Rabbit Redux Part 23

Skeeter explains: "If you can't f.u.c.k, dirty pictures won't do it for you, right? And then if you can, they don't do it either."

"O.K., don't tell us anything. And try to watch your language in front of Nelson."

At night when Jill turns herself to him in bed he finds the unripe hardness of her young body repels him. The smoke inside him severs his desires from his groin, he is full of flitting desires that prevent him from directly answering her woman's call, a call he helped create in her girl's body. Yet in his mind he sees her mouth defiled by Skeeter's kiss and feels her rotting with his luminous poison. Nor can he forgive her for having been rich. Yet through these nightly denials, these quiet debas.e.m.e.nts, he feels something unnatural strengthening within him that may be love. On her side she seems, more and more, to cling to him; they have come far from that night when she went down on him like a little girl bobbing for apples.

This fall Nelson has discovered soccer; the junior high school has a team and his small size is no handicap. Afternoons Harry comes home to find the child kicking the ball, sewn of blackand-white pentagons, again and again against the garage door, beneath the unused basketball backboard. The ball bounces by Nelson, Harry picks it up, it feels bizarrely seamed in his hands. He tries a shot at the basket. It misses clean. "The touch is gone," he says. "It's a funny feeling," he tells his son, "when you get old. The brain sends out the order and the body looks the other way."

Nelson resumes kicking the ball, vehemently, with the side of his foot, against a spot on the door already worn painless. The boy has mastered that trick of trapping the ball to a dead stop under his knees.

"Where are the other two?"

"Inside. Acting funny."

"How funny?"

"You know. The way they act. Dopey. Skeeter's asleep on the sofa. Hey, Dad."

"What?"

Nelson kicks the ball once, twice, hard as he can, until it gets by him and he has worked up nerve to tell. "I hate the kids around here."

"What kids? I never see any. When I was a kid, we were all over the streets."

"They watch television and go to Little League and stuff."

"Why do you hate them?"

Nelson has retrieved the ball and is shuffling it from one foot to the other, his feet clever as hands. "Tommy Frankhauser said we had a n.i.g.g.e.r living with us and said his father said it was ruining the neighborhood and we'd better watch out."

"What'd you say to that?"

"I said he better watch out himself."

"Did you fight?"

"I wanted to but he's a head taller than me even though we're in the same grade and he just laughed."

"Don't worry about it, you'll shoot up. All us Angstroms are late bloomers."

"I hate them, Dad, I hate them!" And he heads the ball so it bounces off the shadow-line shingles of the garage roof.

"Mustn't hate anybody," Harry says, and goes in.

Jill is in the kitchen, crying over a pan of lamb chops. "The flame keeps getting too big," she says. She has the gas turned down so low the little nipples of blue are sputtering. He turns it higher and Jill screams, falls against him, presses her face into his chest, peeks up with eyes amus.e.m.e.nt has dyed deep green. "You smell of ink," she tells him. "You're all ink, so clean, just like a new newspaper. Every day, a new newspaper comes to the door."

He holds her close; her tears tingle through his shirt. "Has Skeeter been feeding you anything?"

"No, Daddy. I mean lover. We stayed in the house all day and watched the quizzes, Skeeter hates the way they always have Negro couples on now, he says it's tokenism."

He smells her breath and, as she has promised, there is nothing, no liquor, no gra.s.s, just a savor of innocence, a faint tinge of sugar, a glimpse of a porch swing and a beaded pitcher. "Tea," he says.

"What an elegant little nose," she says, of his, and pinches it. "That's right. Skeeter and I had iced tea this afternoon." She keeps caressing him, rubbing against him, making him sad. "You're elegant all over," she says. "You're an enormous snowman, twinkling all over, except you don't have a carrot for a nose, you have it here."

"Hey," he says, hopping backwards.

Jill tells him urgently, "I like you there better than Skeeter, I think being circ.u.mcised makes men ugly."

"Can you make the supper? Maybe you should go up and lie down."

"I hate you when you're so uptight," she tells him, but without hate, in a voice swinging as a child wandering home swings a basket, "can I cook the supper, I can do anything, I can fly, I can make men satisfied, I can drive a white car, I can count in French up to any number; look!" - she pulls her dress way up above her waist - "I'm a Christmas tree!"

But the supper comes to the table badly cooked. The lamb chops are rubbery and blue near the bone, the beans crunch underdone in the mouth. Skeeter pushes his plate away. "I can't eat this crud. I ain't that primitive, right?"

Nelson says, "It tastes all right, Jill."

But Jill knows, and bows her thin face. Tears fall onto her plate. Strange tears, less signs of grief than chemical condensations: tears she puts forth as a lilac puts forth buds. Skeeter keeps teasing her. "Look at me, woman. Hey you c.u.n.t, look me in the eye. What do you see?"

"I see you. All sprinkled with sugar."

"You see Him, right?"

"Wrong."

"Look over at those drapes, honey. Those ugly home-made drapes where they sort of blend into the wallpaper."

"He's not there, Skeeter."

"Look at me. Look."

They all look. Since coming to live with them, Skeeter has aged; his goatee has grown bushy, his skin has taken on a captive's taut glaze. He is not wearing his gla.s.ses tonight.

"Skeeter, He's not there."

"Keep looking at me, c.u.n.t. What do you see?"

"I see - a chrysalis of mud. I see a black crab. I just thought, an angel is like an insect, they have six legs. Isn't that true? Isn't that what you want me to say?"

Skeeter tells them about Vietnam. He tilts his head back as if the ceiling is a movie screen. He wants to do it justice but is scared to let it back in. "It was where it was coming to an end," he lets out slowly. "There was no roofs to stay under, you stood out in the rain like a beast, you slept in holes in the ground with the roots poking through, and, you know, you could do it. You didn't die of it. That was interesting. It was like you learned there was life on another world. In the middle of a recon action, a little old gook in one of them hats would come out and try to sell you a chicken. There were these little girls pretty as dolls selling you smack along the road in those little cans the press photogs would throw away, right? It was very complicated, there isn't any net" - he lifts his hand - "to grab it all in."

Colored fragments pour down toward him through the hole in the ceiling. Green machines, an ugly green, eating ugly green bushes. Red mud pressed in patterns to an ooze by Amtrac treads. The emerald of rice paddies, each plant set there with its reflection in the water pure as a monogram. The color of human ears a guy from another company had drying under his belt like withered apricots, yellow. The black of the ao dai pajamas the delicate little wh.o.r.es wore, so figurine-fine he couldn't believe he could touch them though this clammy guy in a white suit kept pushing, saying, "Black GI, number one, most big p.r.i.c.ks, Viet girls like -suck." The red, not of blood, but of the Ace of Diamonds a guy in his company wore in his helmet for luck. All that luck junk: peace-signs of melted lead, love beads, beads spelling LOVE, JESUS, MOTHER, BURY ME DEEP, Ho Chi Minh sandals cut from rubber tires for tiny feet, Tao crosses, Christian crosses, the cross-shaped bombs the Phantoms dropped on the trail up ahead, the X's your laces wore into your boots over the days, the shiny green bodybags tied like long mail sacks, sun on red dust, on blue smoke, sun caught in shafts between the canopies of the jungle where d.i.n.ks with Russian rifles waited quieter than orchids, it all tumbles down on him, he is overwhelmed. He knows he can never make it intelligible to these three ofays that worlds do exist beyond these paper walls.

"Just the sounds," Skeeter says. "When one of them Unfriendly mortar sh.e.l.ls. .h.i.ts near your hole it is as if a wall were there that was big and solid, twenty feet thick of noise, and you is just a gushy bug. Feet up there just as soon step on you as not, it doesn't matter to them, right? It does blow your mind. And the dead, the dead are so weird, they are so - dead. Like a stiff chewed mouse the cat fetches up on the lawn. I mean, they are so out of it, so peaceful, there is no word for it, this same grunt last night he was telling you about his girl back in Oshkosh, making it so real you had to jack off, and the VC trip a Claymore and his legs go this way and he goes the other. It was bad. They used to say, 'A world of hurt,' and that is what it was."

Nelson asks, "What's a grunt?"

"A grunt is a leg. An eleven bush, right? He is an ordinary drafted soldier who carries a rifle and humps the boonies. The green machine is very clever. They put the draftees out in the bush to get blown and the re-ups sit back at Longbinh tellin' reporters the body count. They put old Charlie Company on some bad hills, but they didn't get me to re-up. I'd had a bushel, right?"

"I thought I was Charlie," Rabbit says.

"I thought the Viet Cong was," Nelson says.

"You are, they are, so was I, everybody is. I was Company C for Charlie, Second Battalion, 28th Infantry, First Division. We messed around all up and down the Dongnai River." Skeeter looks at the blank ceiling and thinks, I'm not doing it, I'm not doing it justice, I'm selling it short. The holy quality is hardest to get. "The thing about Charlie is," he says, "he's everywhere. In Nam, it's all Charlies, right? Every gook's a Charlie, it got so you didn't mind greasing an old lady, a little kid, they might be the ones planted punji stakes at night, they might not, it didn't matter. A lot of things didn't matter. Nam must be the only place in Uncle Sam's world where black-white doesn't matter. Truly. I had white boys die for me. The Army treats a black man truly swell, black body can stop a bullet as well as any other, they put us right up there, and don't think we're not grateful, we are indeed, we hustle to stop those bullets, we're so happy to die alongside Whitey." The white ceiling still is blank, but beginning to buzz, beginning to bend into s.p.a.ce; he must let the spirit keep lifting him along these lines. "One boy I remember, hate the way you make me bring it back, I'd give one ball to forget this, hit in the dark, VC mortars had been working us over since sunset, we never should have been in that valley, lying there in the dark with his guts spilled out. I couldn't see him, hustling my a.s.s back from the perimeter, I stepped on his insides, felt like stepping on a piece of Jell-O, worse, he screamed out and died right then, he hadn't been dead to then. Another time, four of us out on recon, bunch of their AK-47s opened up, had an entirely different sound from the M-16, more of a cracking sound, dig?, not so punky. We were pinned down. Boy with us, white boy from Tennessee, never shaved in his life and ignorant as Moses, slithered away into the bush and wiped 'em out, when we picked him up bullets had cut him in two, impossible for a man to keep firing like that. It was bad. I wouldn't have believed you could see such bad things and keep your eyeb.a.l.l.s. These poor unfriendlies, they'd call in the napalm on 'em just up ahead, silver cans tumbling over and over, and they'd come out of the bush right at you, burning and shooting, spitting bullets and burning like a torch in some parade, come tumbling right into your hole with you, they figured the only place to get away from the napalm was inside our perimeter. You'd shoot 'em to shut off their noise. Little boys with faces like the shoeshine back at base. It got so killing didn't feel so bad, it never felt good, just necessary, like taking a p.i.s.s. Right?"

"I don't much want to hear any more," Nelson says. "It makes -me feel sick and we're missing Samantha."

Jill tells him, "You must let Skeeter tell it if he wants to. It's good for Skeeter to tell it."

"It happened, Nelson," Rabbit tells him. "If it didn't happen, I wouldn't want you to be bothered with it. But it happened, so we got to take it in. We all got to deal with it somehow."

"Schlitz."

"I don't know. I feel lousy. A ginger ale."

"Harry, you're not yourself. How's it going? D'ya hear anything from Janice?"

"Nothing, thank G.o.d. How's Mom?"

The old man nudges closer, as if to confide an obscenity. "Frankly, she's better than a month ago anybody would have dared to hope."

Now Skeeter does see something on the ceiling, white on white, but the whites are different and one is pouring out of a hole in the other. "Do you know," he asks, "there are two theories of how the universe was done? One says, there was a Big Bang, just like in the Bible, and we're still riding that, it all came out of nothing all at once, like the Good Book say, right? And the funny thing is, all the evidence backs it up. Now the other, which I prefer, says it only seems that way. Fact is, it says, there is a steady state, and though it is true everything is expanding outwards, it does not thin out to next to nothingness on account of the reason that through strange holes in this nothingness new somethingness comes pouring in from exactly nowhere. Now that to me has the ring of truth."

Rabbit asks, "What does that have to do with Vietnam?"

"It is the local hole. It is where the world is redoing itself. It is the tail of ourselves we are eating. It is the bottom you have to have. It is the well you look into and are frightened by your own face in the dark water down there. It is as they say Number One and Number Ten. It is the end. It is the beginning. It is beautiful, men do beautiful things in that mud. It is where G.o.d is pushing through. He's coming, Chuck, and Babychuck, and Ladychuck, let Him in. Pull down, shoot to kill. The sun is burning through. The moon is turning red. The moon is a baby's head bright red between his momma's legs."

Nelson screams and puts his hands over his ears. "I hate this, Skeeter. You're scaring me. I don't want G.o.d to come, I want Him to stay where He is. I want to grow up like him" - his father, Harry, the room's big man - "average and ordinary. I hate what you say about the war, it doesn't sound beautiful it sounds horrible."

Skeeter's gaze comes down off the ceiling and tries to focus on the boy. "Right," he says. "You still want to live, they still got you. You're still a slave. Let go. Let go, boy. Don't be a slave. Even him, you know, your Daddychuck, is learning. He's learning how to die. He's one slow learner but he takes it a day at a time, right?" He has a mad impulse. He lets it guide him. He goes and kneels before the child where he sits on the sofa beside Jill. Skeeter kneels and says, "Don't keep the Good Lord out, Nellie. One little boy like you put his finger in the dike; take it out. Let it come. Put your hand on my head and promise you won't keep the Good Lord out. Let Him come. Do that for old Skeeter, he's been hurtin' so long."

Nelson puts his hand on Skeeter's...o...b..of hair. His eyes widen, at how far his hand sinks down. He says, "I don't want to hurt you, Skeeter. I don't want anybody to hurt anybody."

"Bless you, boy." Skeeter in his darkness feels blessing flow down through the hand tingling in his hair like sun burning through a cloud. Mustn't mock this child. Softly, stealthily, parting vines of craziness, his heart approaches certainty.

Rabbit's voice explodes. "s.h.i.t. It's just a dirty little war that has to be fought. You can't make something religious out of it just because you happened to be there."

Skeeter stands and tries to comprehend this man. "Trouble with you," he sees, "you still cluttered up with common sense. Common sense is bulls.h.i.t, man. It gets you through the days all right, but it leaves you alone at night. I keeps you from knowing. You just don't know, Chuck. You don't even know that now -is all the time there is. What happens to you, is all that happens, right? You are it, right? You. Are. It. I've come down" - he points to the ceiling, his finger a brown crayon - "to tell you that, since along these two thousand years somewhere you've done gone and forgotten again, right?"

Rabbit says, "Talk sense. Is our being in Vietnam wrong?"

"Wrong? Man, how can it be wrong when that's the way it is? These poor Benighted States just being themselves, right? Can't stop bein' yourself, somebody has to do it for you, right? n.o.body that big around. Uncle Sam wakes up one morning, looks down at his belly, sees he's some c.o.c.kroach, what can he do? Just keep bein' his c.o.c.kroach self, is all. Till he gets stepped on. No such shoe right now, right? Just keep doing his c.o.c.kroach thing. I'm not one of these white lib-er-als like that cracker Fulldull or that Charlie McCarthy a while back gave all the college queers a hardon, think Vietnam some sort of mistake, we can fix it up once we get the cave men out of office, it is no mistake, right, any President comes along falls in love with it, it is lib-er-al-ism's very w.a.n.g and ding-dong p.u.s.s.y. Those crackers been lickin' their mother's a.s.s so long they forgotten what she looks like frontwards. What is lib-er-alism? Bringin' joy to the world, right? Puttin' enough sugar on dog-eat-dog so it tastes good all over, right? Well now what could be nicer than Vietnam? We is keepin' that coast open. Man, what is we all about if it ain't keepin' things open? How can money and j.i.z.z make their way if we don't keep a few c.u.n.ts like that open? Nam is an act of love, right? Compared to Nam, beatin' j.a.pan was flat-out ugly. We was ugly f.u.c.kers then and now we is truly a civilized spot." The ceiling agitates; he feels the gift of tongues descend to him. "We is the spot. Few old fools like the late Ho may not know it, we is what the world is begging for. Big beat, smack, black c.o.c.k, big-a.s.sed cars and billboards, we is into it. Jesus come down, He come down here. These other countries, just bulls.h.i.t places, right? We got the ape s.h.i.t, right? Bring down Kingdom Come, we'll swamp the world in red-hot real American blue-green ape s.h.i.t, right?"

"Right," Rabbit says.

Encouraged, Skeeter sees the truth: "Nam," he says, "Nam the spot where our heavenly essence is pustulatin'. Man don't like Vietnam, he don't like America."

"Right," Rabbit says. "Right."

The two others, pale freckled faces framed in too much hair, are frightened by this agreement. Jill begs, "Stop. Everything hurts." Skeeter understands. Her skin is peeled, the poor girl is wide open to the stars. This afternoon he got her to drop some mescaline. If she'll eat mesc, she'll snort smack. If she'll snort, she'll shoot. He has her.

Nelson begs, "Let's watch television."

Rabbit asks Skeeter, "How'd you get through your year over there without being hurt?"

These white faces. These holes punched in the perfection of his anger. G.o.d is pouring through the white holes of their faces; he cannot stanch the gushing. It gets to his eyes. They had been wicked, when he was a child, to teach him G.o.d was a white man. "I was hurt," Skeeter says.

BEAt.i.tUDES OF SKEETER.

(written down in Jill's confident, rounded, private-school hand, in green felt pen, playfully one night, on a sheet of Nelson's notebook filler) Power is bulls.h.i.t.

Love is bulls.h.i.t.

Common sense is bulls.h.i.t.

Confusion is G.o.d's very face.

Nothing is interesting save eternal sameness.

There is no salvation, 'cepting through Me.

Also from the same night, some drawings by her, in crayons Nelson found for her; her style was cute, linear, arrested where some soph.o.m.ore art cla.s.s had left it, yet the resemblances were clear. Skeeter of course was the spade. Nelson, his dark bangs and side-sheaves exaggerated, the club, on a stem of a neck. Herself, her pale hair crayoned in the same pink as her sharp-chinned face, the heart. And Rabbit, therefore, the diamond. In the center of the diamond, a tiny pink nose. Sleepy small blue eyes with worried eyebrows. An almost invisible mouth, lifted as if to nibble. Around it all, green scribbles she had to identify with an affectionate pointing arrow and a balloon: "in the rough."

One of these afternoons, when Nelson is home from soccer practice and Harry is home from work, they all cram into Jill's Porsche and drive out into the county. Rabbit has to have the front seat; Nelson and Skeeter squeeze into the half-seats behind. Skeeter scuttles blinking from the doorway to the curb and inside the car says, "Man, been so long since I been out in the air, it hurts my lungs." Jill drives urgently, rapidly, with the arrogance of the young; Rabbit keeps slapping his foot on the floor, where there is no brake. Jill's cool profile smiles. Her little foot in a ballet slipper feeds gas halfway through curves, pumps up speed enough just to pinch them past a huge truck -a raging, belching house on wheels - before another hurtling the other way scissors them into oblivion, on a straight stretch between valleys of red earth and pale corn stubble. The country is beautiful. Fall has lifted that heavy Pennsylvania green, the sky is cleared of the suspended summer milk, the hills edge into shades of amber and flaming orange that in another month will become the locust-husk tint that crackles underfoot in hunting season. A brushfire haze floats in the valleys like fog on a river's skin. Jill stops the car beside a whitewashed fence and an apple tree. They get out into a cloud of the scent of falltn apples, overripe. At their feet apples rot in the long dank gra.s.s that banks a trickling ditch, the gra.s.s still powerfully green; beyond the fence a meadow has been sc.r.a.ped brown by grazing, but for clumps where burdock fed by cow dung grows high as a man. Nelson picks up an apple and bites on the side away from wormholes. Skeeter protests, "Child, don't put your mouth on that garbage!" Had he never seen a fruit eaten in nature before?

Jill lifts her dress and jumps the ditch to touch one of the rough warm whitewashed slats of the fence and to look between them into the distance, where in the dark shelter of trees a sandstone farmhouse glistens like a sugar cube soaked in tea and the wide gaunt wheel of an old farm wagon, spokes stilled forever, waits beside a rusty upright that must be a pump. She remembers rusty cleats that waited for the prow line of visiting boats on docks in Rhode Island and along the Sound, the whole rusty neglected saltbleached barnacled look of things built where the sea laps, summer sun on gull-gray wood, docks, sheds, metal creaking with the motion of the water, very distant from this inland overripeness. She says, "Let's go."

And they cram back into the little car, and again there are the trucks, and the gas stations, and the "Dutch" restaurants with neon hex signs, and the wind and the speed of the car drowning out all smells and sounds and thoughts of a possible other world. The open sandstone country south of Brewer, the Amish farms printed on the trimmed fields like magazine covers, becomes the ugly hills and darker valleys north of the city, where the primitive iron industry had its day and where the people built with brick tall narrow-faced homes with gables and dormers like a buzzard's shoulders, perched on domed lawns behind spiked retaining walls. The soft flowerpot-red of Brewer hardens up here, ten miles to the north, to a red dark like oxblood. Though it is not yet the coal regions, the trees feel darkened by coal dust. Rabbit begins to remember accounts, a series run in the Vat, of strange murders, axings and scaldings and stranglings committed in these pinched valleys with their narrow main streets of oxblood churches and banks and Oddfellows' halls, streets that end with, as with a wrung neck, a sharp turn over abandoned railroad tracks into a sunless gorge where a stream the color of tarnished silver is now and then crossed by a damp covered bridge that rattles as it swallows you.

Rabbit and Nelson, Skeeter and Jill, crushed together in the little car, laugh a lot during this drive, laugh at nothing, at the silly expression on the face of a bib-overalled hick as they barrel past, at pigs dignified in their pens, at the names on mailboxes (Hinners.h.i.tz, Focht, Schtupnagel), at tractor-riding men so fat nothing less wide than a tractor seat would hold them. They even laugh when the little car, though the gas gauge stands at 1/2, jerks, struggles, slows, stops as if braked. Jill has time only to bring it to the side of the road, out of traffic. Rabbit gets out to look at the engine; it's in the back, under a tidy slotted hood, a tight machine whose works are not open and tall and transparent as with a Linotype, but are tangled and greasy and closed. The starter churns but the engine will not turn over. The chain of explosions that works by faith is jammed. He leaves the hood up to signal an emergency. Skeeter, crouching down in the back, calls, "Chuck, know what you're doin' with that hood, you're callin' down the f.u.c.king fuzz!"

Rabbit tells him, "You better get out of the back. We get hit from behind, you've had it. You too Nelson. Out."

It is the most dangerous type ofhighway, three-lane. The commuter traffic out from Brewer shudders past in an avalanche of dust and noise and carbon monoxide. No Good Samaritans stop. The Porsche has stalled atop an embankment seeded with that feathery finespun ground-cover the state uses to hold steep soil: crown vetch. Below, swifts are skimming a shom cornfield. Rabbit and Nelson lean against the fenders and watch the sun, an hour above the horizon, fill the field with stubble-shadows, ridges subtle as those of corduroy. Jill wanders off and gathers a baby bouquet of the tiny daisylike asters that bloom in the fall, on stems so thin they form a cirrus hovering an inch or two above the earth. Jill offers the bouquet to Skeeter, to lure him out. He reaches to bat the flowers from her hand; they scatter and fall in the grit of the roadside. His voice comes m.u.f.fled from within the Porsche. "You honky c.u.n.t, this all a way to turn me in, nothing wrong with this f.u.c.king car, right?"

"It won't go," she says; one aster rests on the toe of one ballet slipper. Her face has shed expression.

Skeeter's voice whines and snarls in its metal sh.e.l.l. "Knew I should never come out of that house. Jill honey, I know why. Can't stay off the stuff; right? No will at all, right? Easier than having any will, hand old Skeeter over to the law, hey, right?"

Rabbit asks her, "What's he saying?"