He took a table and ordered a brandy. There were lights strung across the promenade and he thought he might sit here all day waiting for dusk, for the sea breeze to freshen and the lights to come on, colored bulbs attached to wires that trailed and looped among the palms. And then sit here some more, sit into early morning with his Metaxa, a medicine dating nobly to the nineteenth century, and come back at noon or so and sit a while longer, waiting for a story to circulate that the ferry was running again.
He didn't really think he would have ended among the dead, injured or missing. He was already injured and missing. As for death, he no longer thought he would see it come from the muzzle of a gun or any other instrument designed to be lethal. This was a thing he used to brood about. Shot by someone. Not a thief or deer hunter or highway sniper but some dedicated reader. He felt a touch of anticipation at times, seeing the bleak thing happen. He had put himself in deep seclusion and a certain forceful logic made it possible that some lonely young man might see a mission here. There were the camera-toters and the gun-wavers and Bill saw barely a glimmer of difference. An undersized kid with pinkish eyes, self-creating, an only child (as Bill began to see him) who lives in full-length mirrors and comes upon a novel that speaks to him in dangerous and radiant ways. Scott was not one of these. He had an enterprise and wit that scattered the darker spirits but it was also true that he'd popped out of a package, gasping for air, showing a need to consume whatever is left after he has read the books and collected the rumors. Then there was the finger Bill had received in the mail. He kept it around a while, a ring finger he guessed, gone mummy-brown, and he used to look at it and wonder what it meant. But that was long ago and he'd lost the feeling he might walk out of the post office and see a slight lad come diagonally toward him, showing the roguish smile he's been preparing for weeks.
He felt like calling up what's-her-face, the photographer, and talking to her machine.
He started back to his hotel. His leg didn't hurt much and his left shoulder, where he'd struck the pavement when the car hit him, felt altogether fine. But there was pain in the other shoulder now. He stopped in the lobby of one of the larger hotels to pick up a Paris Herald and saw a sign welcoming a group of veterinarians from Britain. Among the doctors again. The newspaper said thousands were leaving Beirut to escape the fighting. Coffins were stacked at cemetery entrances because there was no more room for the dead. Outside the city they were burying people in clusters, two or three bodies to a grave. Skulls were spray-painted on the walls of ruined buildings and there wasn't any water and the rats were getting bigger and the power grid was down.
Bill believed he faced no danger there. Isolation only, unsparing, stony, true, the root thing he'd been rehearsing all these years. And if the ferry didn't run, maybe the hydrofoil would, lifting above the sea chop and maneuvering through the fire of massed batteries. And maybe it wouldn't. But there was a chance the airport would reopen. He'd sit aboard a ghostly flight with six or seven tense Beirutis, refugees in reverse, going home to terror on every level.
On the street he tried to recall the name of his hotel so he could ask someone where the hell it was. The place was small and cheap, a fair distance from the swaying masts in the marina. That's the life he might have had, an answering machine and designer sheets and a racing sloop and a woman he could love and a mess of red mullet grilling in a pit. He realized he was feeling pain every time he took a deep breath.
In his room he noted down expenses on a pad. Then he looked at the pages he'd written and didn't think he could do any more. It was too hard. It was harder than major surgery and it didn't even keep you alive. He looked at a picture on the wall and saw everything that existed outside the room he was sitting in and the one he was trying to write about. It was a picture of fishing nets stowed in canvas baskets and it had sex, memories, cravings, names of old friends, principal rivers of the world. Writing was bad for the soul when you got right down to it. It protected your worst tendencies. Narrowed everything to failure and its devastations. Gave your cunning an edge of treachery and your jellyfish heart a reason to fall deeper into silence. He couldn't remember why he wanted to write about the hostage. He'd done some pages he halfway liked but what was the actual point?
He looked up and said aloud, "Keltner takes his time, tipping a glance at the baseball. Hey what a toss. Like a trolley wire, folks."
He took off his shoes and socks. He slouched in the chair, his feet on the bed, the writing pad flat in his lap. He needed to talk to a doctor and have a drink. First the drink. But it would hurt to get up, it would hurt to walk to a café and sit down and breathe, it might even hurt to swallow, so we have the classic dilemma here. He should have asked Charlie how he'd stopped drinking. He loved his old friend, he felt an unremitting love all those recent hours they'd spent together in New York and London, felt an unremitting need to leave, get going, shake hands goodbye. Charlie used to talk about growing old on Park Avenue, he saw himself a frail old man in a wheelchair tended by some wordless black nurse in subaudible sneakers. She pushed him ever steadily into the sun. He was so old and brittle he could barely issue a breath but they dressed him up like a small child at a party, they made him look helplessly resplendent in an oversized jacket and a shirt collar that hung off the neck. He saw himself bundled in a blanket in the warmest time of day and the sunniest part of the street. Because when the shadows fell across the sidewalk, the nurse pushed him toward the sun, they went ever sunward, slowly, until he was posed totally still at the corner of a prewar building, taking the sun, this was the sun spot for the next quarter hour, and Charlie used to go pink with shame and delight, conjuring his senile end.
That was the death Bill could be having, almond soap and a redone kitchen and a widow with an answering machine. He loved his old friends but begrudged them something and wanted them to renounce it, whatever it was, so they could all be even once again.
Firecrackers were called salutes.
It was a life consisting chiefly of hair-hair that drifts into the typewriter, each strand collecting dust along its length and fuzzing up among the hammers and interacting parts, hair that sticks to the felt mat the way a winding fiber leeches on to soap so he has to gouge it out with a thumbnail, all his cells, scales and granules, all his faded pigment, the endless must of all this balling hair that's batched and wadded in the works.
Ought to do some sightseeing while I'm waiting for the ferry. Did he say this aloud? The Turkish Fort, the English Cemetery. He changed position slowly, testing movement and weight shifts in several directions, his face showing strain until he realized he could get up easily. He went to the bathroom and urinated and there was no sign of blood. He lifted his shirt and looked at the original bruise on his abdomen and it hadn't expanded or changed color. The middle-period pottery, the lace-making village. He looked in the mirror and saw he hadn't shaved in some days. The scrape on his face was no better and no worse. Better if anything and certainly not worse. He thought he would put on his shoes and socks and have a little lookaround if only to hide from the gaping page.
His right shoulder throbbed heavily.
He could have told George he was writing about the hostage to bring him back, to return a meaning that had been lost to the world when they locked him in that room. Maybe that was it. When you inflict punishment on someone who is not guilty, when you fill rooms with innocent victims, you begin to empty the world of meaning and erect a separate mental state, the mind consuming what's outside itself, replacing real things with plots and fictions. One fiction taking the world narrowly into itself, the other fiction pushing out toward the social order, trying to unfold into it. He could have told George a writer creates a character as a way to reveal consciousness, increase the flow of meaning. This is how we reply to power and beat back our fear. By extending the pitch of consciousness and human possibility. This poet you've snatched. His detention drains the world of one more thimble of meaning. He should have said these things to that son of a bitch, although actually he liked George, but he'd never considered the matter in quite this way before and George would have said that terrorists do not have power and anyway Bill knew he'd forget the whole thing before much time went by.