Rabbit is rich (36 page)

So a wild hope is confirmed, but most of his mind stays with the opaque bundle of muscle and teeth at his knees, how to keep it from barking, how to keep it from biting. Tiny brains, change in a second, a collie belonging to old Mrs. Zug down Jackson Road lived in a barrel, snapped one time when nobody expected it, Harry still has the faint white scar on two middle fingers, pulling them loose felt like skinning a carrot, he can still feel it.

The dog too hears the car door slam and, flattening its ears, rockets down through the orchard. Around the Corolla it sets up a barking that is frantic but remote, delayed by echo and space. Harry seizes the moment to scurry back to a tree farther away. From there he sees the car's driver step out, lanky Jamie, no longer wearing dirty dungarees but pinkish bell-bottoms and a red turtleneck shirt. The collie jumps up and down, greeting, apologizing for barking at the unfamiliar car. The boy's drawl drifts up through the orchard, doing singsong dog talk, the words indistinct. Rabbit drops his eyes a moment to the earth, where two yellowjackets are burrowing into a rotten apple. When he looks again, a girl, his girl, her round white face unmistakable, her hair shorter than in June, steps out of the Corolla's passenger side and hunkers down to the dog, mingling herself with its flurry. She turns her face away from a thrust of the dog's muzzle and stares upwards at the exact spot from which Harry, frozen, watches. He sees when she stands that she is dressed trimly, in dark brown skirt and russet sweater, a little plaid jacket squaring up her shoulders so she looks sharp, collegiate, a city girl. Still there is that certain languor of her legs as she takes a stride or two toward the house. Her voice lifts in calling. Both their young faces have turned to the house, so Rabbit takes the opportunity to retreat to yet a farther tree, slimmer than the one previous. But he is close to the tangled hedgerow now and perhaps against this invisible in his light brown suit, camouflaged among pieces of sky.

Down below, echoing off the stucco and cinder-block walls, the cries of greeting and pleasure have a melancholy, drifting sound. From out of the house, following a thin slam of its door, a fat elderly woman has emerged, moving under the burden of her own weight so cautiously that the collie, herding, nudges her forward, encircling her legs. This might be the woman he glimpsed in the old station wagon when it went by the church on the day of the wedding, but it cannot be Ruth, for her hair, that had been a kind of soft and various wiry fire, is an iron cap of gray fitted to her head, and her body is enormous, so big her clothes from this distance seem wide as a sail. In pants and shirt this person advances plodding to admire the new car. There is no exchange of kisses, but from the way they all rotate and slide one past another these three are well acquainted. Their voices drift to Harry unintelligibly.

The boy demonstrates the liftback. The girl taps the old woman, as ifto say, Go on; she is being teased. Then they fish from the car's interior two tall brown paper bags, groceries, and the collie dog, bored with these proceedings, lifts its head and points its nose in the direction where Harry, his heart thunderous, is holding as still as the man concealed in the tangled lines of those puzzle drawings that used to be in Sunday papers.

The dog begins to bark and races up into the orchard toward him; Harry has no choice but to turn and run. Perhaps he makes it through the hedgerow before the people look up and see him. They call out for the dog - "Fritzie! Fritzie!" - in two female voices. Twigs scratch his hands; the loose stones of the old wall nearly trip him, and scuff one shoe. Now he flies. The red earth marred by tractor treads skims underfoot. Yet the dog, he sees glancing behind, will overtake him before he can reach the car; already the creature, its hair and ears swept flat by its speed, has broken through the hedgerow and is streaming along beside the corn stubble. Oh Christ. Rabbit stops, wraps his arms around his face, and waits. The house is out of sight below the rise of land; he is all alone with this. He hears the dog's claws rattle past him in momentum and a bark dies to a growl in its throat. He feels his legs being nosed through his trousers, then leaned on. The dog doesn't want to bring him down but to gather him in, to herd him also.

"Nice Fritzie," Harry says. "Good Fritzie. Let's go to my car. Let's trot along." Foot by careful foot he consumes the little distance to the shoulder of the road, the dog bumping and sniffing him all the way. The cries from the house, invisible, persist raggedly; the collie's tail, uncertainly wagging, pats Harry's calves while the long skull inquires upward with its sick red eye. Harry pulls his hands up to the level of his lapels. Dirty yellow drooly teeth would skin his fingers like a carrot grater. He tells Fritzie, "You're a beautiful girl, a wonderful girl," and eases around the back of the Corona. The chain saw is still zipping along. He opens the driver's door and slides in. Slams it. The collie stands on the overgrown banking of red earth looking puzzled, her shepherding come to an end. Harry finds the car key in his pocket, the engine starts. His heart is still pounding. He leans over toward the passenger's window and scrabbles his fingers on the glass. "Hey Fritzie!" he shouts and keeps up the scrabbling until the dog starts to bark again.
Bark. Bark bark bark.
Laughing, Rabbit pops the clutch and digs out, the thing inside his chest feeling fragile and iridescent like a big soap bubble. Let it pop. He hasn't felt so close to breaking out of his rut since Nelson smashed those convertibles.

Webb Murkett is handy about the house; he has a cellar full of expensive power tools and subscribes to magazines with titles like
Fine Woodworking
and
Homecraft.
In every corner of the garrison colonial he and Cindy have shared for the seven years of their marriage there are hand-made refinements of rounded, stained, and varnished wood - shelves, cabinets, built-in lazy susans with as many compartments as a seashell - expressing the patience and homelovingness of the house's master. There is a way of working with rotten wood, and making it as solid as marble, and like marble swirled and many-shaded; this art is on display in the base of several lamps and in a small bowl holding an untouched spiral of cigarettes on the butler's-tray table, which Webb has also fashioned, down to its gleaming copper hinges shaped like butterflies. Some of these objects must have come from the homes of Webb's previous marriages, and Harry wonders what these phantom women have kept, that so much remains. Webb's previous marriages are represented in his great long sunken living room only by color photographs, in ensemble frames of unusual proportion that Webb himself has cut and grooved and cemented together of Lucite, of children too old to be his and Cindy's, caught in a moment of sunshine on the flagstone stoop of another suburban house, or in a sailboat against the blue of a lake that the Kodak chemicals are permitting to fade to yellow, or at a moment of marriage or graduation - for some of these children were now adult, older than Nelson, and infants of a third generation stare out unsmiling, propped on a pillow or held in firm young arms, from among the many smiles of these family groups. Harry has several times in Webb's house slyly searched these photos for the sight of a former wife; but though there are women beheaded or sliced to a splinter by the edge of a frame or another picture, and here and there an unidentifiable mature hand and forearm intrudes behind a set of children's heads, no face seems preserved of the vanished mistresses of all this fleeting family happiness.

When Webb and Cindy entertain, built-in speakers bathe the downstairs rooms in a continuous sweetness of string music and spineless arrangements, of old show tunes or mollified rock classics, voiceless and seamless and with nagging dental associations for Harry. Behind a mahogany bar that Webb salvaged from the tavern of a farmer's hotel being demolished in Brewer and then transported with its brass rail to a corner of his living room, he has constructed a kind of altar to booze, two high doors with rounded tops that meet in a point and shelves that come forward on a lazy-tongs principle with not only the basic whisky, gin, and vodka but exotic drinks like rum and tequila and sake and all the extras you could want from bitters to powdered Old-fashioned mix in little envelopes. And the bar has its own small refrigerator, built in. Much as he admires Webb, Harry thinks when he gets his own dream house he will do without the piped music and such elaborate housing for the liquor.

The bathroom, though, enchants him, with its little enamelled dishes of rosebud-shaped soap, its furry blue toilet seat cover, and its dazzling mirror rimmed with naked light bulbs like actors have in their dressing rooms. Everything in here that doesn't shine is tinted and scented. The toilet paper, very dulcet, is printed with old comic strips, each piece a panel. Poor Popeye, eating shit instead of spinach. And the towels have W and M and L for Lucinda intertwined in such a crusty big monogram he hates to think what it would do to Cindy's sweet underparts if she forgot and rubbed herself hard. But Harry wonders if this downstairs bathroom is ever used by the Murketts and their rather pasty-looking little kids or is set up primarily for guests. Certain mysterious artifacts in it - a big sort of sugar bowl, white, with a knobbed lid painted with two women dressed in filmy gowns sitting on clouds or a sofa that fades into nothing, and their feet in pink ballerina shoes and their ankles crossed and the toes of one woman touching the other's and one bare arm of each interwined above the knob, yet when the lid is lifted utterly empty, so empty you feel nothing has ever been put inside; and a pink plastic hand on a stick, meant maybe for a comic backscratcher; and an egg-shaped jar a third full of lavender crystalline salts; and a kind of tiny milkman's carrier of what he takes to be bath oils; and a flexible plastic cylinder holding a pastel rainbow of powder puffs like a stack of pancakes - all seem put there, on the set of open shelves hung on two black dowels between the bathtub and the toilet, for exhibit more than use. To think of little Cindy though, pouring that oil into her bath and then just soaking there, playing with herself with the backscratcher, her nipples poking through the blanket of soapsuds. Harry feels sexy. In the mirror that makes things too vivid his eyes stare with a pallor almost white, like the little frost-flowers that appear on the skin of a car in the morning, and his lips look bluish. He is drunk. He has had two tequila fizzes before dinner, as much Gallo Chablis as he could grab during the meal, and a brandy and a half afterwards. In the middle of the second brandy the need to urinate came upon him like yet another pressure of happiness, added to his health and prosperity and the privilege of being there sitting across a coffee table from Cindy watching her body rotate within the strange coarse cloth of the exotic Arab-looking thing she is wearing, her wrists and her feet, bare but for sandals, as exciting in this outfit as the insides of her thighs in a bikini. Besides himself and Janice the Murketts have invited the Harrisons and for a new thrill the moronic Fosnachts, whom they just met at Nelson's wedding two weeks ago. Harry doesn't suppose the Murketts know he and Peggy had a fling years back when Ollie had done one of his copouts, but maybe they do, people know more than you ever think they do, and it turns out it doesn't much matter. Look at what you read every week in
People
magazine, and you still keep watching television, the actors all dope addicts and adulterers. He has an urge to peek into the medicine cabinet framed by the rim of showbiz bulbs and waits until a gale of laughter from the drunken bunch in the living room arises to drown out any possible
click
of him opening the mirror-door.
Click.
The cabinet has more in it than he would have supposed: thick milk-glass jars of skin cream and flesh-tint squeeze bottles of lotion and brown tubes of suntan lotion, Parepectolin for diarrhea, Debrox for ear wax control, menthol Chloraseptic, that mouthwash called cépacol, several kinds of aspirin, both Bayer and Anacin, and Tylenol that doesn't make your stomach bum, and a large chalky bottle of liquid Maalox. He wonders which of the Murketts needs Maalox, they both always look so relaxed and at peace. The pink poison ivy goo would be downstairs handy for the kids, and the Band-Aids, but how about the little flat yellow box of Preparation H for hemorrhoids? Carter of course has hemorrhoids, that grim over-motivated type who wants to do everything on schedule ready or not, pushing, pushing, but old Webb Murkett with that gravelly voice and easy swing, like the swing you see crooners use at celebrity tournaments, unwrapping one of those little wax bullets and poking it up his own asshole? You have to go into a squat and the place is not easy to find, Rabbit remembers from his own experience, years ago, when he was sitting all day at the Linotype on that hard steel bench, under tension, the matrices rattling down in response to the touch of his fingertips, every slip a ruined slug, everybody around him unhappy, the kid still small, his own life closed in to a size his soul had not yet shrunk to fit. And what of these amber pill bottles with
Lucinda R. Murkett
typed in pale blue script face on the prescription labels? White pills, lethally small. He should have brought his reading glasses. Harry is tempted to lift one of these containers off its shelf in hopes of deciphering what illness might have ever found its way into that plump and supple and delectable body, but a superstitious fear of fingerprints restrains him. Medicine cabinets are tragic, he sees by this hard light, and closes the door so gently no one will hear the click. He returns to the living room.

They are discussing the Pope's visit, loudly. "Did you
see,"
Peggy Fosnacht is shouting, "what he said in Chicago yesterday about sex!" The years since Harry knew her have freed her to stop wearing dark glasses to hide her walleye and to be sloppy in her person and opinions both; she's become the kind of woman who looks permanently out of press, as a protest of sorts. "He said everything outside marriage was
wrong.
Not just if you're married, but
before
you're married too. What does that man
know?
He doesn't know anything about
life,
life as she is lived."