Adrian looked at me and I couldn’t help myself: I moved into her arms. I was beyond reason or thought, and what did it matter? She pushed away from me then, for just a moment, and stepped back, water swirling, toads thrilling, to strip off her shirt and the black lace brassiere beneath it. Holding me with her eyes, she moved back another step and dropped them there, in the wet at the edge of the pond, and eased herself down as if into a nest. I’d never seen anything like it. I shrugged out of my denim jacket, tore off my shirt, sailed the Yankees cap into oblivion. And when I came for her, the toads leapt for their lives.
FILTHY WITH THINGS
HE DREAMS, amidst the clutter, of sparseness, purity, the wheeling dark star-haunted reaches beyond the grasp of this constrained little world, where distances are measured in light-years and even the galaxies fall away to nothing. But dreams get you nowhere, and Marsha’s latest purchase, the figured-mahogany highboy with carved likenesses of Jefferson, Washington and Adams in place of pulls, will not fit in the garage. The garage, designed to accommodate three big chromium-hung hunks of metal in the two-ton range, will not hold anything at all, not even a Japanese fan folded like a stiletto and sunk to the hilt in a horizontal crevice. There are no horizontal crevices — nor vertical, either. The mass of interlocked things, the great squared-up block of objects, of totems, of purchases made and accreted, of the precious and unattainable, is packed as tightly as the stones at Machu Picchu.
For a long moment Julian stands there in the blistering heat of the driveway, contemplating the abstract sculpture of the garage while the boy from the Antique Warehouse rolls and unrolls the sleeves of his T-shirt and watches a pair of fourteen-year-old girls saunter up the sidewalk. The sun and heat are not salutary for the colonial hardwood of which the highboy is composed, and the problem of where to put it has begun to reach critical proportions. Julian thinks of the storage shed behind the pool, where the newspapers are stacked a hundred deep and Marsha keeps her collection of Brazilian scythes and harrows, but immediately rejects it — the last time he was back there he couldn’t even get the door open. Over the course of the next ten seconds or so he develops a fantasy of draining the pool and enclosing it as a sort of step-down warehouse, and it’s a rich fantasy, richly rewarding, but he ultimately dismisses it, too. If they were to drain the pool, where would Marsha keep her museum-quality collection of Early American whaling implements, buoys and ship’s furniture, not to mention the two hundred twelve antique oarlocks currently mounted on the pool fence?
The boy’s eyes are vapid. He’s begun to whistle tunelessly and edge back toward the van. “So where’d you decide you want it?” he asks listlessly.
On the moon, Julian wants to say. Saturn. On the bleak blasted ice plains of Pluto. He shrugs. “On the porch, I guess.”
The porch. Yes. The only problem is, the screened-in porch is already stacked to the eaves with sideboards, armoires, butter churns and bentwood rockers. The best they can do, after a fifteen-minute struggle, is to wedge the thing two-thirds of the way in the door. “Well,” says Julian, and he can feel his heart fluttering round his rib cage like some fist-sized insect, “I guess that’ll have to do.” The laugh he appends is curt with embarrassment. “Won’t have to worry about rain till November, anyway.”
The boy isn’t even breathing hard. He’s long-lipped and thin, strung together with wire, and he’s got one of those haircuts that make his head look as if it’s been put on backwards. For a long moment he leans over the hand truck, long fingers dangling, giving Julian a look that makes him feel like he’s from another planet. “Yeah, that’s right,” the boy finally murmurs, and he looks at his feet, then jerks himself up as if to drift back to the van, the freeway, the warehouse, before stopping cold again. He looks at Julian as if he’s forgotten something, and Julian digs into his pocket and gives the boy three dollars for his efforts.
The sun is there, a living presence, as the boy backs the van out of the driveway, and Julian knows he’s going to have to do something about the mahogany highboy — drape a sheet over it or maybe a plastic drop cloth — but somehow he can’t really seem to muster the energy. It’s getting too much for him — all these things, the addition that was filled before it was finished, the prefab storage sheds on the back lawn, the crammed closets, the unlivable living room— and the butt end of the highboy hanging from the porch door seems a tangible expression of all his deepest fears. Seeing it there, the harsh light glancing off its polished flanks, its clawed feet dangling in the air, he wants to cry out against the injustice of it all, his miserable lot, wants to dig out his binoculars and the thin peeling ground cloth he’s had since he was a boy in Iowa and go up to the mountains and let the meteor showers wash him clean, but he can’t. That ancient handcrafted butt end represents guilt, Marsha’s displeasure, a good and valuable thing left to deteriorate. He’s begun to move toward it in a halfhearted shuffle, knowing from experience that he can squeeze it in there somehow, when a horn sounds breathlessly behind him. He turns, condemned like Sisyphus, and watches as Marsha wheels into the drive, the Range Rover packed to the windows and a great dark slab of furniture lashed to the roof like some primitive landing craft. “Julian!” she calls, “Julian! Wait till you see what I found!”
“I’ve seen worse,” the woman says, and Julian can feel the short hairs on the back of his neck begin to stiffen — she’s seen worse, but she’s seen better, too. They’re standing in the living room — or rather on the narrow footpath between the canyons of furniture that obscure the walls, the fireplace, even the ceiling of what was once the living room — and Julian, afraid to look her in the eye, leans back against a curio cabinet crammed with painted porcelain dolls in native costume, nervously turning her card over in his hand. The card is certainly minimalistic—Susan Certaine, it reads in a thin black embossed script, Professional Organizer, and it gives a telephone number, nothing else — and the woman herself is impressive, brisk, imposing, even; but he’s just not sure. Something needs to be done, something radical — and, of course, Marsha, who left to cruise the flea markets an hour ago, will have to agree to it, at least in substance — but for all his misery and sense of oppression, for all the times he’s joked about burning the place down or holding the world’s biggest yard sale, Julian needs to be reassured, needs to be convinced.
“You’ve seen worse?” he prompts.
“Sure I have. Of course I have. What do you take me for, an amateur?”
Julian shrugs, turns up his palms, already on the defensive.
“Listen, in my business, Mr. Laxner, you tend to run across the hard cases, the ones anyone else would give up on — the Liberaces, the Warhols, the Nancy Reagans. You remember Imelda Marcos? That was me. I’m the one they called in to straighten out that mess. Twenty-seven hundred pairs of shoes alone, Mr. Laxner. Think about that.”