Rabbit Redux Part 22

"If the Republic must be blotted out from the roll of nations, by proclaiming liberty to the captives, then let the Republic sink beneath the waves of oblivion, and a shout of joy, louder than the voice of many waters, fill the universe at its extinction. I don't understand what any of this stuff means."

Skeeter says, "It means, More Power to the People, Death to the Fascist Pigs."

Rabbit says, "To me it means, Throw the baby out with the bath." He remembers a tub of still water, a kind of dust on its dead surface. He relives the shock of reaching down through it to pull the plug. He loops back into the room where they are sitting now, within the rain.

Jill is explaining to Nelson, "He's saying what Skeeter says. If the System, even if it works for most people, has to oppress some of the people, then the whole System should be destroyed."

"Do I say that? No." Skeeter leans forward from the mossy brown wings, reaching a trembling thin hand toward the young people, all parody shaken from his voice. "That'll come anyway. That big boom. It's not the poor blacks setting the bombs, it's the offspring of the white rich. It's not injustice pounding at the door, it's impatience. Put enough rats in a 'cage the fat ones get more frantic than the skinny ones 'cause they feel more squeezed. No. We must look past that, past the violence, into the next stage. That it's gonna blow up we can a.s.sume. That's not interesting. What comes next is what's interesting. There's got to be a great calm."

"And you're the black Jesus going to bring it in," Rabbit mocks. "From A. D. to A. S. After Skeeter. I should live so long. All Praise Be Skeeter's Name."

He offers to sing but Skeeter is concentrating on the other two, disciples. "People talk revolution all the time but revolution's not interesting, right? Revolution is just one crowd taking power from another and that's bulls.h.i.t, that's just power, and power is just guns and gangsters, and that's boring bulls.h.i.t, right? People say to me Free Huey, I say Screw Huey, he's just Agnew in blackface. World forgets gangsters like that before they're dead. No. The problem is really, when the gangsters have knocked each other off, and taken half of everybody else with them, to make use of the s.p.a.ce. After the Civil War ended, there was s.p.a.ce, only they let it fill up with that same old greedy muck, only worse, right? They turned that old dog-eat-dog thing into a divine law."

"That's what we need, Skeeter," Rabbit says. "Some new divine laws. Why doncha go up to the top of Mt. Judge and have 'em handed to you on a tablet?"

Skeeter turns that nicely carved knife-handle of a face to him slowly, says slowly, "I'm no threat to you, Chuck. You're set. Only thing I could do to you is kill you and that matters less than you think, right?"

Jill delicately offers to make peace. "Didn't we pick out something for Harry to read?"

"f.u.c.k it," Skeeter says. "That won't swing now. He's giving off ugly vibes, right? He's not ready. He is immature."

Rabbit is hurt, he had only been kidding. "Come on, I'm ready, give me my thing to read."

Skeeter asks Nelson, "What say, Babychuck? Think he's ready?"

Nelson says, "You must read it right, Dad. No poking fun."

"Me? Who'd I ever poke fun of?"

"Mom. All the time you poke fun of Mom. No wonder she left you."

Skeeter gives Harry the book open to a page. "Just a little bit. Just read where I've marked."

Soft red crayon. Those Crayola boxes that used to remind him of bleachers with every head a different color. This strange return. "I believe, my friends and fellow citizens," Rabbit reads solemnly, "we are not prepared for this suffrage. But we can learn. Give a man tools and let him commence to use them, and in time he will learn a trade. So it is with voting. We may not understand it at the start, but in time we shall learn to do our duty."

The rain makes soft applause.

Skeeter tips his narrow head and smiles at the two children on the sofa. "Makes a pretty good n.i.g.g.e.r, don't he?"

Nelson says, "Don't, Skeeter. He didn't poke fun so you shouldn't."

"Nothing wrong with what I said, that's what the world needs, pretty good n.i.g.g.e.rs, right?"

To show Nelson how tough he is, Rabbit tells Skeeter, "This is all bleeding-heart stuff: It'd be like me bellyaching that the Swedes were pushed around by the Finns in the year Zilch."

Nelson cries, "We're missing Laugh-In!"

They turn it on. The cold small star expands, a torrent of stripes snaps into a picture, Sammy Davis Jr. is being the little dirty old man, tapping along behind the park bench, humming that aimless sad doodling tune. He perks up, seeing there is someone sitting on the bench. It is not Ruth Buzzi but Arte Johnson, the white, the real little dirty old man. They sit side by side and stare at each other. They are like one man looking into a crazy mirror. Nelson laughs. They all laugh: Nelson, Jill, Rabbit, Skeeter. Kindly the rain fastens them in, a dressmaker patting and st.i.tching all around the house, fitting its great wide gown.

Nights with Skeeter, they blend together. Skeeter asks him, "You want to know how a Ne-gro feels?"

"Not much."

"Dad, don't," Nelson says. gill, silent, abstracted, pa.s.ses Rabbit the joint. He takes a tentative puff. Has hardly held a cigarette in ten years, scared to inhale. Nearly sick after the other time, in Jimbo's. You suck and hold it down. Hold it down.

"Ee-magine," Skeeter is saying, "being in a gla.s.s box, and every time you move toward something, your head gets b.u.mped. Ee-magine being on a bus, and everybody movin' away, 'cause your whole body's covered with pustulatin' scabs, and they're scared to get the disease."

Rabbit exhales, lets it out. "That's not how it is. These black kids on buses are pushy as h.e.l.l."

"You've set so much type the world is lead, right? You don't hate n.o.body, right?"

"n.o.body." Serenely. s.p.a.ce is transparent.

"How you feel about those Penn Park people?"

"Which ones?"

"All those ones. All those ones live in those great big piecrust mock-Two-door houses with His and Hers Caddies parked out by the hydrangea bushes. How about all those old farts down at the Mifflin Club with all those iron gates that used to own the textile mills and now don't own anything but a heap of paper keeps 'em in cigars and girlfriends? How about those? Let 'em settle in before you answer."

Rabbit pictures Penn Park, the timbered gables, the stucco, the weedless lawns plumped up like pillows. It was on a hill. He used to imagine it on the top of a hill, a hill he could never climb, because it wasn't a real hill like Mt. Judge. And he and Mom and Pop and Mim lived near the foot of this hill, in the dark next to the Bolgers, and Pop came home from work every day too tired to play catch in the back yard, and Mom never had jewelry like other women, and they bought day-old bread because it was a penny cheaper, and Pop's teeth hurt to keep money out of the dentist's hands, and now Mom's dying was a game being played by doctors who drove Caddies and had homes in Penn Park. "I hate them," he tells Skeeter.

The black man's face lights up, shines. "Deeper."

Rabbit fears the feeling will be fragile and vanish if he looks at it but it does not; it expands, explodes. Timbered gables, driveway pebbles, golf clubs fill the sky with debris. He remembers one doctor. He met him early this summer by accident, coming up on the porch to visit Mom, the doctor hurrying out, under the fanlight that sees everything, in a sw.a.n.k cream raincoat though it had just started to sprinkle, that kind of dude, who produces a raincoat from nowhere when proper, all set up, life licked, tweed trousers knife-sharp over polished strapped shoes, hurrying to his next appointment, anxious to get away from this drizzling tilted street. Pop worrying his teeth like an old woman in the doorway, performing introductions, "our son Harry," pathetic pride. The doctor's irritation at being halted even a second setting a p.r.o.ng of distaste on his upper lip behind the clipped mustache the color of iron. His handshake also metal, arrogant, it pinches Harry's unready hand and says, l am strong, I twist bodies to my will. I am life, I am death. "I hate those Penn Park motherf.u.c.kers," Harry amplifies, performing for Skeeter, wanting to please him. "If I could push the red b.u.t.ton to blow them all to Kingdom Come" - he pushes a b.u.t.ton in mid-air - "I would." He pushes the b.u.t.ton so hard he can see it there.

"Ka-boom, right?" Skeeter grins, flinging wide his sticklike arms.

"But it is," Rabbit says. "Everybody knows black p.u.s.s.y is beautiful. It's on posters even, now."

Skeeter asks, "How you think all this mammy s.h.i.t got started? Who you think put all those hog-fat churchified old women at the age of thirty in Harlem?"

"Not me."

"It was you. Man, you is just who it was. From those breeding cabins on you made the black girl feel s.e.x was s.h.i.t, so she hid from it as quick as she could in the mammy bit, right?"

"Well, tell 'em it's not s.h.i.t."

"They don't believe me, Chuck. They see I don't count. I have no muscle, right? I can't protect my black women, right? 'Cause you don't let me be a man."

"Go ahead. Be one."

Skeeter gets up from the armchair with the silver threads and circles the imitation cobbler's bench with a wary hunchbacked quickness and kisses Jill where she sits on the sofa. Her hands, after a startled jerk, knit together and stay in her lap. Her head does not pull back nor strain forward. Rabbit cannot see, around the eclipsing orb of Skeeter's Afro, Jill's eyes. He can see Nelson's eyes. They are warm watery holes so dark, so stricken that Rabbit would like to stick pins into them, to teach the child there is worse. Skeeter straightens from kissing, wipes the Jill-spit from his mouth. "A pleasant spoil. Chuck, how do you like it?"

"I don't mind. If she doesn't."

Jill has closed her eyes, her mouth open on a small bubble. "She does mind it," Nelson protests. "Dad, don't let him!" Rabbit says to Nelson, "Bedtime, isn't it?"

Physically, Skeeter fascinates Rabbit. The l.u.s.trous pallor of the tongue and palms and the soles of the feet, left out of the sun. Or a different kind of skin? White palms never tan either. The peculiar glinting l.u.s.ter of his skin. The something so very finely turned and finished in the face, reflecting light at a dozen polished points: in comparison white faces are blobs: putty still drying. The curious greased grace of his gestures, rapid and watchful as a lizard's motions, free of mammalian fat. Skeeter in his house feels like a finely made electric toy; Harry wants to touch him but is afraid he will get a shock.

"O.K.? ".

"Not especially." Jill's voice seems to come from further away than beside him in the bed.

"Why not?"

"I'm scared."

"Of what? Of me?"

"Of you and him together."

"We're not together. We hate each other's guts."

She asks, "When are you kicking him out?"

"They'll put him in jail."

"Good."

The rain is heavy above them, beating everywhere, inserting itself in that chimney flashing that always leaked. He pictures a wide brown stain on the bedroom ceiling. He asks, "What's with you and him?"

She doesn't answer. Her lean cameo profile is lit by a flash. Seconds pa.s.s before the thunder arrives.

He asks shyly, "He getting at you?"

"Not that way anymore. He says that's not interesting. He -wants me another way now."

"What way can that be?" Poor girl, crazy suspicious.

"He wants me to tell him about G.o.d. He says he's going to bring some mesc for me."

The thunder follows the next flash more closely.

"That's crazy." But exciting: maybe she can do it. Maybe he can get music out of her like Babe out of the piano.

"He is crazy," Jill says. "I'll never be hooked again."

"What can I do?" Rabbit feels paralyzed, by the rain, the thunder, by his curiosity, by his hope for a break in the combination, for catastrophe and deliverance.

The girl cries out but thunder comes just then and he has to ask her to repeat it. "All you care about is your wife," she shouts upward into the confusion in heaven.

Pajasek comes up behind him and mumbles about the phone. Rabbit drags himself up. Worse than a liquor hangover, must stop, every night. Must get a grip on himself. Get a grip. Get angry. "Janice, for Chrissake -"

"It isn't Janice, Harry. It's me. Peggy."

"Oh. Hi. How's tricks? How's Ollie?"

"Forget Ollie, don't ever mention his name to me. He hasn't been to see Billy in weeks or contributed anything to his keep, and when he finally does show up, you know what he brings? He's a genius, you'll never guess."

"Another mini-bike."

"A puppy. He brought us a Golden Retriever puppy. Now what the h.e.l.l can we do with a puppy with Billy off in school and me gone from eight to five every day?"

"You got a job. Congratulations. What do you do?"

"I type tape for Brewer Fealty over at Youngquist, they're putting all their records on computer tape and not only is the work so boring you could scream, you don't even know when you've made a mistake, it comes out just holes in this tape, all these premium numbers."

"It sounds nifty. Peggy, speaking of work, they don't appreciate my being called here."

Her voice retreats, puts on dignity. "Pardon me. I wanted to talk to you when Nelson wasn't around. Ollie has promised Billy to take him fishing next Sunday, not this Sunday, and I wondered, since it doesn't look as if you'll ever ask me, if you'd like to have dinner Sat.u.r.day when you bring him over."

Her open bathrobe, that pubic patch, the silver stretchmarks, don't count your chickens. Meaning do count your chickens. "That might be great," he says.

"Might be."

"I'll have to see, I'm kind of tied up these days -"

"Hasn't that man gone yet? Kick him out, Harry. He's taking incredible advantage ofyou. Call the police if he won't go. Really, Harry, you're much too pa.s.sive."

"Yeah. Or something." Only after shutting the office door behind him and starting to walk through the solid brightness toward his machine does he feel last night's marijuana clutch at him, drag at his knees like a tide. Never again. Let Jesus find him another way.

"Tell us about Vietnam, Skeeter." The gra.s.s is mixing with his veins and he feels very close, very close to them all: the driftwood lamp, Nelson's thatch of hair an anxious tangle, Jill's bare legs a touch unshaped at the ankles. He loves them. All. His voice moves in and out behind their eyes. Skeeter's eyes roll red toward the ceiling. Things are pouring for him through the ceiling.

"Why you want to be told?" he asks.

"Because I wasn't there."

"Think you should have been there, right?"

"Yes."

"Why would that be?"

"I don't know. Duty. Guilt."

"No sir. You want to have been there because that is where it was at, right?"

"O.K.

"It was the best place," Skeeter says, not quite as a question.

"Something like that."

Skeeter goes on, gently urging, "It was where you would have felt not so de-balled, right?"

"I don't know. If you don't want to talk about it, don't. Let's turn on television."

"Mod Squad will be on," Nelson says.