Airships (5 page)

There was a woman of about thirty sitting in the front row of the auditorium. She wore a sundress with a drastic cleavage up front; looked like something that hung around New Orleans and kneaded your heart to death with her feet. She was still mesmerized by Quadberry. She bore on him with a stare and there was moisture in her cleavage.

“You played well.”

“Well? Play well? Yes.”

He was trying not to look at her directly. Look at
me
, I beckoned to her with full face: I was the
drums
. She arose and left.

“I was walking downhill in a valley, is all I was doing,”
said Quadberry. “Another man, a wizard, was playing my horn.” He locked his sax case. “I feel nasty for not being able to cry like the rest of them. Look at them. Look at them crying.”

True, the children of the band were still weeping, standing around the stage. Several moms and dads had come up among them, and they were misty-eyed too. The mixture of grief and superb music had been unbearable.

A girl in tears appeared next to Quadberry. She was a majorette in football season and played third-chair sax during the concert season. Not even her violent sorrow could take the beauty out of the face of this girl. I had watched her for a number of years—her alertness to her own beauty, the pride of her legs in the majorette outfit—and had taken out her younger sister, a second-rate version of her and a wayward overcompensating nymphomaniac whom several of us made a hobby out of pitying. Well, here was Lilian herself crying in Quadberry's face. She told him that she'd run off the stage when she heard about Prender, dropped her horn and everything, and had thrown herself into a tavern across the street and drunk two beers quickly for some kind of relief. But she had come back through the front doors of the auditorium and sat down, dizzy with beer, and seen Quadberry, the miraculous way he had gone on with
Bolero
. And now she was eaten up by feelings of guilt, weakness, cowardice.

“We didn't miss you,” said Quadberry.

“Please forgive me. Tell me to do something to make up for it.”

“Don't breathe my way, then. You've got beer all over your breath.”

“I want to talk to you.”

“Take my horn case and go out, get in my car, and wait for me. It's the ugly Plymouth in front of the school bus.”

“I know,” she said.

Lilian Field, this lovely teary thing, with the rather pious grace of her carriage, with the voice full of imminent swoon,
picked up Quadberry's horn case and her own and walked off the stage.

I told the percussion boys to wrap up the packing. Into my suitcase I put my own gear and also managed to steal drum keys, two pairs of brushes, a twenty-inch Turkish cymbal, a Gretsch snare drum that I desired for my collection, a wood block, kettledrum mallets, a tuning harp and a score sheet of
Bolero
full of marginal notes I'd written down straight from the mouth of Dick Prender, thinking I might want to look at the score sheet sometime in the future when I was having a fit of nostalgia such as I am having right now as I write this. I had never done any serious stealing before, and I was stealing for my art. Prender was dead, the band had done its last thing of the year, I was a senior. Things were finished at the high school. I was just looting a sinking ship. I could hardly lift the suitcase. As I was pushing it across the stage, Quadberry was there again.

“You can ride back with me if you want to.”

“But you've got Lilian.”

“Please ride back with me . . . us. Please.”

“Why?”

“To help me get rid of her. Her breath is full of beer. My father always had that breath. Every time he was friendly, he had that breath. And she looks a great deal like my mother.” We were interrupted by the Tupelo band director. He put his baton against Quadberry's arm.

“You were big with
Bolero
, son, but that doesn't mean you own the stage.”

Quadberry caught the end of the suitcase and helped me with it out to the steps behind the auditorium. The buses were gone. There sat his ugly ocher Plymouth; it was a failed, gay, experimental shade from the Chrysler people. Lilian was sitting in the front seat wearing her shirt and bow tie, her coat off.

“Are you going to ride back with me?” Quadberry said to me.

“I think I would spoil something. You never saw her when
she was a majorette. She's not stupid, either. She likes to show off a little, but she's not stupid. She's in the History Club.”

“My father has a doctorate in history. She smells of beer.”

I said, “She drank two cans of beer when she heard about Prender.”

“There are a lot of other things to do when you hear about death. What I did, for example. She ran away. She fell to pieces.”

“She's waiting for us,” I said.

“One damned thing I am never going to do is drink.”

“I've never seen your mother up close, but Lilian doesn't look like your mother. She doesn't look like anybody's mother.”

I rode with them silently to Clinton. Lilian made no bones about being disappointed I was in the car, though she said nothing. I knew it would be like this and I hated it. Other girls in town would not be so unhappy that I was in the car with them. I looked for flaws in Lilian's face and neck and hair, but there weren't any. Couldn't there be a mole, an enlarged pore, too much gum on a tooth, a single awkward hair around the ear? No. Memory, the whole lying opera of it, is killing me now. Lilian was faultless beauty, even sweating, even and especially in the white man's shirt and the bow tie clamping together her collar, when one knew her uncomfortable bosoms, her poor nipples. . . .

“Don't take me back to the band room. Turn off here and let me off at my house,” I said to Quadberry. He didn't turn off.

“Don't tell Arden what to do. He can do what he wants to,” said Lilian, ignoring me and speaking to me at the same time. I couldn't bear her hatred. I asked Quadberry to please just stop the car and let me out here, wherever he was: this front yard of the mobile home would do. I was so earnest that he stopped the car. He handed back the keys and I dragged my suitcase out of the trunk, then flung the keys back at him and kicked the car to get it going again.

My band came together in the summer. We were the Bop Fiends . . . that was our name. Two of them were from Ole Miss, our bass player was from Memphis State, but when we got together this time, I didn't call the tenor sax, who went to Mississippi Southern, because Quadberry wanted to play with us. During the school year the college boys and I fell into minor groups to pick up twenty dollars on a weekend, playing dances for the Moose Lodge, medical-student fraternities in Jackson, teen-age recreation centers in Greenwood, and such as that. But come summer we were the Bop Fiends again, and the price for us went up to $1,200 a gig. Where they wanted the best rock and bop and they had some bread, we were called. The summer after I was a senior, we played in Alabama, Louisiana and Arkansas. Our fame was getting out there on the interstate route.

This was the summer that I made myself deaf.

Years ago Prender had invited down an old friend from a high school in Michigan. He asked me over to meet the friend, who had been a drummer with Stan Kenton at one time and was now a band director just like Prender. This fellow was almost totally deaf and he warned me very sincerely about deafing myself. He said there would come a point when you had to lean over and concentrate all your hearing on what the band was doing and that was the time to quit for a while, because if you didn't you would be irrevocably deaf like him in a month or two. I listened to him but could not take him seriously. Here was an oldish man who had his problems. My ears had ages of hearing left. Not so. I played the drums so loud the summer after I graduated from high school that I made myself, eventually, stone deaf.

We were at, say, the National Guard Armory in Lake Village, Arkansas, Quadberry out in front of us on the stage they'd built. Down on the floor were hundreds of sweaty teen-agers. Four girls in sundresses, showing what they could, were leaning on the stage with broad ignorant lust on their minds. I'd play so loud for one particular chick, I'd get absolutely out of control. The guitar boys would have to turn
the volume up full blast to compensate. Thus I went deaf. Anyhow, the dramatic idea was to release Quadberry on a very soft sweet ballad right in the middle of a long ear-piercing run of rock-and-roll tunes. I'd get out the brushes and we would astonish the crowd with our tenderness. By August, I was so deaf I had to watch Quadberry's fingers changing notes on the saxophone, had to use my eyes to keep time. The other members of the Bop Fiends told me I was hitting out of time. I pretended I was trying to do experimental things with rhythm when the truth was I simply could no longer hear. I was no longer a tasteful drummer, either. I had become deaf through lack of taste.

Which was—taste—exactly the quality that made Quadberry wicked on the saxophone. During the howling, during the churning, Quadberry had taste. The noise did not affect his personality; he was solid as a brick. He could blend. Oh, he could hoot through his horn when the right time came, but he could do supporting roles for an hour. Then, when we brought him out front for his solo on something like “Take Five,” he would play with such light blissful technique that he even eclipsed Paul Desmond. The girls around the stage did not cause him to enter into excessive loudness or vibrato.

Quadberry had his own girl friend now, Lilian back at Clinton, who put all the sundressed things around the stage in the shade. In my mind I had congratulated him for getting up next to this beauty, but in June and July, when I was still hearing things a little, he never said a word about her. It was one night in August, when I could hear nothing and was driving him to his house, that he asked me to turn on the inside light and spoke in a retarded deliberate way. He knew I was deaf and counted on my being able to read lips.

“Don't . . . make . . . fun . . . of her . . . or me. . . . We . . . think . . . she . . . is . . . introuble.”

I wagged my head. Never would I make fun of him or her. She detested me because I had taken out her helpless little sister for a few weeks, but I would never think there was
anything funny about Lilian, for all her haughtiness. I only thought of this event as monumentally curious.

“No one except you knows,” he said.

“Why did you tell me?”

“Because I'm going away and you have to take care of her. I wouldn't trust her with anybody but you.”

“She hates the sight of my face. Where are you going?”

“Annapolis.”

“You aren't going to any damned Annapolis.”

“That was the only school that wanted me.”

“You're going to play your saxophone on a boat?”

“I don't know what I'm going to do.”

“How . . . how can you just leave her?”

“She wants me to. She's very excited about me at Annapolis. William [this is my name], there is no girl I could imagine who has more inner sweetness than Lilian.”

I entered the town college, as did Lilian. She was in the same chemistry class I was. But she was rows away. It was difficult to learn anything, being deaf. The professor wasn't a pantomimer—but finally he went to the blackboard with the formulas and the algebra of problems, to my happiness. I hung in and made a B. At the end of the semester I was swaggering around the grade sheet he'd posted. I happened to see Lilian's grade. She'd only made a C. Beautiful Lilian got only a C while I, with my handicap, had made a B.

It had been a very difficult chemistry class. I had watched Lilian's stomach the whole way through. It was not growing. I wanted to see her look like a watermelon, make herself an amazing mother shape.

When I made the B and Lilian made the C, I got up my courage and finally went by to see her. She answered the door. Her parents weren't home. I'd never wanted this office of watching over her as Quadberry wanted me to, and this is what I told her. She asked me into the house. The rooms smelled of nail polish and pipe smoke. I was hoping her little
sister wasn't in the house, and my wish came true. We were alone.

“You can quit watching over me.”

“Are you pregnant?”

“No.” Then she started crying. “I wanted to be. But I'm not.”

“What do you hear from Quadberry?”

She said something, but she had her back to me. She looked to me for an answer, but I had nothing to say. I knew she'd said something, but I hadn't heard it.

“He doesn't play the saxophone anymore,” she said.

This made me angry.

“Why not?”

“Too much math and science and navigation. He wants to fly. That's what his dream is now. He wants to get into an F-something jet.”

I asked her to say this over and she did. Lilian really was full of inner sweetness, as Quadberry had said. She understood that I was deaf. Perhaps Quadberry had told her.

The rest of the time in her house I simply witnessed her beauty and her mouth moving.

I went through college. To me it is interesting that I kept a B average and did it all deaf, though I know this isn't interesting to people who aren't deaf. I loved music, and never heard it. I loved poetry, and never heard a word that came out of the mouths of the visiting poets who read at the campus. I loved my mother and dad, but never heard a sound they made. One Christmas Eve, Radcleve was back from Ole Miss and threw an M-80 out in the street for old times' sake. I saw it explode, but there was only a pressure in my ears. I was at parties when lusts were raging and I went home with two girls (I am medium handsome) who lived in apartments of the old two-story 1920 vintage, and I took my shirt off and made love to them. But I have no real idea what their reaction was. They were stunned and all smiles when I got up, but I have no idea whether I gave them the last pleasure or
not. I hope I did. I've always been partial to women and have always wanted to see them satisfied till their eyes popped out.