Dean Koontz - The City

“I don’t believe he would, Jonah. There’s an emptiness in him, a hollow place where there shouldn’t be, but I don’t think he’d hurt a child. It’s your mother he might hurt by taking you away from her.”

“I won’t let that happen. I just won’t.”

“That’s why I wanted us to talk, so you wouldn’t let it happen.”

I thought about the two trash-talking delinquents in Riverside Commons a few days earlier. “Boy, it’s always something, isn’t it?”

“That’s life. Always something, more good than bad, but always interesting if you’re paying attention.”

He offered me the gum again, and I took a stick, and so did he. He took the paper and foil from me, and he folded them with his paper and foil, and he put them in his shirt pocket.

After we chewed the Juicy Fruit for a minute or two and watched the crows at the rice, I thought of Mr. Gluck’s pendant and took it from my pocket and showed it to Grandpa.

“Isn’t that a marvelous piece of work.” He took the pendant and dangled it in the sunlight and asked where I’d gotten it. When I told him, he said, “Son, that is a classic story of the city if I ever heard one. Just classic. You’ve got a lasting conversation piece.”

“What kind of feather do you think it is, Grandpa?”

He gently twisted the chain between his fingers, so that the Lucite heart turned back and forth. “I’m no expert on feathers, but there’s one thing I can say with complete confidence.”

“What’s that?”

“It’s not an ordinary feather. It’s extraordinary. Otherwise no one would’ve gone to the trouble of sealing it in Lucite and shaping the Lucite into a heart.” He frowned at the pendant for a moment, then smiled. “I feel comfortable saying it’s not a bit of juju.”

“What’s juju?”

“A religion in West Africa, full of charms and curses and lots of gods, good ones and bad ones. In the Caribbean, they mix it up with some Catholic bits and call it voodoo.”

“I saw this old voodoo movie on TV. It scared me, so I had to turn it off.”

“Nothing to be scared about, because none of it’s true.”

“In the movie, the voodoo wasn’t on some island somewhere, it was right in the city.”

“Don’t give it a thought, Jonah. This piece the taxi driver gave you, it’s too well meant to be anything dark and dangerous. Whatever feather this might be, you should figure it was so important to someone that they preserved it. You should keep good care of it.”

“I will, Grandpa.”

Returning the pendant to me, he said, “I know you will.”

We got up, and the crows squawked into flight, and we walked back to the house, where lunch would soon be ready.

“The little talk we had about your father is just between you and me, Jonah.”

“Sure. We don’t want to worry Mom.”

“You’re a good boy.”

“Well, I don’t know.”

“I do. And if you stay humble about it and remember talent is a gift you didn’t earn, then you’re going to be a great piano man. If that’s what you want to be.”

“It’s all I want to be.”

Under the maples, the black-and-white patterns of leaf shadow and sunlight didn’t remind me of schooling fish in bright water, as before. They sort of looked like piano keys, not all lined up in the usual order but instead intersecting at crazy angles and shimmering with that kind of music that makes the air sparkle, what Malcolm calls banish-the-devil music.

During his off-the-rails period, when Malcolm was twenty-two , he lost his way in grief. He began secretly using drugs. He withdrew into himself and went away and didn’t tell anyone where he was going. Later, I learned that he had left the city, which was a mistake for a young man so suited to its streets. He had enough money for a year, and he rented a cabin by a lake upstate.

He smoked pot and did a little cocaine and sat on the porch to stare at the lake for hours at a time. He drank, too, whiskey and beer, and ate mostly junk food. He read books about revolutionary politics and suicide. He read novels, as well, but only those full of violence and vengeance and existential despair, and he sometimes was surprised to rise out of a kind of stupor, bitterly cursing the day he was born and the life in which he found himself.

One night, he woke past one o’clock in the morning, at once aware that he had been talking in his sleep, angry and cursing. A moment later, he realized that he wasn’t alone. Although faint, a foul odor filled him with revulsion, and he heard the floorboards creak as something moved restlessly back and forth.

He had fallen asleep half drunk and had left the bedside lamp set low. When he rolled off his side and sat up, he saw a shadowy form on the farther side of the room, a thing that, to this day, he will not more fully describe than to say that it had yellow eyes, that it wasn’t any child of Nature, and that it was no hallucination.

Although Malcolm is superstitious, neurotic in a charming sort of way, and undeniably eccentric, he recounts this incident with such solemnity, with such disquiet, that I’ve never doubted the truth of it. And I can’t hope to convey it as chillingly as he does.

Anyway, he knew that his visitor was demonic and that he had drawn it to him by the acidic quality of his anger and by his deep despair. He realized that he was in grave danger, that death might be the least he had to fear. He threw back the covers and got out of bed in his underwear, and before he realized what he was doing, he went to a nearby armchair and picked up his saxophone, where he had left it earlier. He says that his sister spoke to him, though she was not there with him, spoke in his mind. He can’t recall her exact words. All he remembers is that she urged him to play songs that lifted the heart and to play them with all the passion he could summon—music that made the air sparkle.

With the unwanted visitor circling him, Malcolm played for two hours, at first a lot of doo-wop but then also many numbers written long before the rock ’n’ roll period. Isham Jones tunes like “It Had to Be You” and “Swinging Down the Lane.” Loesser and Carmichael’s “Heart and Soul.” Watson and Monroe’s “Racing with the Moon.” Marks and Simons’s “All of Me.” Glenn Miller’s “In the Mood.” He looked only indirectly at the yellow-eyed presence, afraid that a direct look would encourage it, and after an hour of music, it slowly began to fade. By the end of the second hour, it had been dispelled, but Malcolm continued to play, played passionately and to exhaustion, until his lips were sore and his jaws ached, until he was dripping perspiration and his nose was running nonstop and his vision was blurred by sweat and tears.

Banish-the-devil music. If only it had worked as well on my father—and those with whom he eventually became associated—as it did on that yellow-eyed fiend in the lakeside cabin.

We heard the siren, but there were always sirens in the city, police zooming this way and that, weaving through traffic in their cruisers, more sirens every year—so my mom said—as if something was going wrong with the country just when so many things had been going right. The worst thing to do when you hear a siren is to go see what it’s about, because the next thing you know, part of what it’s about might be you.

It was Monday evening, eight days after the talk I had with Grandpa Teddy. My mom didn’t work Monday nights, and we were playing checkers at the kitchen table when the siren swelled loud and then wound down somewhere in our block. We stayed at the game, talking about just everything, so I don’t know how long it was until the knock came at our door, maybe twenty minutes. We had forgotten the siren by then. There was a bell, but this caller rapped so lightly we wouldn’t have heard it if our apartment hadn’t been so small. We went into the living room, and the rapping came again, hesitant and timid, and Mom looked through the fish-eye lens and said, “It’s Donata.”