Thank You, Goodnight

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For Caryn

You can outdistance that which is running after you, but not what is running inside you.

RWANDAN PROVERB

It’s later than it seems.

JACKSON BROWNE

PART ONE

THE VIEW FROM THE DISCOUNT RACK

CHAPTER 1

Y
ou don’t need eight words to set someone’s life on fire. One seems like more than enough. But in my case, it was eight.

The cryptic text pinged from Sara’s phone onto mine just as I was taking to the sky. The flight attendants, annoyed at us before we’d even taken off, had just commanded us through harsh smiles to neuter our electronic devices. Concealing my phone beneath a vomit bag, I reread the message.

“Your legacy is hanging in the Tate Modern.”

Instantly irritated, I fired back a pageant of question marks. Sara’s timing meant eight hours of me staring out at the blackness of the North Atlantic, ruminating on this distracting message from my girlfriend instead of the work that awaited me in Dublin. I could never sleep on planes, certainly not while sharing an armrest with some decrepit bag of bones who was either dead or sleeping with one eye open, and now here was something else to keep me awake. When I landed, it would still be the middle of the night back in Philadelphia, which meant more hours of waiting to find out what Sara meant.

My legacy was hanging in the Tate Modern. Jesus fucking Christ.

In my previous line of work, a lifetime ago if not longer, I’d found Dublin to be hospitable, even welcoming of the happy ruckus that always accompanied me. Back then everyone welcomed me. Those
were different times. Now I was almost completely someone else. Better rested perhaps, although the mirror in the airplane bathroom reflected otherwise—a miserable ghost, with bags of defeat hanging under my eyes. If I was any whiter I’d have been Mexican folk art.

*       *       *

The labyrinthine highways of life had somehow made a lawyer out of me. I’d never been particularly happy about it. To add insult to injury, for my latest assignment, I’d been dispatched to Ireland to take the deposition of some credit manager for a bank. I didn’t know what that meant other than that over the course of one interminable day, I was to sit in a conference room, a videographer’s microphone clipped to my bourgeois Brooks Brothers tie, and quiz some poor knucklehead about securitized financing transactions that neither he nor I had the vaguest interest in. This required preparation. What I needed to do upon landing was hunker down and immerse myself in loan agreements, guarantees, credit default swaps, a rotting forest of e-mails, and other documents of financial audacity, and then gin up several hours’ worth of questions to hurl at this paper pusher who, as far as I could tell, had committed the unpardonable sin of doing his job.

But here’s the thing: preparing for a deposition is about as exciting as my washer’s rinse cycle. After about a half hour in my hotel room, I slid into a sweater and headed out.

A comfortable chill hung in the Dublin air, fresh and restorative, good weather to lose myself in the dense blocks of timeworn Georgian buildings. I joined the midday flow of bodies coursing through the streets. I ate a salmon sandwich on a bridge arching over the Liffey. I sipped rich, black coffee outside the shops on Grafton Street. I bought Sara a book on Celtic mosaics that, despite being colorful—brightly colored art always feels like it’s trying to meet me halfway, kind of like poetry that rhymes—didn’t move me in the slightest. I waited to call her at just past dawn her time, hoping to catch her en route to her
morning workout. “So, about that text,” I told her prerecorded voice. “Call me. The dep isn’t till tomorrow.”

I wandered into the maze of tourists bobbing and weaving through Temple Bar and found myself outside a lively little pub that beckoned me in with the sound of Irish music just beyond its rugged wooden door. Having always considered business to be an incidental component of a business trip, I barely paused before heading in.

The bartender raised his eyebrows solicitously, and I pointed to the Toucan Guinness tap. Soon I was savoring the dry stout, its creamy head on my upper lip, while a flute, guitar, and violin stirred the room into an accelerating whirl. A buxom young woman got up and began to bounce in place to the music. She was wearing pink jeans, a tight white button-down shirt, and a sloppy-drunk grin. The clapping and foot stomping spiked to a crescendo, and I overheard two frat boys with backpacks loudly admiring the buoyant girl’s “cans.”

A man down the bar was eyeing me. This still happened on occasion. He had unshorn hair urging toward dreadlocks and he sported those smoothly intellectual black-rimmed frames that sniffed of
Clapton Unplugged
. I was soon to learn he was a software salesman from Los Angeles. He peered at me for ten minutes—it was a little creepy—before coming over and telling me I looked familiar. He knew me from somewhere, he claimed, wagging his finger. I shrugged.

In declarative bursts over the music, he bitched about the rigors of business travel and whined about missing his kids. Yet when I coughed up the politeness to ask the ages of the aforementioned children, he was all stammers. He forgot how old his kids were. I didn’t think you did that. That said, there was a better-than-average chance that my own father could only offer an educated guess as to his boys’ ages. “Whoa, you kind of caught me off guard here,” the software salesman admitted with an embarrassed grimace. I couldn’t help but smile and feel a little bit like a happy man trapped in a bitter man’s body.

One day I’ll die, I thought to myself, and this will be one of the things I did with my time.

The Angeleno cocked his head. “Why is it you look so familiar? I know you from somewhere and I just can’t place it.” Since he’d found it difficult to place key statistics regarding his children, maybe remembering stuff just wasn’t his bag. “Are you in show business or something?” Show business. Like I’m waving jazz hands in a revival of
Guys and Dolls
.

The next thing I knew the conversation had careened off into all sorts of directions. He told me I should plan a trip to Polynesia. Why Polynesia? Because Tia Carrere—you know, that babe from
Wayne’s World
—is from Polynesia and that’s what all the women look like there. I asked him if he was really saying that every girl in this fabled land called Polynesia—which I don’t think is even a country—looks like Tia Carrere, and he gave me an ardent nod and said yeah, that’s right, that’s what I’m telling you. American men are considered exotic over there, he insisted, and those Tia Carrere look-alikes eat guys like us up. I told him I knew for a fact there’s no place in the world where they eat guys like us up. He sipped at his Bible-black beer, wiped his mouth, and said, “Trust me.”

A few moments later, as I stood absorbed in the wild soloing of a redheaded violinist, my new friend snapped and pointed at me. “Eight and ten!”

I stepped out of the bar three pints later. Shadows draped the narrow streets and the late-afternoon air had grown aggressively chilly. This day had been a poor excuse for a bender. The benders I used to have would eat this bender for breakfast.

I glanced at my phone and noticed I’d missed Sara’s call.

*       *       *

It looked quieter by the river, so I drifted through the stone alleys to the relative seclusion of a bridge. She answered in her office voice, soft and clandestine. It was close quarters at Bristol & Bristol Interior Design, which meant everyone could hear everything, and it was primarily populated with women, which meant everyone was listening.

“What’s with the text?” I asked, my voice raised against the breeze.

“Is that like, ‘Hey, I miss you, how are you?’ ”

“It’s just like that. What’s with the text?”

“There’s my Teddy,” she said. “So, you want to laugh?” The question was rhetorical—who doesn’t want to laugh?—and yet it’s usually a prelude to something manifestly unfunny. “Warren called.”

“Warren who?”

“Warren Warren.”

My eyebrows furrowed. I hadn’t heard from the man in years.

“And he said—get this—you need to go to the Tate Modern so you can see
your legacy
.”

“He what?”

“He said you should go to the Tate Modern. In London.”

“I know where the Tate Modern is. I’m not following you.”

“His exact words were that your legacy is hanging in the Tate Modern, second floor. If you’re interested in your legacy, there’s an exhibit you absolutely must see.”

“An art exhibit?”

“Seems like a sensible guess, it being an art museum and all.”

As I stood there with rigid confusion, I had a vision of Warren, my drummer once upon a time. He was watching me receive this information and cackling like a fool, his neck snapping back, his mouth open as if to drink the rain.

“Sara,” I said, trying to remain calm, “did you happen to ask him what the fuck he was talking about?”

“I’m just telling you what he said.” I imagined her hunched forward with both elbows on her desk, one hand holding the phone to her ear, the other toying with strands of her long black hair.

“What kind of exhibit? And in fucking London? He wants me to go to London? Did you tell him I was in Dublin?”

“I told him nothing. It was a short conversation and I’m simply relaying it to you, as I promised I would.” I heard a slurp. Presumably coffee, though Malbec couldn’t be ruled out.

Clearly, some celestial eclipse had shifted and blanketed my memory. There had to be a recent incident, inaccessible to me now, that had caused our paths to cross, Warren and me. I was blocking it out for some reason, but something had happened that made Warren’s message make sense. Something that, since I was jet-lagged and buzzed on Guinness, was slipping my mind.

“So let me get this straight. Warren Warren calls me out of the fucking blue and tells me I have to go to London. He doesn’t know that I’m already in Europe, but he tells me I have to get to London, to the Tate Modern, to see some fucking exhibit on the—what?—second floor. I have to do this if I give a fuck about my legacy.”

A short, gray-haired tour guide in a green vest led a cluster of families past me on the bridge. “And then the Vikings come and run amok,” I overheard him say.
Roon amook
through his thick Irish brogue.

Over the cellular airwaves and across the cold miles, Sara shipped me one of her patented sighs. “Teddy, you do know that using the word
fuck
six times in a single sentence makes you sound like an unhappy person.”

“Fuck,” I said thoughtfully. I lifted my hand through my windblown, airplane-oily hair and noticed I needed a shower. “You’re sure that’s all he said?”

“Yes,” she replied flatly. “It was a quick call, there was a lot of noise in the background. It sounded like he was in a crowd. Maybe a crowded museum. Maybe—oh, I don’t know—a crowded museum in London.”

I was standing on the bridge trying to process this acid trip of a phone call. One of the three of us—Sara, Warren, or me—had lost it. At least one.

“I don’t get it either,” Sara offered, “but the thing is, Warren isn’t God and you’re not Noah. You can ignore him. You actually have a knack for ignoring people.”

I didn’t see how that was possible. Something was slung up onto a wall in a gallery just across the Irish Sea, something so extraordinary that it prompted Warren to do something he hadn’t done in over a
decade: make contact with me. I hadn’t spoken to anyone from that period in my life in years. In most instances, space between people grows like mold, neglected just long enough to be noticed. You intend to wipe it clean, but the more of it there is, the more daunting a task it becomes to erase it. Not so with me and the band. I’d discontinued those people as if they were a premium cable channel that I’d finally realized was broadcasting nothing I wanted to watch. With all there was between us, things my bandmates knew about and things they didn’t, it was better to just turn off the lights and lock myself out of that haunted house.