Then your father made me keep my promise to lie down next to him. Marshall, he had taken off his shorts. He was very excited because he didn’t understand why I had come to his apartment, and he just kept — well, thanking me. I let him undress me, and because he was so ill and moved so slowly I actually helped him. I threw my clothes off as if they were on fire, and I suppose this excited him even more. I got him into position and all I could think was, I don’t know, that this was better than that he should he hard, that that would be a terrible strain on his heart, and I wriggled like a mad woman because all I wanted was to bring him off. He came almost at once, and he died on top of me.
I got out. I couldn’t wait for the doctor. I cleaned his penis. I looked around for any evidence, and destroyed it. I ran away.
That’s the story. Now you understand why I couldn’t come to the chapel or the funeral. That’s the story. Please don’t answer this letter.
There was a postscript: “I’ll get the key back to you.”
Then how was he mad? Didn’t he see the inconsistencies in her letter? “I don’t want you to spend your money on telegrams. We’re neighbors. As you say in your telegram, we live a few doors down the hall from each other.” And all that stuff about “if we are to become friends.” If she’d looked for evidence, why hadn’t she taken the letters with her? And after telling him the whole story about that night why hadn’t she simply enclosed the key? He could drive a truck through her ambivalences. Then how was he mad? And what about his reactions to what he’d been told? Were they mad? Was it mad to be stirred by that part where his father went swimming through her legs? He was hard as the mourner’s bench he sat on when he read that. Was that mad? Or his own ambivalences, his disgust and jealousy at her final revelations, were they mad? Was the awful pity he felt? Then how had his nerves broken down? His inkling that the key might still turn in his lock — was that nuts? Or, modifying inkling to simple bald hope that it would, was that? If only he could stop this damn weeping.
No longer were the tears coursing down his cheeks like anguish in a prizewinning photograph; now he was sobbing, bellowing, howling. He stuffed a handkerchief into his mouth. Choking on it, he pulled it out. (Was that, self-preservation normal as apple pie, was that?) He was astonished to be insane yet see so clearly, every reaction fitted immaculately to its cause like a Newtonian law.
He huddled on the mourner’s bench and had an idea. He phoned Evelyn. She answered on the second ring. (Was it nuts to suspect that having slipped the letter under his door she would be waiting for his call?)
“It’s Marshall,” he sobbed. “I got your letter.”
“Oh.”
“Yes. I got it. I read it. I understand.”
“Oh.”
“I agree about the telegrams.” He was squalling into the phone, He made a stutterer’s effort to speak plainly and said goodbye clear as a bell.
He waited on the mourner’s bench for three hours but she never came. He’d shown every patience, giving her time to do the supper dishes, to think up something to tell Sheila, to wait until Sheila was asleep, to prepare herself. He didn’t even leave the bench to urinate, fearing that he wouldn’t hear her timid knock in the toilet. All hope left him. He understood her reluctance; he understood everything. And he stopped crying.
He stepped out onto the balcony. He saw the skyline, the lighted windows that ran across the horizon like a message, like signal fires of the abandoned on those desert isles of his hypotheses, like bonfires on mountain tops for the search planes to see. He saw all the warehouses, office buildings, hotels and apartments. He saw the houses and condominiums, service flats, bed-sitters, kips and billets. He saw barracks and bunkers and chambers in university and wards in hospitals, saw all places where being lodged, those visible and those invisible — rooms underground, basements, shelters, code and map rooms, vast silos beneath the desert and under the badlands, Sweden’s civil defenses, the booths in tunnels where officers stood watching the traffic, the cars in those tunnels, the passengers snug in their moving envelopes of space, subway trains and staterooms beneath the water line — saw the cabins of jets and two-seaters and the berths in trains, their club cars and coaches, the locked toilets on buses and the vans of trucks, the wide ledge behind the driver where the helper snuggles. There were palaces and theaters, arenas in the open air, auditoriums where people sat listening to orchestras, stalls and dress circles and private boxes and the gods. There were pits where technicians recorded those performances and prompter’s boxes in theaters where a man, crouching, followed what the actors were saying, his fingers moving along the lines of the script as if it was in Braille. There were caves. There were mud huts and huts of straw and the hogans of Navahos, all the earth’s vulgate architecture, its mounds and warrens, Rio’s high favellas and Hong Kong’s sea-level houseboats. There were cellblocks in prisons and the tiger cages of solitary. The world was mitered, walls and floors and ceilings, angled as the universe and astronomy, jointed as men.
There were balconies like this one he stood on, with railings like this one. He raised one leg over and now the other. Intestate, sitting there for a moment perfectly balanced, he pushed off gently and began his fall.
As he plunged he addressed the condominium, quoting from the lecture he had been preparing. “From what incipit, fundamental gene of nakedness,” he gasped, “came, laboring like a lung, insistent as the logical sequences of a heartbeat, the body’s syllogisms, this demand for rind and integument and pelt?” But it was too difficult. His velocity shoveled the words back into his mouth, the air that forced itself into his lungs canceling his breath. All he could manage at last, with great effort, the greatest he had ever made, were individual words.
“Cage,” he shouted. “Net,” he screamed. “Pit, sheath, vesicle, trap,” he roared above gravity. “Cell, cubicle, crib and creel.” He tried to expel the air that suffused him, billowing his body like a flag. “Nest,” he yelled, “carton, can.” His descent pulled the wind, igniting it like a fire storm. “Jakes,” he squealed, “maw!” But it was too much. He could open his mouth but couldn’t close it. So in the split seconds he had left he had to think the last. And the hole, he thought, the hole I’m going to make when I hit that ground!
A Biography of Stanley Elkin
Stanley Elkin (1930–1995) was an award-winning and critically acclaimed novelist, short story writer, and essayist. He was celebrated for his wit, elegant prose, and poignant fiction that often satirized American culture.
Born in the Bronx, New York, Elkin moved to Chicago at the age of three. Throughout his childhood, he spent his summers with his family in a bungalow community on New Jersey’s Ramapo River. The community provided many families an escape from the city heat, and some of Elkin’s later writing, including The Rabbi of Lud (1987), was influenced by the time he spent there.
Elkin attended undergraduate and graduate school at the University of Illinois at Urbana-Champaign, where he received his bachelor’s degree in English in 1952 and his PhD in 1961. His dissertation centered around William Faulkner, whose writing style Elkin admitted echoing unintentionally until the 1961 completion of his short story “On a Field, Rampant,” which was included in the book Criers & Kibitzers, Kibitzers & Criers (1966). Elkin would later say that story marked the creation of his personal writing style. While in school, Elkin participated in radio dramas on the campus radio station, a hobby that would later inform his novel The Dick Gibson Show (1971), which was a finalist for the National Book Award in 1972.