THE

LARGESSE OF THE

SEA MAIDEN

SILENCES

After dinner, nobody went home right away. I think we’d enjoyed the meal so much we hoped Elaine would serve us the whole thing all over again. These were people we’ve gotten to know a little from Elaine’s volunteer work—nobody from my work, nobody from the ad agency. We sat around in the living room describing the loudest sounds we’d ever heard. One said it was his wife’s voice when she told him she didn’t love him anymore and wanted a divorce. Another recalled the pounding of his heart when he suffered a coronary. Tia Jones had become a grandmother at the age of thirty-seven and hoped never again to hear anything so loud as her granddaughter crying in her sixteen-year-old daughter’s arms. Her husband Ralph said it hurt his ears whenever his brother opened his mouth in public, because his brother had Tourette syndrome and erupted with remarks like “I masturbate! Your penis smells good!” in front of perfect strangers on a bus, or during a movie, or even in church.

Young Chris Case reversed the direction and introduced the topic of silences. He said the most silent thing he’d ever heard was the land mine taking off his right leg outside Kabul, Afghanistan.

As for other silences, nobody contributed. In fact, there came a silence now. Some of us hadn’t realized that Chris had lost a leg. He limped, but only slightly. I didn’t even know he’d fought in Afghanistan. “A land mine?” I said.

“Yes, sir. A land mine.”

“Can we see it?” Deirdre said.

“No, ma’am,” Chris said. “I don’t carry land mines around on my person.”

“No! I mean your leg.”

“It was blown off.”

“I mean the part that’s still there!”

“I’ll show you,” he said, “if you kiss it.”

Shocked laughter. We started talking about the most ridiculous things we’d ever kissed. Nothing of interest. We’d all kissed only people, and only in the usual places. “All right, then,” Chris told Deirdre, “here’s your chance for the conversation’s most unique entry.”

“No, I don’t want to kiss your leg!”

Although none of us showed it, I think we all felt a little irritated with Deirdre. We all wanted to see.

Morton Sands was there too that night, and for the most part he’d managed to keep quiet. Now he said, “Jesus Christ, Deirdre.”

“Oh, well. Okay,” she said.

Chris pulled up his right pant leg, bunching the cuff about halfway up his thigh, and detached his prosthesis, a device of chromium bars and plastic belts strapped to his knee, which was intact and swiveled upward horribly to present the puckered end of his leg. Deirdre got down on her bare knees before him, and he hitched forward in his seat—the couch, Ralph Jones was sitting beside him—to move the scarred stump within two inches of Deirdre’s face. Now she started to cry. Now we were all embarrassed, a little ashamed.

For nearly a minute, we waited.

Then Ralph Jones said, “Chris, I remember when I saw you fight two guys at once outside the Aces Tavern. No kidding,” Jones told the rest of us, “he went outside with these two guys and beat the crap out of both of them.”

“I guess I could’ve given them a break,” Chris said. “They were both pretty drunk.”

“Chris, you sure kicked some ass that night.”

In the pocket of my shirt I had a wonderful Cuban cigar. I wanted to step outside with it. The dinner had been one of our best, and I wanted to top off the experience with a satisfying smoke. But you want to see how this sort of thing turns out. How often will you witness a woman kissing an amputation? Jones, however, had ruined everything by talking. He’d broken the spell. Chris worked the prosthesis back into place and tightened the straps and rearranged his pant leg. Deirdre stood up and wiped her eyes and smoothed her skirt and took her seat, and that was that. The outcome of all this was that Chris and Deirdre, about six months later, down at the courthouse, in the presence of very nearly the same group of friends, were married by a magistrate. Yes, they’re husband and wife. You and I know what goes on.

ACCOMPLICES

Another silence comes to mind. A couple of years ago Elaine and I had dinner at the home of Miller Thomas, formerly the head of my agency in Manhattan. Right—he and his wife Francesca ended up out here too, but considerably later than Elaine and I—once my boss, now a San Diego retiree. We finished two bottles of wine with dinner, maybe three bottles. After dinner we had brandy. Before dinner we had cocktails. We didn’t know each other particularly well, and maybe we used the liquor to rush past that fact. After the brandy I started drinking scotch, and Miller drank bourbon, and, although the weather was warm enough that the central air conditioner was running, he pronounced it a cold night and lit a fire in his fireplace. It took only a squirt of fluid and the pop of a match to get an armload of sticks crackling and blazing, and then he laid on a couple of large chunks he said were good, seasoned oak. “The capitalist at his forge,” Francesca said.

At one point we were standing in the light of the flames, I and Miller Thomas, seeing how many books each man could balance on his outflung arms, Elaine and Francesca loading them onto our hands in a test of equilibrium which both of us failed repeatedly. It became a test of strength. I don’t know who won. We called for more and more books, and our women piled them on until most of Miller’s library lay around us on the floor. He had a small Marsden Hartley canvas mounted above the mantel, a crazy, mostly blue landscape done in oil, and I said that perhaps that wasn’t the place for a painting like this one, so near the smoke and heat, such an expensive painting. And the painting was masterly, too, from what I could see of it by dim lamps and firelight, amid books scattered all over the floor … Miller took offense. He said he’d paid for this masterpiece, he owned it, he could put it where it suited him. He moved very near the flames and took down the painting and turned to us holding it before him and declared that he could even, if he wanted, throw it in the fire and leave it there. “Is it art? Sure. But listen,” he said, “art doesn’t own it. My name ain’t Art.” He held the canvas flat like a tray, landscape up, and tempted the flames with it, thrusting it in and out … And the strange thing is that I’d heard a nearly identical story about Miller Thomas and his beloved Hartley landscape some years before, about an evening very similar to this one, the drinks and wine and brandy and more drinks, the rowdy conversation, the scattering of books, and finally Miller thrusting this painting toward the flames and calling it his own property and threatening to burn it. On that previous night his guests had talked him down from the heights, and he’d hung the painting back in its place, but on our night—why?—none of us found a way to object as he added his property to the fuel and turned his back and walked away. A black spot appeared on the canvas and spread out in a sort of smoking puddle that gave rise to tiny flames. Miller sat in a chair across the living room, by the flickering window, and observed from that distance with a drink in his hand. Not a word, not a move, from any of us. The wooden frame popped marvelously in the silence while the great painting cooked away, first black and twisted, soon gray and fluttering, and then the fire had it all.

AD MAN

This morning I was assailed by such sadness at the velocity of life—the distance I’ve traveled from my own youth, the persistence of the old regrets, the new regrets, the ability of failure to freshen itself in novel forms—that I almost crashed the car. Getting out at the place where I do the job I don’t feel I’m very good at, I grabbed my briefcase too roughly and dumped half of its contents in my lap and half in the parking lot, and while gathering it all up I left my keys on the seat and locked the car manually—an old man’s habit—and trapped them in the RAV.

In the office, I asked Shylene to call a locksmith and then get me an appointment with my back-man.

In the upper right quadrant of my back I have a nerve that once in a while gets pinched. The T4 nerve. These nerves aren’t frail little ink lines; they’re cords as thick as your pinky finger. This one gets caught between tense muscles, and for days, even for weeks, there’s not much to be done but take aspirins and get massages and visit the chiropractor. Down my right arm I feel a tingling, a numbness, sometimes a dull, sort of muffled torment, or else a shapeless, confusing pain.

It’s a signal: It happens when I’m anxious about something.

To my surprise, Shylene knew all about this something. Apparently she finds time to be Googling her bosses, and she’d learned of an award I was about to receive in, of all places, New York—for an animated television commercial. The award goes to my old New York team, but I was the only one of us attending the ceremony, possibly the only one interested, so many years down the line. This little gesture of acknowledgment put the finishing touches on a depressing picture. The people on my team had gone on to other teams, fancier agencies, higher accomplishments. All I’d done in better than two decades was to tread forward until I reached the limit of certain assumptions, and step off. Meanwhile, Shylene was oohing, gushing, like a proud nurse who expects you to marvel at all the unholy procedures the hospital has in store for you. I said to her, “Thanks, thanks.”

When I entered the reception area, and throughout this transaction, Shylene wore a flashy sequined carnival masque. I didn’t ask why.

Our office environment is part of the new wave. The whole agency works under one gigantic big top like a circus—not crowded, quite congenial, all of it surrounding a spacious break-time area with pinball machines and a basketball hoop, and every Friday during the summer months we have a Happy Hour with free beer from a keg.

In New York I made commercials. In San Diego I write and design glossy brochures, mostly for a group of western resorts where golf is played and horses take you along bridle paths. Don’t get me wrong—California’s full of beautiful spots; it’s a pleasure to bring them to the attention of people who might enjoy them. Just, please, not with a badly pinched nerve.

When I can’t stand it I take the day off and visit the big art museum in Balboa Park. Today, after the locksmith got me back in my car, I drove to the museum and sat in on part of a lecture in one of its side-rooms, a woman Outsider artist raving, “Art is man and man is art!” I listened for five minutes, and what little of it she managed to make comprehensible didn’t even merit being called shallow. Just the same, her paintings were slyly designed, intricately patterned, and coherent. I wandered from wall to wall, taking some of it in, not much. But looking at art for an hour or so always changes the way I see things afterward—this day, for instance, a group of mentally handicapped adults on a tour of the place with their twisted, hovering hands and cocked heads, moving among the works like cheap cinema zombies, but good zombies, zombies with minds and souls and things to keep them interested. And outside, where they normally have a lot of large metal sculptures, the grounds were being dug up and reconstructed—a dragline shovel nosing the rubble monstrously, and a woman and child watching, motionless, the little boy standing on a bench with his smile and sideways eyes and his mother beside him, holding his hand, both so still, like a photograph of American ruin.

Next I had a session with a chiropractor dressed up as an elf.

It seemed the entire staff at the medical complex near my house were costumed for Halloween, and while I waited out front in the car for my appointment, the earliest one I could get that day, I saw a Swiss milkmaid coming back from lunch, then a witch with a green face, then a sunburst-orange superhero. Then I had the session with the chiropractor in his tights and drooping cap.

As for me? My usual guise. The masquerade continues.

FAREWELL

Elaine got a wall phone for the kitchen, a sleek blue one that wears its receiver like a hat, with a caller ID readout on its face just below the keypad. While I eyeballed this instrument, having just come in from my visit with the chiropractor, a brisk, modest tone began, and the tiny screen showed ten digits I didn’t recognize. My inclination was to scorn it like any other unknown. But this was the first call, the inaugural message.

As soon as I touched the receiver I wondered if I’d regret this, if I was holding a mistake in my hand, if I was pulling this mistake to my head and saying “Hello” to it.

The caller was my first wife, Virginia, or Ginny, as I’d always called her. We’d been married long ago, in our early twenties, and put a stop to it after three crazy years. Since then we hadn’t spoken, we’d had no reason to, but now we had one. Ginny was dying.

Her voice came faintly. She told me the doctors had closed the book on her, she’d ordered her affairs, the good people from hospice were in attendance.

Before she ended this earthly transit, as she called it, Ginny wanted to shed any kind of bitterness against certain people, certain men, especially me. She said how much she’d been hurt, and how badly she wanted to forgive me, but she didn’t know whether she could or not—she hoped she could—and I assured her, from the abyss of a broken heart, that I hoped so too, that I hated my infidelities and my lies about the money, and the way I’d kept my boredom secret, and my secrets in general, and Ginny and I talked, after forty years of silence, about the many other ways I’d stolen her right to the truth.

In the middle of this I began wondering, most uncomfortably, in fact with a dizzy, sweating anxiety, if I’d made a mistake—if this wasn’t my first wife Ginny, no, but rather my second wife, Jennifer, often called Jenny. Because of the weakness of her voice and my own humming shock at the news, also the situation around her as she tried to speak to me on this very important occasion—folks coming and going, and the sounds of a respirator, I supposed—now, fifteen minutes into this call, I couldn’t remember if she’d actually said her name when I picked up the phone and I suddenly didn’t know which set of crimes I was regretting, wasn’t sure if this dying farewell clobbering me to my knees in true repentance beside the kitchen table was Virginia’s, or Jennifer’s.

“This is hard,” I said. “Can I put the phone down a minute?” I heard her say okay.

The house felt empty. “Elaine?” I called. Nothing. I wiped my face with a dishrag and took off my blazer and hung it on a chair and called out Elaine’s name one more time and then picked up the receiver again. There was nobody there.

Somewhere inside it, the phone had preserved the caller’s number, of course, Ginny’s number or Jenny’s, but I didn’t look for it. We’d had our talk, and Ginny or Jenny, whichever, had recognized herself in my frank apologies, and she’d been satisfied—because, after all, both sets of crimes had been the same.

I was tired. What a day. I called Elaine on her cellphone. We agreed she might as well stay at the Budget Inn on the east side. She volunteered out there teaching adults to read, and once in a while she got caught late and stayed over. Good. I could lock all three locks on the door and call it a day. I didn’t mention the previous call. I turned in early.

I dreamed of a wild landscape—elephants, dinosaurs, bat caves, strange natives, and so on.

I woke, couldn’t go back to sleep, put on a long terrycloth robe over my pj’s and slipped into my loafers and went walking. People in bathrobes stroll around here at all hours, but not often, I think, without a pet on a leash. Ours is a good neighborhood—a Catholic church and a Mormon one, and a posh townhouse development with much open green space, and on our side of the street some pretty nice smaller homes.

I wonder if you’re like me, if you collect and squirrel away in your soul certain odd moments when the Mystery winks at you, when you walk in your bathrobe and tasseled loafers, for instance, well out of your neighborhood and among a lot of closed shops, and you approach your very faint reflection in a window with words above it. The sign said “Sky and Celery.”

Closer, it read “Ski and Cyclery.”

I headed home.

WIDOW

I was having lunch one day with my friend Tom Ellis, a journalist—just catching up. He said he was writing a two-act drama based on interviews he’d taped while gathering material for an article on the death penalty, two interviews in particular.

First he’d spent an afternoon with a death row inmate in Virginia, the murderer William Donald Mason, a name not at all famous here in California, and I don’t know why I remember it. Mason was scheduled to die the next day, twelve years after killing a guard he’d taken hostage during a bank robbery.

Other than his last meal of steak, green beans, and a baked potato, which would be served to him the following noon, Mason knew of no future outcomes to worry about and seemed relaxed and content. Ellis quizzed him about his life before his arrest, his routine there at the prison, his views on the death penalty—Mason was against it—and his opinion as to an afterlife—Mason was for it.

The prisoner talked with admiration about his wife, whom he’d met and married some years after landing on death row. She was the cousin of a fellow inmate. She waited tables in a sports bar—great tips. She liked reading, and she’d introduced her murderer husband to the works of Charles Dickens and Mark Twain and Ernest Hemingway. She was studying for a realtor’s license.

Mason had already said goodbye to his wife. The couple had agreed to get it all out of the way a full week ahead of the execution, to spend several happy hours together and part company well out of the shadow of Mason’s last day.

Ellis said he’d felt a fierce, unexpected kinship with this man so close to the end because, as Mason himself pointed out, this was the last time Mason would be introduced to a stranger, except for the people who would arrange him on the gurney the next day and set him up for his injection. Tom Ellis was the last new person he’d meet, in other words, who wasn’t about to kill him. The next day everything proceeded according to the schedule, and about eighteen hours after Ellis talked with him, William Mason was dead.

A week later Ellis interviewed the new widow, Mrs. Mason, and learned that much of what she’d told her husband was false.

Ellis located her in Norfolk, working not in any kind of sports bar, but instead in a basement sex emporium near the waterfront, in a one-on-one peep show. In order to talk to her Ellis had to pay twenty dollars and descend a narrow stairway lit with purple bulbs and sit in a chair before a curtained window. He was shocked when the curtain vanished upward to reveal the woman already completely nude, sitting on a stool in a padded booth. Then it was her turn to be shocked when Ellis introduced himself as a man who’d shared an hour or two of her husband’s last full day on earth. Together they spoke of the prisoner’s wishes and dreams, his happiest memories and his childhood grief, the kinds of things a man shares only with his wife. Her face, though severe, was pretty, and she displayed her parts to Tom unselfconsciously, yet without the protection of anonymity. She wept, she laughed, she shouted, she whispered, all of this into a telephone handset she held to her head while her free hand gestured in the air or touched the glass between them.

As for having told so many lies to the man she’d married—that was one of the things she laughed about. She seemed to assume anybody else would have done the same. In addition to her bogus employment and her imaginary studies in real estate, she’d endowed herself with a religious soul and joined the membership of a nonexistent church. Thanks to all her fabrications, William Donald Mason had died a proud and happy husband.

And just as he’d been surprised by a sudden intimacy with the condemned killer, my friend felt very close to the widow because they were talking with each other about life and death while she displayed her nakedness before him, sitting on the stool with her red, spike-heeled pumps planted wide apart on the floor. I asked him if they’d ended up making love, and he said no, but he’d wanted to, he certainly had, and he was convinced the naked widow had felt the same, though you weren’t allowed to touch the women in those places, and this dialogue, and for that matter both of them—the death row interview and the interview with the naked widow—had taken place through glass partitions made to withstand any kind of passionate assault.

At the time, the idea of telling her what he wanted had seemed terrible. Now Tom regretted his shyness. In the play, as he described it for me, the second act would end differently.

Before long we wandered into a discussion of the difference between repentance and regret. You repent the things you’ve done, and regret the chances you let get away. Then, as sometimes happens in a San Diego café—more often than you’d think—we were interrupted by a beautiful young woman selling roses.

ORPHAN

The lunch with Tom Ellis took place a couple of years ago. I don’t suppose he ever wrote the play; it was just a notion he was telling me about. It came to mind today because this afternoon I attended the memorial service of an artist friend of mine, a painter named Tony Fido, who once told me about a similar experience.

Tony found a cellphone on the ground near his home in National City, just south of here. He told me about this the last time I saw him, a couple of months before he disappeared, or went out of communication. First he went out of communication, then he was deceased. But when he told me this story there was no hint of any of that.

Tony noticed the cellphone lying under an oleander bush as he walked around his neighborhood. He picked it up and continued his stroll and before long felt it vibrating in his pocket. When he answered, he found himself talking to the wife of the owner—the owner’s widow, actually, who explained she’d been calling the number every thirty minutes or so since her husband’s death not twenty-four hours before.

Her husband had been killed the previous afternoon in an accident at the intersection where Tony had found the cellphone. An old woman in a Cadillac had run him down. At the moment of impact, the device had been torn from his hand.

The police said they hadn’t noticed any phone around the scene. It hadn’t been among the belongings she’d collected at the morgue. “I knew he lost it right there,” she told Tony, “because he was talking to me at the very second when it happened.”

Tony offered to get in his car and deliver the phone to her personally, and she gave him her address in Lemon Grove nine miles distant. When he got there he discovered that the woman was only twenty-two and quite attractive, and that she and her husband had been going through a divorce.

At this point in the telling, I thought I knew where his story was headed.

“She came after me. I told her, ‘You’re either from Heaven or from Hell.’ It turned out she was from Hell.”

Whenever he talked, Tony kept his hands moving—grabbing and rearranging small things on the tabletop—while his head rocked from side to side and back and forth. Sometimes he referred to a “force of rhythm” in his paintings. He often spoke of “motion” in the work.

I didn’t know much about Tony’s background. I can say he was in his late forties but seemed younger. I’d met him at the Balboa Park museum, where he appeared at my shoulder while I looked at an Edward Hopper painting of a Cape Cod gas station. Tony offered his critique, which was lengthy, meticulous, and scathing—and which was focused on technique, only on technique—and spoke of his contempt for all painters, and finished by saying, “I wish Picasso was alive, I’d challenge him—he could do one of mine and I could do one of his.”

“You’re a painter yourself.”

“A better painter than this guy,” he said of Edward Hopper.

“Well, whose work would you say is any good?”

“The only painter I admire is God. He’s my biggest influence.”

We began having coffee together two or three times a month, always, I have to admit, at Tony’s initiation. Usually I drove to his lively disheveled Hispanic neighborhood to see him, there in National City. I like primitive art, and I like folk tales, so I enjoyed visiting his rambling old home,