Little, Big (67 page)

"So," George said.

"So," Auberon said.

"Back in Bigtown, huh?" George said. "Were you thinking . . ."

"Can I come back?" Auberon said. "I'm sorry."

"Hey, no. Swell. Lot's to do just now. The Folding Bedroom's empty . . . How long were you thinking? . . ."

"Oh, I don't know," Auberon said. "From now on, I guess. Ever after."

He was a flung ball, that's all, he saw that clearly now; flung outward from Edgewood at first, leaping high, bounding to the City, then ricocheting madly within that maze, the walls and objects he struck the determiners of his way, until (not by his choice) he had been flung back Edgewoodwards again to carom there, angles of incidence equaling angles of reflection; and then back again to these streets, to this Farm. And even the most tensile of balls must have a stop, must bounce more lowly, then more lowly, and at last roll only, parting the grass; then, resisted even by the grass, must slow, and with a little rocking motion come to rest.

George seemed then to realize that they stood there in an open door, and, darting his head out for a quick look down the fearful street to see who might be approaching, drew Auberon within and locked the door behind them, as he had once before on a winter night in another world.

"You got some mail and stuff," he said as he led Auberon down the hall and down the stairs to the kitchen; and then said something more, about goats and tomatoes, but Auberon heard nothing more because of a sudden roaring of blood in his ears and a fearful thought about a gift, which filled up his head; a roaring and a thought which continued to fill up his head while George aimlessly searched amid the treasures of the kitchen for the letters, stopping to put questions and make remarks. Only when he saw that Auberon neither heard nor answered did he apply himself and come up with two long envelopes, which had been put in a toast-rack along with some ancient dunning letters and souvenir menus.

A glance told Auberon that neither was from Sylvie. His fingers trembled, though pointlessly now, as he opened them. Petty, Smilodon & Ruth were pleased to inform him that Doctor Drinkwater's will had at last been settled. They included an accounting which showed that, less advances and costs, his share of the settlement was $34.17. If he would come in and sign some papers he would receive this amount in full. The other envelope, a heavy wove paper with an expensive-looking logo, yielded up a letter from the producers of "A World Elsewhere." They had gone very carefully over his scripts. The story ideas were terrific and vivid but the dialogue was somewhat unconvincing. Still, if he cared to work over these scripts or try another, they thought a place could be found for him soon among the show's junior writers; they hoped to hear from him, or were anyway hoping last year. Auberon laughed. At least he'd have, perhaps, a job; perhaps he
would
continue Doc's endless chronicle of the Green Meadow and the Wild Wood, though not in the way Doc would have.

"Good news?" George said, making coffee.

"You know," Auberon said, "There's some very strange things going on in the world lately. Very strange."

"Tell me about it," George said, meaning the opposite.

Auberon realized that coming out of his long drunk he was just now noticing things that everyone else had already learned to live with. As though he were suddenly to turn to his fellow man and announce that, hey, the sky is blue, or point out that the aged trees along the street were in leaf. "Were there always big trees along this street?" he asked George.

"That ain't the worst of it," George said. "The roots are breaking up my basements. And just try to get through to the Parks Department. Hopeless." He put coffee before Auberon. "Milk? Sugar?"

"Black."

"Curiouser and curiouser," George said, stirring his coffee with a tiny souvenir coffee-spoon though he had put nothing in it. "Sometimes I think I'll blow this burg. Go back into fireworks. There's going to be big bucks in fireworks now, I bet, with all the celebrations."

"Hm?"

"Eigenblick and all that. Parades, shows. He's very into that stuff. And fireworks."

"Oh." Since his night and morning with Bruno, it had been a policy of Auberon's not to think or ask questions about Russell Eigenblick. Love was strange: it could color whole passages of the world, and ever after they retained the color of love, whether that color was bright or dark. He thought of Latin music, souvenir T-shirts, certain City streets and places, the nightingale. "You were in fireworks?"

"Sure. You didn't know that? Hey. The biggest. Name in the papers, man. It was a lot of laughs."

"It wasn't ever mentioned at home," Auberon said, feeling the familiar exclusion. "Not to me."

"No?" George looked at him strangely. "Well, it all came to a kind of sudden end. Just about the time you were born."

"Oh yeah? How come?"

"Circumstances, man, circumstances." He stared into his coffee, a pensiveness odd for George having fallen on him. Then, seeming to come to a decision, he said, "You know you had a sister, named Lilac."

"Sister?" This was a new idea. "Sister?"

"Well, yeah, sister."

"No. Sophie had a baby, named Lilac, that went away. I had an imaginary friend, named Lilac. But no sister." He pondered. "I always kind of thought there were three, though. I don't know why."

"Sophie's baby's the one I'm talking about. I always thought the story up there was . . . Well, never mind."

But Auberon had had enough. "No, uh-uh, wait a minute. No 'never mind.' " George looked up startled and guilty at Auberon's tone. "If there's a story, I want to hear it."

"It's a long one."

"All the better."

George pondered. He got up, put on his old cardigan and sat down again. "Okay. You asked for it." He thought for a time how to begin. Decades of odd drugs made him a vivid but not always a coherent story-teller. "Fireworks. Three Lilacs, did you say?"

"One was imaginary."

"Shit. I wonder what makes the other two. Anyway, there was one in there that was false: like a false nose. I mean exactly like. That's the fireworks story: that one.

"See, a long time ago, one day, Sophie and I. . . Well, it was one winter day when I went up to Edgewood, and she and I . . . But I didn't think anything
came
of it, you know? Sort of a crazy fling. I wrote it off. I mean she had
me
fooled. Meanwhile, I knew there was a thing between her and Smoky." He looked at Auberon. "Common knowledge, right?"

"Wrong."

"You didn't . . . They didn't . . ."

"They never told me anything. I knew there'd been a baby, Lilac, of Sophie's. Then she was gone. That's all I knew."

"Well, listen. As far as I know, Smoky still thinks he's Lilac's father. So, you know, mum is definitely the word on this story. Wazza matter?"

Auberon was laughing. "No, nothing," he said. "Yeah, sure, mum's the word."

"Anyway. This is—what?—twenty-five years ago maybe. I'd gotten heavily into fireworks, because of Act Theory. Remember Act Theory? No? Jesus, things don't last long in that line these days, do they. Act Theory, dig—God, I don't know if I remember now how it worked myself, but it was this idea about how life works—how life is acts, and not thoughts or things: an act is a thought and a thing both at once, only it has this shape, see, so it can be analyzed. Every act, no matter what kind, pick up a cup, or a whole life, or like all of evolution, every act has the same shape; two acts together are another act with the same shape; all life is only one big act, made up of a million smaller ones, follow?"

"Not really."

"Don't matter. It was the reason I got into fireworks though, because a rocket has the same form as an act: initiation, burning, explosion, burning out. Only sometimes that rocket, that act, sets off another initiation, burning, explosion, and soon, get the picture? And so you can set up a display that has the same form as life. Acts, acts, all acts. Shells: inside one shell you can pack a bunch of others, which go off after the big one, packed in like a chicken is packed inside an egg, and inside that chicken more eggs with more chickens, and so on odd infinooty. Gerbs: a gerb has the same form as the feeling of being alive: a bunch of little explosions and burnings going on all the time, burning out, initiating, burning out, that all together make a picture, like thought makes pictures in the middle of the air."

"What's a gerb?"

"A gerb, man. Chinese fire. You know, that makes a picture of two battleships shooting at each other, and that turns into Old Glory."

"Oh, yeah."

"Yeah. Lancework we call those. Just like thinking. A few people got that, too. Some critics." He said nothing for a time, remembering vividly the river barge where he'd set off
The Act Entrained
and other shows. Darkness, and the slap of oily water; the smell of punk. And then the sky filled up with fire, which is like life, which is light that ignites and consumes and goes out and for a moment traces a figure in the air that can't be forgotten but vihich, in a sense, was never there. And he racing around like a madman, shouting at his assistants, firing shells from the mortar, his hair singed, throat burning, coat motheaten from cinders, while his thought took shape above.

"About Lilac," Auberon said.

"Yeah? Oh, yeah. Well, I'd been working for weeks for a new show. I had some new ideas about garnitures, and it was—well, it was my life, man, night and day. So one night . . ."

"Garnitures?"

"Garnitures are the part of the rocket that goes blooey at the end, like a flower. Y'see, you got your rocket, and here's your case with your composition that burns and gets it aloft; and up here you got your, what you call your cap, and that's where your garniture goes—stars, pinched stars, pumped stars—"

"Okay. Go on."

"So I'm up on the third floor in this workshop I had fitted out up there—top floor, in case anything went, you know, the whole building wouldn't go—it's late, and I hear the bell ring. Bells still worked in those days. So I put down the case and stuff—you can't just walk away from a roomful of fireworks, you know—and all the time the bell's going, and I go down, who is this wise guy leaning on the bell. It was Sophie.

"It was a cold night, raining, I remember, and she had this shawl on, and that face in the shawl. She looked about dead, like she hadn't slept for days. Big eyes like saucers, and tears, or maybe it was the rain on her face. She had this big bundle in her arms in another shawl, and I said what's up and so on, and she said, 'I've brought Lilac,' and she pulled the shawl away from this thing she had."

George shuddered, deeply, the shudder seeming to start at his loins and work upward till it flew off the top of his head, making his hair rise—the shudder of one whose future grave, they say, is somewhere stepped on. "Remember, man, I never
knew
about any of this. I didn't know I was a daddy. I hadn't heard from up that way in a year. And suddenly there's Sophie, standing on the stoop like a bad dream saying Here's your daughter, man, and showing me this baby, if that's what it was.

"Man, this baby was in
trouble
.

"It looked
old
. I guess it was supposed to be about two now, but it looked about forty-five, a little withered bald guy, with this
sly
little face like some middle-aged furrier with troubles." George laughed, a strange laugh. "It was supposed to be a girl, remember. God, it gave me a start. So we're standing there, and the kid
puts out its hand
like this"—palm up, flat—"and checks the rain, and pulls the scarf over its head. Hey. What could I say? The kid made itself clear. I brought them in.

"We came in here. She set the kid up in that high chair. I couldn't look at it, but I like couldn't look away. And Sophie told me the story: her and me, that afternoon, strange as it may seem, she's figured the dates blahblahblah, Lilac is my kid. But—dig this—
not this one
. She's figured it out: the true Lilac got changed, one night, for this one. This one isn't real at all. Not the real Lilac, not even a real baby. I'm stunned. I'm reeling around saying What! What! And all the time"—he started laughing again, helplessly—"this kid is sitting there with this attitude—I can't describe it—this sneer on its face like okay, okay, I've heard this tripe a million times—like it was
bored
—and all I could think was that it needed a cigar in its mouth, just to complete the picture.

"Sophie was like in shock. Shivering. Trying to tell me all this stuff at once. Then she stopped, couldn't go on. It seems the kid was all right at first, she never knew the difference; she couldn't even tell what night it was when it happened, 'cause she seemed so normal. And beautiful. Only quiet. Real quiet. Like passive. Then—a few months before—it started to change. Very slowly. Then faster. It started to sort of
wither
. But it wasn't sick. Doc checked it at first, all okay, big appetite, smiling—but getting old, like. Oh God. I put an afghan around her and started making tea and I'm saying Calm down! Calm down! And she's telling me how it dawned on her what must have happened—I just wasn't convinced yet, man, I thought this kid should see a specialist—and then how she started hiding it from everybody, and they started asking hey, how's Lilac, how come we never see her around anymore." Another fit of unwilled laughter. George was on his feet now, acting out the parts of the story, especially his own bewilderment, and suddenly he turned wide-eyed to the empty high chair. "Then we look. The kid is gone.

"Not in the chair. Not underfoot.

"The door's open. Sophie's dazed, she lets out a little cry—Ah!—and looks at me. See, I was its
daddy
. I was supposed to
do
something. That's why she'd come and all. God. Just the thought of this thing running around loose in my house gave me the willies. I went out in the hall. Nobody. Then I saw it climbing up the stairs. Stair by stair. It looked—what's the word—purposeful: like it knew where it was going. So I said, 'Hey, wait a second, buster—' I couldn't think of it as a girl—and I reached for its arm. It felt weird, cold and dry, like leather. It looked back at me with this look of
hate
—who the fuck are
you
—and it gave a pull away, and I pulled back, and—" George sat again, overcome. "It tore. I tore a hole in the god damn thing. Rrrrip. A hole opened up near its shoulder, and you could look in, like into a doll—empty. I let go
fast
. It didn't seem to be hurt, it just flapped the arm, like damn now it's busted, and crawled on; and its blanket was coming off, and I could see there were some other cracks and splits here and there—at the knees, you know, and the ankles. This kid was falling apart.