Bit is chopping wood with Titus Thrasher up by the Gatehouse. He gathers the chips that spurt off the ax and puts them in a bucket for kindling.
You want to talk about what’s bothering you? says Titus, and Bit says a low No.
They watch Kaptain Amerika tool by in a croaky station wagon he has taken from the Motor Pool. The Trippie is going into Summerton for his psychotherapy, which the state pays for. Many in Arcadia are on food stamps or disability. When there’s been a long spell without new people to put money in the pot, welfare keeps them going. Kaptain Amerika was an English professor, but turned on too many times and messed up his brain. Now he sharpens his long beard into two points and wears a sarong made of an American flag. Bit had once heard Astrid defend him: Yeah, he is a creepo, this is so, she’d said. But he has his moments of lucidity. Bit supposes she’d meant the moments when Kaptain Amerika will shout: Uncle Sam wants me. Or, Nixon is the albatross!
How come he’s called Kaptain Amerika? Bit says, watching the blue exhaust from the station wagon curl and fade. Not Professor Merton?
Titus leans on the ax handle. He is steaming with sweat, his undershirt the color of a teastained mug. No woman lives with Titus to wash his things, so they never get clean, unless Hannah or another woman steals them when he is out. He smells like a turnip gone bad. He says, People get to choose who they want to be here. Part of the deal. Near everybody’s got a nickname they gave to themselves. People come here to become what they want to be. Tarzan. Wonder Bill. Saucy Sally. He flushes when he says the last name, and Bit studies his friend in silent wonder.
A car pulls up the long dirt road. Titus steps to the gate, mopping his face with a bandanna. Four young men with fringed leather jackets and cameras in their hands pour out, slamming the car doors behind them. Hey, man, says one, and Titus says, No, no, no. You’re welcome if you’re serious about living here, man, but you’ve got to respect our privacy if not.
Oh. Well, we’re on the paper at the college in Rochester? says one of the boys. And you don’t have a phone. We thought we might interview Handy?
I dig his music, says a pipsqueak with red ears. He’s the American Original.
The four grin, sure that admiration is their ticket inside.
Sorry, says Titus.
Come on, man. We’re hip, says another. He hefts a thirty-pound sack from the trunk. We brought some yams for the Free Store. Just let us poke around? We’ll be gone after dinner.
A hardness comes over Titus’s face. We’re not zoo animals, he says. You can’t bribe us with peanuts.
Yams, the boy says.
Titus swings the ax to his shoulder and strides closer to the boys. They falter, break apart, only one holding his ground. At times, Titus has to be violent to keep the gawkers out. Bit is afraid to see his gentle friend turn into the ugly stranger he sometimes needs to be. He runs away. All afternoon, Bit stays in the woods, poking at icicles and frozen puddles until he is too cold to hold off going home to the Bread Truck any longer. When he comes in and puts his fingers on the back of her neck, Hannah shudders awake.
Abe comes home shouting, the Children’s Wing is roofed! It’s plumbed. It’s insulated and airtight. The babies’ll have a place to live!
Bit dances, and Hannah stretches to her full height, releasing her warm smell from her sweater and murmuring, That’s lovely.
In the morning, sweet with snow, a train of women with mops and buckets walks up to Arcadia House. They will scrub and polish and paint it all, redo floors, re-plaster. Hannah goes with them. She is shaky on her feet, a cage of bones.
Bit, honey, Hannah had urged, Go play with the Kid Herd in the Pink Piper, but he said No, no, no, no, no. He hadn’t seen the house since the big push on the day that Handy went off on his concert tour. At last, Hannah lets Bit come along. He sits in the little Red Wagon with the vinegar and rags, a box of sponges on his lap. Hannah pulls him over the sludgy ground, falling behind the others. The women call to each other in the sharp air; they laugh. The men on the Arcadia House roof stand up like woodchucks in a field to watch the women come through the terraced apple orchards. They wolf-whistle. Abe makes great arcs with his arms above his head.
But when the women march through the courtyard and into the Schoolroom, they go silent. There are vast begrimed windows; a curious, squat old woodstove; coat hooks that range from tall to tiny. The heaps of desks are scalloped with rainbow fungi. The walls shudder with cobwebs disturbed by their entry. Someone long before had camped in the middle of the floor and burnt a great black pit into the planks. The plaster of the ceiling has come off in spurts and chunks, baring the raw lath and, over the ghosts of antique calligraphy on the slate board, someone has scraped a huge Fuck with a knife. Bit spells it out in his head, says the word under his breath. The women are still, wide-eyed.
Then plain Dorotka with her granny glasses puts down her bucket and rolls up her sleeves. She ties her long gray braids around her head, crowning herself. Ladies, she calls out, disturbing the fur on the wall so that it shifts and floats, loose as hair under water. We have us a job, don’t we, now.
Don’t we now, don’t we, the women softly echo.
Bit is given a rag, sat at a desk, told to scrub, but he watches the women sweep the walls with their brooms until wigs of cobweb fall slowly.
He can, he finds, walk out unnoticed.
In the hall, he hears the pounding of the men somewhere. There is music, something familiar, Hendrix on a radio but warped by the distance and the walls and the beats of the hammers until, all together, the music and the cleaning and building sounds blend into a snowstorm, all winds and rattles.
At the end of the hall, a built-in seat cowers below a small window. He tries to climb, but the cushion collapses when he touches it. He flees the upswell of dust, a snow of mold and dead spiders, goes down a darker place, turns to where the wall goes jagged with stairs. He climbs them. Some treads are missing; he leaps these, and when he does, something moves in the gap below him, and he scrambles, up, away, the terror bitter in his throat, his heart jigging in his chest, onto the next floor. It smells of pine and sawdust, the fresh beams of the new roof above, but he must skirt great jagged holes in the floor. He creeps along, rounds a bend. One door opens as he passes and he looks inside. It is a vast and dark room, the Proscenium, he remembers someone calling it. A tarp stretches over the ceiling where there once had been full sky.
Hannah has told him it’s not possible that he remembers the day they came to Arcadia. He was only three, she says; no three-year-old could remember any single day. But he does. The Caravan had been on the road for too long and had grown too large. Wherever they went, people joined them, bringing more trucks and buses. At last, all fifty of the Free People were weary. When they picked Titus Thrasher up in an army-navy store, he told them about his father, who had inherited six hundred acres in upstate New York from an uncle. Titus had been with them only a week when he walked out of a drugstore phone booth and said, simply, It’s done.
They drove all night into deep countryside, and arrived on a rainy spring morning. Barton Thrasher was a roly-poly man who came weeping out of the stone Gatehouse, extending his arms to his long-lost son. They went into the Pink Piper, and Harold, once a lawyer, checked the papers. The state needed a name on the deed, and they agreed it would be Handy’s, though it belonged to all, equally. Only when the papers were signed could Titus say to his father, Bad blood between us, Pop, but now I reckon everything is even. In response, Barton Thrasher leaned against his son’s broad chest, and Titus stood still, bearing the affection.