“JoJo brought some whiskey,” I said.
He stopped planing.
Thirty minutes later, he was drunk, had told the story, and JoJo had bought the dog from him for five dollars. JoJo liked to joke but didn’t joke with Tip-Top. When he was through making the deal, he found some rope to put around the dog’s neck and waited for me by the old truck that my friends called the Gray Ghost.
“We was in this church,” Tip-Top said. “Down where he buried now. And it was still a church then. And he sat in there all night askin’ God to let him die. He walked outside in this thunderstorm. I was too drunk to move and he kept cursin’ God.”
I wrote down some notes. Asked a few more questions. It was the story I needed to finish the piece.
“They pay you for doin’ this?”
“Yes.”
“Don’t seem like an honest living.”
“It’s not,” I said. “Thanks.”
JoJo loaded up the new dog in the truck and she curled into a seat behind us, yawning. “We need to get her some water down the road.”
“What you gonna call her?” I asked.
“Don’t matter to me,” JoJo said. “It’s your dog.”
“No way.”
“You need a dog,” he said. “Every man needs a dog.”
“Where’s she gonna piss in New Orleans?”
“There are a few trees,” JoJo said, watching the yellow lines of the blacktop heading back to Clarksdale. “Can’t you stay till Monday?”
“Got to head on back.”
We passed through a couple of small towns and stopped at a Texaco station for Annie’s water. We decided on Annie because of the old song “Work with Me, Annie.” But I told JoJo it was more like the song “Polk Salad Annie.” This dog was straight Delta mutt, could probably eat a cottonmouth and make the alligators seem tame.
When we reached the crossroads at 49 and 61, I looked over at the big metal sculpture someone had erected to the history of the blues. Metal guitars and road signs. I knew there wasn’t any real crossroads and it was a nice gimmick to bring folks in. But it made me think about something Tip-Top had said.
“Is blues dead?”
JoJo thought about that as we headed down 49 and passed by the old Hopson plantation where JoJo had worked as a child. The old commissary was now some kind of bar. The sharecroppers’ shacks motel rooms to give tourists a feel for the old days.
The sun was gone. It was night. Only the headlights of the truck and Annie’s panting to keep us company.
“About the best I can say is it’s different,” he said. “Ain’t the same. Doesn’t mean the same.”
I saw his old profile in the dim light as we rounded onto the footbridge and country road to take us home.
1
Sirens ain’t nothin’ but ghosts. They reach out every damn night, red and blue, white spotlight flashin’ ’cross your eyes as you sleep on that concrete floor patterned in blood and dirt. You covered in a torn yellow blanket that once hid your dead mamma for weeks. In its touch, you see a bit of her cold ear and the edge of that face you tried not to imagine while you kept goin’ to school, cuttin’ her las’ ten dollars in a hundred ways at Rob’s Party Store down on Claiborne. You remember? Don’t you?
Back then, you hold your own in the Calliope yard, the ole CP-3, and find your only friends are a mean-ass pit bull you call Henry and a little rottweiler with short legs you name Midget. Your mamma stay alive to you for weeks underneath that blanket. Through it all, she stay like she is ’cause that room don’t have no heat and it’s February, like it is now, and her own family live on the other side of the project.
Y’all know Calliope – its own little galaxy in New Orleans. Findin’ your people on the other side is like shootin’ over to the moon. They long ago forgot about her. Don’t know you. Your daddy ain’t nothin’ but a word and the only future you see come from a box of Bally shoes you traded for two of your mamma’s rocks out in the yard. Henry and Midget backin’ you up like thugs in the rope-and-barbed-wire collars you made for them. A hundred windows covered in aluminum foil watchin’ you like eyes stand on the grassless ground.
You take those shoes down to some fancy-ass shoppin’ mall by the Quarter. The dollar you spend on a streetcar is the last green you have. Ten minutes later, that worn box of shoes you was gonna return for a hundred dollars – like that man said – is dumped out on the street along with your ole mongrel ass. But you don’t cry.
Why would you?
Don’t take that streetcar. You walk. All damned day. It’s a day from Calliope.
It’s dark when you get back. You remember. You thinkin’ about it all tonight with the sirens and the spotlights and them ghostful sounds.
It was Friday and Calliope was workin’ plenty down the cross streets. Strawberries’ heads bobbin’ in white men’s Lexuses and Hondas. Boys you once knew jacked up as hell, wide-eyed and watchin’ for drugheads to slow down and make that deal. Shit made out of flour and toilet water.
Room a hotbox when you crawl up the fire escape. Television on, playin’ BET and Aaliyah. She on a sailboat but dead. Like your mamma. You can smell Mamma now and you want to shake her awake, have her find people she know but you don’t, to get somethin’ to eat. Your belly all swole up after four days without food. You hungry and you know you need it. It hurt to even swallow.
Knock on the door. Ole man who you seen your mamma kneel before on the stairwell is smilin’ at you with a wrench in his hand. He tell you he hooked you up, but then he see your mamma, nothin’ but a hidden hump, and you duck under his arm as he walk back and puke on hisself.
Five days out of juvie, you back with a forty-year-old woman callin’ herself your grandmamma. You only know her as a woman your mamma would see and turn the other way to spit. Your grandmamma don’t like you. Make you run around like you work for her, makin’ corner deals by the Stronger Hope Church. Bringin’ her weed pipe to her with copies of Jet and Star. But you got a place on a small couch next to your twelve-year-old uncle who has fits and drools on himself when he don’t take his pills.
They got food, too. Cold Popeyes and cans of green things you ain’t never tasted. You gain a little weight, start pocketin’ bus money she give you to go to school, and buy a dictionary, even though you don’t know most of the words in it. You want to be like the silver mask on the bus signs. Diabolical. He don’t have no eyes or a body, just a silver face. God? You’d heard about him comin’ from the Calliope and how he makin’ rhymes from all the words he know.
Sometime when you on the corner, hearin’ your own beat and bounce in your head, rhymin’ for fifty cents for some hustler to smile, you see Dio’s face on a passin’ bus. He comin’ back. He’ll hear you.
One night you find a white girl and you rob her with a knife you made from an oak tree splinter. Don’t feel bad. She’s pretty fucked up and lookin’ for some more shit to fill her head. You scare her good and she runs away. With that money, you start it all.
Thirty-two damned dollars. Water into wine, what Teddy always say.
You buy a minimixer with a dual cassette made for a kid and a beat tape. You got a microphone about the size of your finger. But it’s all you need to make your own.
It’s all you do. Sleep on Grandmamma’s couch, run her business, run her drugs a bit, and make them tapes. You sell them. They cost you a dollar at Rob’s; you sell ’em for three. Pretty soon – we talkin’ weeks, man – you known. Calliope ain’t no galaxy; it’s a planet. It’s your planet. You grabbin’ your toy and hittin’ Friday-and Saturday-night block parties and you eatin’.
Then – don’t know how – Teddy Paris finds you at that Claiborne corner with your dogs. Kids swallow his Bentley and mirror rims. You don’t. You hang, till he call you over and offer you a ride. At first you don’t, everybody workin’ you. Everybody a freak.
The kids tell you it’s about your tapes.
You go.
You ride. Ninth Ward Records.
You keep ridin’.