Nemesis (22 page)

"Not so, Arnie. I remember one night Bill Blomback telling the kids about the Indians, telling them how the Indians believed that it was an evil being, shooting them with an invisible arrow, that caused certain of their diseases—"

"Don't," I protested. "Don't go any further with that, please. It's a campfire story, Bucky, a story for kids. There's probably a medicine man in it who drives off evil spirits. You're
not
the Indians' evil being. You were not the arrow, either, damn it—you were not the bringer of crippling and death. If you ever were a perpetrator—if you won't give ground about that—I repeat: you were a totally blameless one."

Then, vehemently—as though I could bring about change in him merely by a tremendous desire to do so; as though, after all our hours of talking over lunch, I could now get him to see himself as something more than his deficiencies and begin to liquidate his shame; as though it were within my power to revive a remnant of the unassailable young playground director who, unaided by anyone, had warded off the ten Italian roughnecks intending to frighten us with the threat of spreading polio among the Jews—I said, "Don't be against yourself. There's enough cruelty in the world as it is. Don't make things worse by scapegoating yourself."

But there's nobody less salvageable than a ruined good boy. He'd been alone far too long with
his
sense of things—and without all he'd wanted so desperately to have—for me to dislodge his interpretation of his life's terrible event or to shift his relation with it. Bucky wasn't a brilliant man—he wouldn't have had to be one to teach phys ed to kids—nor was he ever in the least carefree. He was largely a humorless person, articulate enough but with barely a trace of wit, who never in his life had spoken satirically or with irony, who rarely cracked a joke or spoke in jest—someone instead haunted by an exacerbated sense of duty but endowed with little force of mind, and for that he had paid a high price in assigning the gravest meaning to his story, one that, intensifying over time, perniciously magnified his misfortune. The havoc that had been wrought both on the Chancellor playground and at Indian Hill seemed to him not a malicious absurdity of nature but a great crime of his own, costing him all he'd once possessed and wrecking his life. The guilt in someone like Bucky may seem absurd but, in fact, is unavoidable. Such a person is condemned. Nothing he does matches the ideal in him. He never knows where his responsibility ends. He never trusts his limits because, saddled with a stern natural goodness that will not permit him to resign himself to the suffering of others, he will never guiltlessly acknowledge that he has any limits. Such a person's greatest triumph is in sparing his beloved from having a crippled husband, and his heroism consists of denying his deepest desire by relinquishing her.

Though maybe if he hadn't fled the challenge of the playground, maybe if he hadn't abandoned the Chancellor kids only days before the city shut down the playground and sent them all home—and maybe, too, if his closest buddy hadn't been killed in the war—he would not have been so quick to blame himself for the cataclysm and might not have become one of those people taken to pieces by his times. Maybe if he had stayed on and outlasted polio's communal testing of the Weequahic Jews, and, regardless of whatever might have happened to him, had manfully seen the epidemic through to the end...

Or maybe he would have come to see it his way no matter where he'd been, and for all I know—for all the science of epidemiology knows—maybe rightly so. Maybe Bucky wasn't mistaken. Maybe he wasn't deluded by self-mistrust. Maybe his assertions weren't exaggerated and he hadn't drawn the wrong conclusion. Maybe he
was
the invisible arrow.

A
ND YET,
at twenty-three, he was, to all of us boys, the most exemplary and revered authority we knew, a young man of convictions, easygoing, kind, fair-minded, thoughtful, stable, gentle, vigorous, muscular—a comrade and leader both. And never a more glorious figure than on the afternoon near the end of June, before the '44 epidemic seriously took hold in the city—before, for more than a few of us, our bodies and our lives would be drastically transformed—when we all marched behind him to the big dirt field across the street and down a short slope from the playground. It was where the high school football team held its workouts and practices and where he was going to show us how to throw the javelin. He was dressed in his skimpy, satiny track shorts and his sleeveless top, he wore cleated shoes, and, leading the pack, he carried the javelin loosely in his right hand.

When we got down to the field it was empty, and Mr. Cantor had us gather together on the sidelines
at the Chancellor Avenue end, where he let us each examine the javelin and heft it in our hands, a slender metal pole weighing a little under two pounds and measuring about eight and a half feet long. He showed us the various holds you could use on the whipcord grip and then the one that he preferred. Then he explained to us something about the background of the javelin, which began in early societies, before the invention of the bow and arrow, with the throwing of the spear for hunting, and continued in Greece at the first Olympics in the eighth century
B.C.
The first javelin thrower was said to be Hercules, the great warrior and slayer of monsters, who, Mr. Cantor told us, was the giant son of the supreme Greek god, Zeus, and the strongest man on earth. The lecture over, he said he would now do his warm-ups, and we watched while he limbered up for about twenty minutes, some of the boys on the sidelines doing their best to mimic his movements. It was important, he said—at the same time as he was performing a side split with his pelvis to the ground—always to work beforehand at stretching the groin muscles, which were easily susceptible to strain. He used the javelin as a stretching stick for many of the exercises, twisting and turning with it balanced like a yoke across his shoulders while he kneeled and squatted and lunged and then while he stood and flexed and rotated his torso. He did a handstand and began walking a wide circle on his hands, and some of the kids tried that; with his mouth only inches from the ground, he informed us that he was doing the handstands in lieu of exercising on a bar to stretch his upper body. He finished off with forward body bends and trunk back-bends, during which he kept his heels fixed to the ground while pushing upward with his hips and arching his back amazingly high. When he said he was going to sprint twice around the edge of the field, we followed, barely able to keep up with him but pretending that it was we who were warming up for the throw. Then for a few minutes he practiced running along an imaginary runway without throwing the javelin, just carrying it high, flat, and straight.

When he was ready to begin, he told us what to watch for, starting with his approach run and the bounding stride and ending with the throw. Without the javelin in his hand he walked through the entire delivery for us in slow motion, describing it as he did so. "It's not magic, boys, and it's no picnic
either. However, if you practice hard," he said, "and you work hard and you exercise diligently—if you're regular with your balance drills, one, your mobility drills, two, and your flexibility drills, three—if you're faithful to your weight-training program, and if throwing the javelin really matters to you, I guarantee you, something will come of it. Everything in sports requires determination. The three D's. Determination, dedication, and discipline, and you're practically all the way there."

As usual, taking every precaution, he told us that for safety's sake no one was to dart out onto the field at any point; we were to watch everything from where we were standing. He made this point twice. He couldn't have been more serious, the seriousness being the expression of his commitment to the task.

And then he hurled the javelin. You could see each of his muscles bulging when he released it into the air. He let out a strangulated yowl of effort (one we all went around imitating for days afterward), a noise expressing the essence of him—the naked battle cry of striving excellence. The instant the javelin took flight from his hand, he began dancing about to recover his balance and not fall across
the foul line he'd etched in the dirt with his cleats. And all the while he watched the javelin as it made its trajectory in a high, sweeping arc over the field. None of us had ever before seen an athletic act so beautifully executed right in front of our eyes. The javelin carried, carried way beyond the fifty-yard line, down to the far side of the opponent's thirty, and when it descended and landed, the shaft quivered and its pointed metal tip angled sharply into the ground from the sailing force of the flight.

We sent up a loud cheer and began leaping about. All of the javelin's trajectory had originated in Mr. Cantor's supple muscles. His was the body—the feet, the legs, the buttocks, the trunk, the arms, the shoulders, even the thick stump of the bull neck—that acting in unison had powered the throw. It was as though our playground director had turned into a primordial man, hunting for food on the plains where he foraged, taming the wilds by the might of his hand. Never were we more in awe of anyone. Through him, we boys had left the little story of the neighborhood and entered the historical saga of our ancient gender.

He threw the javelin repeatedly that afternoon, each throw smooth and powerful, each throw accompanied by that resounding mingling of a shout and a grunt, and each, to our delight, landing several yards farther down the field than the last. Running with the javelin aloft, stretching his throwing arm back behind his body, bringing the throwing arm through to release the javelin high over his shoulder—and releasing it then like an explosion—he seemed to us invincible.

In 1997 Philip Roth won the Pulitzer Prize for
American Pastoral.
In 1998 he received the National Medal of Arts at the White House and in 2002 the highest award of the American Academy of Arts and Letters, the Gold Medal in Fiction, previously awarded to John Dos Passos, William Faulkner, and Saul Bellow, among others. He has twice won the National Book Award and the National Book Critics Circle Award. He has won the PEN/Faulkner Award three times. In 2005
The Plot Against America
received the Society of American Historians' prize for "the outstanding historical novel on an American theme for 2003–2004." He has also won American PEN's two highest awards: the PEN/Nabokov and the PEN/Bellow. He is the only living American novelist to have his work published in a comprehensive, definitive edition by the Library of America. The last of nine volumes is scheduled for publication in 2013.