"What is it? What happened, lady?"
"A maniac?"
"You all right?"
"Which way did he go?"
I had circled back to where I had started from. I slipped behind the huge outcropping of a rock and a screen of bramble and dropped flat on my stomach.
"Get a cop. There's never a cop when you need one."
"What happened?"
"A degenerate tried to rape her."
"Hey, some guy down there is chasing him. There he goes!"
"Come on! Get the bastard before he gets outta the park!"
"Careful. He's got a knife and a gun</emphasis>"
It was obvious that the shouting had flushed out the night crawlers because the cry of "there he goes!" was echoed from behind me, and looking out from behind the rock I could see a lone runner being chased down the lamplit path into the darkness. Seconds later, another one passed in front of the rock and disappeared into the shadows. I pictured myself being caught by this eager mob and beaten and torn by them. I deserved it. I almost wanted it.
I stood up, brushed the leaves and dirt from my clothing and walked slowly down the path in the direction from which I had come. I expected every second to be grabbed from behind and pulled down into the dirt and darkness, but soon I saw the bright lights of Fifty-ninth Street and Fifth Avenue, and I came out of the park.
Thinking about it now, in the security of my room, I am shaken with the rawness that touched me. Remembering how my mother looked before she gave birth to my sister is frightening. But even more frightening is the feeling that I wanted them to catch me and beat me. Why did I want to be punished? Shadows out of the past clutch at my legs and drag me down. I open my mouth to scream, but I am voiceless. My hands are trembling, I feel cold, and there is a distant humming in my ears.
PROGRESS REPORT 13
We're on a Strato-jet about to take off for Chicago. I owe this progress report to Burt who had the bright idea that I could dictate this on a transistor tape recorder and have a public stenographer in Chicago type it up. Nemur likes the idea. In fact, he wants me to use the recorder up to the last minute. He feels it will add to the report if they play the most recent tape at the end of the session.
So here I am, sitting off by myself in our private section of a jet on the way to Chicago, trying to get used to thinking aloud, and to the sound of my own voice. I suppose the typist can get rid of all the uhm's, er's and ah's, and make it all seem natural on paper (I can't help the paralysis that comes over me when I think hundreds of people are going to listen to the words I'm saying now).
My mind is a blank. At this point my feelings are more important than anything else.
The idea of going up in the air terrifies me.
As far as I can tell, in the days before the operation, I never really understood what planes were. I never connected the movies and TV close-ups of planes with the things that I saw zooming overhead. Now that we're about to take off I can think only of what might happen if we crash. A cold feeling, and the thought that I don't want to the. Brings to mind those discussions about God.
I've thought about death often in recent weeks, but not really about God. My mother took me to church occasionally—but I don't recall ever connecting that up with the thought of God. She mentioned Him quite often, and I had to pray to Him at night, but I never thought much about it. I remember Him as a distant uncle with a long beard on a throne (like Santa Claus in the department store on his big chair, who picks you up on his knee and asks you if you've been good, and what would you like him to give you?). She was afraid of Him, but asked favors anyway. My father never mentioned Him—it was as if God was one of Rose's relatives he'd rather not get involved with.
"We're ready to take off, sir. May I help you fasten your seat belt?"
"Do I have to? I don't like to be strapped down."
"Until we're airborne."
"I'd rather not, unless it's necessary. I've got this fear of being strapped in. It'll probably make me sick."
"It's regulations, sir. Here, let me help you."
"No! I'll do it myself."
"No… that one goes through here."
"Wait, uh….Okay."
*
Ridiculous. There's nothing to be afraid of. Seat belt isn't too tight—doesn't hurt. Why should putting on the damned seat belt be so terrifying? That, and the vibrations of the plane taking off. Anxiety all out of proportion to the situation… so it must be something… what?… flying up into and through dark clouds… fasten your seat belts… strapped down… straining forward… odor of sweaty leather… vibrations and a roaring sound in my ears.
Through the window—in the clouds—I see Charlie. Age is difficult to tell, about five years old. Before Norma…
"Are you two ready yet?" His father comes to the doorway, heavy, especially in the sagging fleshiness of his face and neck. He has a tired look "I said, are you ready?"
"Just a minute," answers Rose. "I'm getting my hat on. See if his shirt is buttoned, and tie his shoelaces."
"Come on, let's get this thing over with."
"Where?" asks Charlie. "Where… Charlie… go?"
His father looks at him and frowns. Matt Gordon never knows how to react to his son's questions.
Rose appears in the doorway of her bedroom, adjusting the half-veil of her hat. She is a birdlike woman, and her arms—up to her head, elbows out—look like wings. "We're going to the doctor who is going to help you get smart."
The veil makes it look as if she were peering down at him through a wire screen. He is always frightened when they dress up to go out this way, because he knows he will have to meet other people and his mother will become upset and angry.
He wants to run, but there is no place for him to go.
"Why do you have to tell him that?" said Matt.
"Because it's the truth. Dr. Guarino can help him."
Matt paces the floor like a man who has given up hope but will make one last attempt to reason. "How do you know? What do you know about this man? If there was anything that could be done, the doctors would have told us long ago."
"Don't say that," she screeches. "Don't tell me there's nothing they can do." She grabs Charlie and presses his head against her bosom. "He's going to be normal, whatever we have to do, whatever it costs."
"It's not something money can buy."
"It's Charlie I'm talking about. Your son.. .your only child." She rocks him from side to side, near hysteria now. "I won't listen to that talk. They don't know, so they say nothing can be done. Dr. Guarino explained it all to me. They won't sponsor his invention, he says, because it will prove they're wrong. Like it was with those other scientists, Pasteur and Jennings, and the rest of them. He told me all about your fine medical doctors afraid of progress."
Talking back to Matt this way, she becomes relaxed and sure of herself again. When she lets go of Charlie, he goes to the corner and stands against the wall frightened and shivering.
"Look," she says, "you got him upset again."
"Me?"
"You always start these things in front of him."
"Oh, Christ! Come on, let's get this damned thing over with."
All the way to Dr. Guarino's office they avoid speaking to each other. Silence on the bus, and silence walking three blocks from the bus to the downtown office building. After about fifteen minutes, Dr. Guarino comes out to the waiting room to greet them. He is fat and balding, and he looks as if he would pop through his white lab jacket. Charlie is fascinated by the thick white eyebrows and white moustache that twitch from time to time. Sometimes the moustache twitches first, followed by the raising of both eyebrows, but sometimes the brows go up first and the moustache twitch follows.