He could smell her. A musk compounded of stale sweat and alcohol, the rank smell of her sex. Dissolution, ruin, loss. He turned to study her where she lay asleep, her open mouth a dark cavity in her face. She was naked, legs outflung, pale breasts pooled like cooling wax. She stirred restively, groaned in her sleep. He could hear the rasp of her breathing. Her breath was fetid on his face, corrupt, a graveyard smell. He watched her in disgust, in a dull self-loathing.
He drank from the bottle, lowered it. Sometimes, he told her sleeping face, you do things you can’t undo. You break things you just can’t fix. Before you mean to, before you know you’ve done it. And you were right, there are things only a miracle can set to rights.
He sat clasping the bottle. He touched his miscut hair, the soft down of his beard. He had forgotten what he looked like, he hadn’t seen his reflection in a mirror for so long. Unbidden, Zeineb’s face swam into his memory. He remembered the look on the child’s face when the doctor’s wife had spun on her heeclass="underline" spite had crossed it like a flicker of heat lightning. She stuck her tongue out at him. His hand snaked out like a serpent and closed on her throat and snapped her neck before he could call it back, sloe eyes wild and wide, pink tongue caught between tiny seed-pearl teeth like a bitten-off rosebud. Her hair swung sidewise, her head lolled onto his clasped hand. The tray of the toolbox was out before he knew it, he was stuffing her into the toolbox like a ragdoll. So small, so small, hardly there at all.
He arose. Silhouetted naked against the moon-drenched window, he drained the bottle. He looked about for a place to set it, leaned and wedged it between the heavy flesh of her upper thighs. He stood in silence, watching her. He seemed philosophical, possessed of some hard-won wisdom. The paperhanger knew so well that while few are deserving of a miracle, fewer still can make one come to pass.
He went out of the room. Doors opened, doors closed. Footsteps softly climbing a staircase, descending. She dreamed on. When he came back into the room he was cradling a plastic-wrapped bundle stiffly in his arms. He placed it gently beside the drunk woman. He folded the plastic sheeting back like a caul.
What had been a child. What the graveyard earth had spared the freezer had preserved. Ice crystals snared in the hair like windy snow-flakes whirled there, in the lashes. A doll from a madhouse assembly line.
He took her arm, laid it across the child. She pulled away from the cold. He firmly brought the arm back, arranging them like mannequins, madonna and child. He studied this tableau, then went out of his house for the last time. The door closed gently behind him on its keeper spring.
The paperhanger left in the Mercedes, heading west into the open country, tracking into wide-open territories he could infect like a malignant spore. Without knowing it, he followed the selfsame route the doctor had taken some eight months earlier, and in a world of infinite possibilities where all journeys share a common end, perhaps they are together, taking the evening air on a ruined veranda among the hollyhocks and oleanders, the doctor sipping his scotch and the paperhanger his San Miguel, gentlemen of leisure discussing the vagaries of life and pondering deep into the night not just the possibility but the inevitability of miracles.
2001
F. X. TOOLE
MIDNIGHT EMISSIONS
F. X. Toole, the pseudonym of Jerry Boyd (1930-2002), was the son of Irish immigrants. He had a varied background, working in such jobs as shoe-shine boy, bartender, and cement truck driver. After reading Ernest Hemingway’s nonfiction work about bullfighting, Death in the Afternoon, he moved to Mexico to learn how to be a matador. After his bullfighting career ended, he moved to Los Angeles, getting into shape at boxing gyms and eventually becoming a trainer and cutman, who attends to a fighter’s injuries between rounds.
After trying unsuccessfully for forty years, he finally sold his first short story to a literary journal, Zyzzyva, in 1999. Once he was published, he chose a pseudonym, an amalgam of Francis Xavier, the sixteenth-century philosopher, teacher, and saint, and his favorite actor, Peter O’Toole. A collection of his short stories, Rope Burns: Stories from the Corner, was published in 2000. Incidents from several of these stories were adapted for the screenplay of Million Dollar Baby (2004); the film won four Academy Awards, for Best Picture, Best Director (Clint Eastwood, who also starred), Best Actress (Hilary Swank), and Best Supporting Actor (Morgan Freeman). Many of the stories were based on the real-life exploits of Boyd’s friend Dub Huntley, who taught him to box. Four years after Toole’s death, his long novel, Pound for Pound, was published to outstanding reviews. In 2007 the AMC cable channel announced a series of one-hour boxing dramas based on Toole’s short stories.
“Midnight Emissions” was first published in the anthology Murder on the Ropes (Los Angeles: New Millennium, 2001); it was selected for the 2002 edition of The Best American Mystery Stories.
Butcherin’ was done while the deceased was still alive,” Junior said.
See, we was at the gym and I’d been answering a few things. Old Junior’s a cop, and his South Texas twang was wide and flat like mine. ‘Course he was dipping, and he let a stream go into the Coke bottle he was carrying in the hand that wasn’t his gun hand. His blue eyes was paler than a washed-out work shirt.
“Hail,” he said, “one side of the mouth’d been slit all the way to the earring.”
See, when the police find a corpse in Texas, their first question ain’t who done it, it’s what did the dead do to deserve it?
Billy Clancy’d been off the police force a long time before Kenny Coyle come along, but he had worked for the San Antonia Police Department a spell there after boxing. He made some good money for himself on the side — down in dark town, if you know what I’m saying? That’s after I trained him as a heavyweight in the old El Gallo, or Fighting Cock gym off Blanco Road downtown. We worked together maybe six years all told, starting off when he was a amateur. Billy Clancy had all the Irish heart in the world. At six-three and two-twenty-five, he had a fine frame on him, most of his weight upstairs. He had a nice clean style, too, and was quick as a sprinter. But after he was once knocked out for the first time? He had no chin after that. He’d be kicking ass and taking names, but even in a rigged fight with a bum, if he got caught, down he’d go like a longneck at a ice house.
He was a big winner in the amateurs, Billy was, but after twelve pro fights, he had a record of eight and four, with his nose broke once — that’s eight wins by KO, but he lost four times by KO, so that’s when he hung ‘em up. For a long time, he went his way and I went mine. But then Billy Clancy opened Clancy’s Pub with his cop money. That was his big break. There was Irish night with Mick music, corned beef and cabbage, and Caffery’s Ale on tap and Harp Lager from Dundalk. And he had Messkin night with mariachis and folks was dancin’ corridos and the band was whooping out rancheras and they’d get to playing some of that nortena polka music that’d have you laughing and crying at the same time. For shrimp night, all you can eat, Billy trucked in fresh Gulf shrimp sweeter than plum jelly straight up from Matamoros on the border. There was kicker, and hillbilly night, and on weekends there was just about the best jazz and blues you ever did hear. B. B. King did a whole week there one time. It got to be a hell of a deal for Billy, and then he opened up a couple of more joints till he had six in three towns, and soon Billy Clancy was somebody all the way from San Antonia up to Dallas, and down to Houston. Paid all his taxes, obeyed all the laws, treated folks like they was ladies and gentlemen, no matter how dusty the boots, how faded the dress, or if a suit was orange and purple and green.