Jazz (2 page)

The young are not so young here, and there is no such thing as midlife. Sixty years, forty, even, is as much as anybody feels like being bothered with. If they reach that, or get very old, they sit around looking at goings-on as though it were a five-cent triple feature on Saturday. Otherwise they find themselves butting in the business of people whose names they can’t even remember and whose business is none of theirs. Just to hear themselves talk and the joy of watching the distressed faces of those listening. I’ve known a few exceptions. Some old people who didn’t slap the children for being slappable; who saved that strength in case it was needed for something important. A last courtship full of smiles and little presents. Or the dedicated care of an old friend who might not make it through without them. Sometimes they concentrated on making sure the person they had shared their long lives with had cheerful company and the necessary things for the night.

But up there on Lenox, in Violet and Joe Trace’s apartment, the rooms are like the empty birdcages wrapped in cloth. And a dead girl’s face has become a necessary thing for their nights. They each take turns to throw off the bedcovers, rise up from the sagging mattress and tiptoe over cold linoleum into the parlor to gaze at what seems like the only living presence in the house: the photograph of a bold, unsmiling girl staring from the mantelpiece. If the tiptoer is Joe Trace, driven by loneliness from his wife’s side, then the face stares at him without hope or regret and it is the absence of accusation that wakes him from his sleep hungry for her company. No finger points. Her lips don’t turn down in judgment. Her face is calm, generous and sweet. But if the tiptoer is Violet the photograph is not that at all. The girl’s face looks greedy, haughty and very lazy. The cream-at-the-top-of-the-milkpail face of someone who will never work for anything; someone who picks up things lying on other people’s dressers and is not embarrassed when found out. It is the face of a sneak who glides over to your sink to rinse the fork you have laid by her plate. An inward face—whatever it sees is its own self. You are there, it says, because I am looking at you.

Two or three times during the night, as they take turns to go look at that picture, one of them will say her name. Dorcas? Dorcas. The dark rooms grow darker: the parlor needs a struck match to see the face. Beyond are the dining room, two bedrooms, the kitchen—all situated in the middle of the building so the apartment’s windows have no access to the moon or the light of a street lamp. The bathroom has the best light since it juts out past the kitchen and catches the afternoon rays. Violet and Joe have arranged their furnishings in a way that might not remind anybody of the rooms in
Modern Homemaker
but it suits the habits of the body, the way a person walks from one room to another without bumping into anything, and what he wants to do when he sits down. You know how some people put a chair or a table in a corner where it looks nice but nobody in the world is ever going to go over to it, let alone sit down there? Violet didn’t do that in her place. Everything is put where a person would like to have it, or would use or need it. So the dining room doesn’t have a dining table with funeral-parlor chairs. It has big deep-down chairs and a card table by the window covered with jade, dracena and doctor plants until they want to have card games or play tonk between themselves. The kitchen is roomy enough to accommodate four people eating or give a customer plenty legroom while Violet does her hair. The front room, or parlor, is not wasted either, waiting for a wedding reception to be worthy of. It has birdcages and mirrors for the birds to look at themselves in, but now, of course, there are no birds, Violet having let them out on the day she went to Dorcas’ funeral with a knife. Now there are just empty cages, the lonely mirrors glancing back at them. As for the rest, it’s a sofa, some carved wooden chairs with small tables by them so you can put your coffee cup or a dish of ice cream down in front of you, or if you want to read the paper, you can do it easy without messing up the folds. The mantel over the fireplace used to have shells and pretty-colored stones, but all of that is gone now and only the picture of Dorcas Manfred sits there in a silver frame waking them up all night long.

Such restless nights make them sleep late, and Violet has to hurry to get a meal prepared before getting ready for her round of heads. Having a knack for it, but no supervised training, and therefore no license to do it, Violet can only charge twenty-five or fifty cents anyway, but since that business at Dorcas’ funeral, many of her regular customers have found reasons to do their own hair or have a daughter heat up the irons. Violet and Joe Trace didn’t use to need that hairdressing pocket change, but now that Joe is skipping workdays Violet carries her tools and her trade more and more into the overheated apartments of women who wake in the afternoon, pour gin in their tea and don’t care what she has done. These women always need their hair done, and sometimes pity darkens their shiny eyes and they tip her a whole dollar.

“You need to eat you something,” one says to her. “Don’t you want to be bigger than your curling iron?”

“Shut your mouth,” says Violet.

“I mean it,” says the woman. She is still sleepy, and rests her cheek in her left hand while holding her ear with the right. “Men wear you down to a sharp piece of gristle if you let them.”

“Women,” answers Violet. “Women wear me down. No man ever wore me down to nothing. It’s these little hungry girls acting like women. Not content with boys their own age, no, they want somebody old enough to be their father. Switching round with lipstick, see-through stockings, dresses up to their you-know-what…”

“That’s my ear, girl! You going to press it too?”

“Sorry. I’m sorry. Really, really sorry.” And Violet stops to blow her nose and blot tears with the back of her hand.

“Aw, the devil,” the woman sighs and takes advantage of the pause to light a cigarette. “Now I reckon you going to tell me some old hateful story about how a young girl messed over you and how
he
’s not to blame because
he
was just walking down the street minding
his
own business, when this little twat jumped on his back and dragged him off to her bed. Save your breath. You’ll need it on your deathbed.”

“I need my breath now.” Violet tests the hot comb. It scorches a long brown finger on the newspaper.

“Did he move out? Is he with her?”

“No. We still together. She’s dead.”

“Dead? Then what’s the matter with you?”

“He thinks about her all the time. Nothing on his mind but her. Won’t work. Can’t sleep. Grieves all day, all night…”

“Oh,” says the woman. She knocks the fire from her cigarette, pinches the tip and lays the butt carefully into the ashtray. Leaning back in the chair, she presses the rim of her ear with two fingers. “You in trouble,” she says, yawning. “Deep, deep trouble. Can’t rival the dead for love. Lose every time.”

Violet agrees that it must be so; not only is she losing Joe to a dead girl, but she wonders if she isn’t falling in love with her too. When she isn’t trying to humiliate Joe, she is admiring the dead girl’s hair; when she isn’t cursing Joe with brand-new cuss words, she is having whispered conversations with the corpse in her head; when she isn’t worrying about his loss of appetite, his insomnia, she wonders what color were Dorcas’ eyes. Her aunt had said brown; the beauticians said black but Violet had never seen a light-skinned person with coal-black eyes. One thing, for sure, she needed her ends cut. In the photograph and from what Violet could remember from the coffin, the girl needed her ends cut. Hair that long gets fraggely easy. Just a quarter-inch trim would do wonders, Dorcas. Dorcas.

Violet leaves the sleepy woman’s house. The slush at the curb is freezing again, and although she has seven icy blocks ahead, she is grateful that the customer who is coming to her kitchen for an appointment is not due until three o’clock, and there is time for a bit of housekeeping before then. Some business that needs doing because it is impossible to have nothing to do, no sequence of errands, list of tasks. She might wave her hands in the air, or tremble if she can’t put her hand to something with another chore just around the bend from the one she is doing. She lights the oven to warm up the kitchen. And while she sprinkles the collar of a white shirt her mind is at the bottom of the bed where the leg, broken clean away from the frame, is too split to nail back. When the customer comes and Violet is sudsing the thin gray hair, murmuring “Ha mercy” at appropriate breaks in the old lady’s stream of confidences, Violet is resituating the cord that holds the stove door to its hinge and rehearsing the month’s plea for three more days to the rent collector. She thinks she longs for rest, a carefree afternoon to decide suddenly to go to the pictures, or just to sit with the birdcages and listen to the children play in snow.

This notion of rest, it’s attractive to her, but I don’t think she would like it. They are all like that, these women. Waiting for the ease, the space that need not be filled with anything other than the drift of their own thoughts. But they wouldn’t like it. They are busy and thinking of ways to be busier because such a space of nothing pressing to do would knock them down. No fields of cowslips will rush into that opening, nor mornings free of flies and heat when the light is shy. No. Not at all. They fill their mind and hands with soap and repair and dicey confrontations because what is waiting for them, in a suddenly idle moment, is the seep of rage. Molten. Thick and slow-moving. Mindful and particular about what in its path it chooses to bury. Or else, into a beat of time, and sideways under their breasts, slips a sorrow they don’t know where from. A neighbor returns the spool of thread she borrowed, and not just the thread, but the extra-long needle too, and both of them stand in the door frame a moment while the borrower repeats for the lender a funny conversation she had with the woman on the floor below; it
is
funny and they laugh—one loudly while holding her forehead, the other hard enough to hurt her stomach. The lender closes the door, and later, still smiling, touches the lapel of her sweater to her eye to wipe traces of the laughter away then drops to the arm of the sofa the tears coming so fast she needs two hands to catch them.

So Violet sprinkles the collars and cuffs. Then sudses with all her heart those three or four ounces of gray hair, soft and interesting as a baby’s.

Not the kind of baby hair her grandmother had soaped and played with and remembered for forty years. The hair of the little boy who got his name from it. Maybe that is why Violet is a hairdresser—all those years of listening to her rescuing grandmother, True Belle, tell Baltimore stories. The years with Miss Vera Louise in the fine stone house on Edison Street, where the linen was embroidered with blue thread and there was nothing to do but raise and adore the blond boy who ran away from them depriving everybody of his carefully loved hair.

Folks were furious when Violet broke up the funeral, but I can’t believe they were surprised. Way, way before that, before Joe ever laid eyes on the girl, Violet sat down in the middle of the street. She didn’t stumble nor was she pushed: she just sat down. After a few minutes two men and a woman came to her, but she couldn’t make out why or what they said. Someone tried to give her water to drink, but she knocked it away. A policeman knelt in front of her and she rolled over on her side, covering her eyes. He would have taken her in but for the assembling crowd murmuring, “Aw, she’s tired. Let her rest.” They carried her to the nearest steps. Slowly she came around, dusted off her clothes, and got to her appointment an hour late, which pleased the slow-moving whores, who never hurried anything but love.

It never happened again as far as I know—the street sitting—but quiet as it’s kept she did try to steal that baby although there is no way to prove it. What is known is this: the Dumfrey women—mother and daughter—weren’t home when Violet arrived. Either they got the date mixed up or had decided to go to a legally licensed parlor—just for the shampoo, probably, because there is no way to get that deepdown hair washing at a bathroom sink. The beauticians have it beat when it comes to that: you get to lie back instead of lean forward; you don’t have to press a towel in your eyes to keep the soapy water out because at a proper beauty parlor it drains down the back of your head into the sink. So, sometimes, even if the legal beautician is not as adept as Violet, a regular customer will sneak to a shop just for the pleasure of a comfy shampoo.

Doing two heads in one place was lucky and Violet looked forward to the eleven-o’clock appointment. When nobody answered the bell, she waited, thinking maybe they’d been held up at the market. She tried the bell again, after some time, and then leaned over the concrete banister to ask a woman leaving the building next door if she knew where the Dumfrey women were. The woman shook her head but came over to help Violet look at the windows and wonder.

“They keep the shades up when they home,” she said. “Down when they gone. Should be just the reverse.”

“Maybe they want to see out when they home,” said Violet.

“See what?” asked the woman. She was instantly angry.

“Daylight,” said Violet. “Have some daylight get in there.”

“They need to move on back to Memphis then if daylight is what they want.”

“Memphis? I thought they were born here.”

“That’s what they’d have you believe. But they ain’t. Not even Memphis. Cottown. Someplace nobody ever heard of.”

“I’ll be,” said Violet. She was very surprised because the Dumfrey women were graceful, citified ladies whose father owned a store on 136th Street, and themselves had nice paper-handling jobs: one took tickets at the Lafayette; the other worked in the counting house.

“They don’t like it known,” the woman went on.

“Why?” asked Violet.

“Hincty, that’s why. Comes from handling money all day. You notice that? How people who handle money for a living get stuck-up? Like it was theirs instead of yours?” She sucked her teeth at the shaded windows. “Daylight my foot.”