family (never having seen it), but it frightened my daughter, so we stopped the tape. I made my son laugh by tickling the soles of his feet with my beard and making munching sounds at his ribs. When both children were asleep, my wife watched the rest of the movie while I, tipped sideways forty-five degrees, dozed on the couch. Then I went back to my office and sorted the mail I was supposed to answer into four piles. I didn’t actually answer any letters, but I felt that I had moved forward by sorting them. One of the pieces of mail I came across was a fax from
Le Nouvel Observateur,
and I realized that this was the very day I was supposed to write about and that I had thus far taken no notes. So I took some notes on the margin of the fax, which smudged on the shiny paper but remained legible.

The last thing I did before I got in bed was to put a computer disk between the two halves of my wallet so that I wouldn’t forget to take it with me to Phoenix, Arizona, where I was going the next morning to watch a friend get married to a tall woman who had appeared in a Jeep commercial. I went to sleep fondling my wife’s engagement ring.

Now, several months later, the bathroom is built. The strips of masking tape, which we didn’t bother to peel up when we finished our architectural planning that evening, have become ineffaceably baked onto the gray planks of the back deck. They are, in fact, the only tangible remains of that particular day.

(1994)

I
t’s a Sunday afternoon in South Berwick and I’m at the dump, sitting in a white plastic lawn chair. Dump days are Wednesday, Saturday, and Sunday; most people go on Sunday afternoons. The busiest time is just before six, when the dump closes: if you come too late, you’re stuck with your trash until Wednesday, and when Wednesday comes around you’re likely to forget. There are no garbage trucks in our town—everyone must make an appearance here. Just before election day, candidates for local office show up to shake hands and campaign—only here at the dump does a candidate have a chance of meeting a voter from every household. Many residents hardly set foot in the little stores on Main Street; they don’t use the post office much; they shop for groceries in supermarkets across the border in another state; their children are bused to school. But everybody comes to the dump. “We get more business here than town hall,” Jim told me. Jim is the dump’s manager—a stocky man in his twenties with a deep sunburn. When I had been sitting in my white plastic chair for about half an hour, in a shady place to one side of the parking lot, Jim came over to be sure I wasn’t trying to drop off some illegal toxic
material in the bushes. I told him I was writing about the dump, because most people are happy when they come here. In fact, I’m smiling now, as I type this sentence, looking out at the sunlit cars and trucks, and the long rectilinear containers, each accepting a different kind of refuse. There is a beautiful red container, freshly painted, the size of a caboose, with a ladder up its side; in front of it there is a sign that says “Shingles Only.”