Walker Percy - The Last Gentleman

It was here under the water oaks that his father used to stroll of a summer night, hands in his pockets and head down, sauntering along the sidewalk in his old Princeton style of sauntering, right side turning forward with right leg. Here under the water oaks or there under the street light, he would hold parley with passers-by, stranger and friend, white and black, thief and police. The boy would sit on the front steps, close enough to speak with his father and close enough too to service the Philco which played its stack of prewar 78’s but always had trouble doing it. The mechanism creaked and whirred and down came the record plop and round it went for a spell, hissing under the voyaging needle. From the open window came Brahms, nearly always Brahms. Up and down the sidewalk went his father, took his turn under the street light sometimes with a client, sometimes alone. The clients, black and white and by and large the sorriest of crews but of course listening now with every eager effort of attention and even of a special stratspheric understanding. Between records the boy could hear snatches of talk: “Yassuh, that’s the way it is now! I have notice the same thing myself!”—the father having said something about the cheapness of good intentions and the rarity of good character—“I’m sho gon’ do like you say”—the passer-by working him of course for the fifty cents or five dollars or what, but working him as gracefully as anyone ever worked, they as good at their trade as he at his. The boy listening: what was the dread in his heart as he heard the colloquy and the beautiful terrible Brahms which went abroad into the humming summer night and the heavy ham-rich air?

The aunts let out a holler. Bill Cullen had given away a cabin cruiser to a lady from Michigan City, Indiana.

It was on such an evening — he passed his hand over his eyes and stretching it forth touched the sibilant corky bark of the water oak — that his father had died. The son watched from the step, old Brahms went abroad, the father took a stroll and spoke to a stranger of the good life and the loneliness of the galaxies. “Yes suh,” said the stranger. “I have heard tell it was so” (that the closest star was two light years away).

When the man came back the boy asked him:

“Father, why do you walk in the dark when you know they have sworn to kill you?”

“I’m not afraid, son.”

To the west the cars of the white people were nosing up the levee, headlights switched first to parking, then out altogether. From the east, beyond the cottonseed-oil mill, came the sound of Negro laughter.

The man walked until midnight. Once a police car stopped. The policeman spoke to the man.

“You’ve won,” said the youth when the man came back. “I heard the policeman. They’ve left town.”

“We haven’t won, son. We’ve lost.”

“But they’re gone, Father.”

“Why shouldn’t they leave? They’ve won.”

“How have they won, Father?”

“They don’t have to stay. Because they found out that we are like them after all and so there was no reason for them to stay.”

“How are we like them, Father?”

“Once they were the fornicators and the bribers and the takers of bribes and we were not and that was why they hated us. Now we are like them, so why should they stay? They know they don’t have to kill me.”

“How do they know that, Father?”

“Because we’ve lost it all, son.”

“Lost what?”

“But there’s one thing they don’t know.”

“What’s that, Father?”

“They may have won, but I don’t have to choose that.”

“Choose what?”

“Choose them.”

This time, as he turned to leave, the youth called out to him. “Wait.”

“What?”

“Don’t leave.”

“I’m just going to the corner.”

But there was a dread about this night, the night of victory. (Victory is the saddest thing of all, said the father.) The mellowness of Brahms had gone overripe, the victorious serenity of the Great Horn Theme was false, oh fake fake. Underneath, all was unwell.

“Father.”

“What?”

“Why do you like to be alone?”

“In the last analysis, you are alone.” He turned into the darkness of the oaks.

“Don’t leave.” The terror of the beautiful victorious music pierced his very soul.

“I’m not leaving, son,” said the man and, after taking a turn, came back to the steps. But instead of stopping to sit beside the youth, he went up past him, resting his hand on the other’s shoulder so heavily that the boy looked up to see his father’s face. But the father went on without saying anything: went into the house, on through the old closed-in dogtrot hall to the back porch, opened the country food press which had been converted to a gun cabinet, took down the double-barrel twelve-gauge Greener, loaded it, went up the back stairs into the attic, and, fitting the muzzle of the Greener into the notch of his breastbone, could still reach both triggers with his thumbs. That was how it had to happen, the sheriff told the youth, that was the only way it could have happened.

The sound came crashing through the music, louder than twenty Philcos, a single sound, yet more prolonged and thunderous than a single shot. The youth turned off the Philco and went upstairs.

“—and Anacin does not upset your stummick,” said Bill Cullen.

Again his hand went forth, knowing where it was, though he could not see, and touched the tiny iron horsehead of the hitching post, traced the cold metal down to the place where the oak had grown round it in an elephant lip. His fingertips touched the warm finny whispering bark.

Wait. While his fingers explored the juncture of iron and bark, his eyes narrowed as if he caught a glimmer of light on the cold iron skull. Wait. I think he was wrong and that he was looking in the wrong place. No, not he but the times. The times were wrong and one looked in the wrong place. It wasn’t even his fault because that was the way he was and the way the times were, and there was no other place a man could look. It was the worst of times, a time of fake beauty and fake victory. Wait. He had missed it! It was not in the Brahms that one looked and not in solitariness and not in the old sad poetry but — he wrung out his ear — but here, under your nose, here in the very curiousness and drollness and extraness of the iron and the bark that — he shook his head — that—

The TV studio audience laughed with its quick, obedient, and above all grateful Los Angeles laughter — once we were lonesome back home, the old sad home of our fathers, and here we are together and happy at last.

A Negro came whistling toward him under the street light, a young man his own age. Entering the darkness of the water oaks, the Negro did not at first see him (though it had been his, the Negro’s, business, until now, to see him first), then did see him two yards away and stopped for a long half second. They looked at each other. There was nothing to say. Their fathers would have had much to say: “In the end, Sam, it comes down to a question of character.” “Yes suh, Lawyer Barrett, you right about that. Like I was saying to my wife only this evening—” But the sons had nothing to say. The engineer looked at the other as the half second wore on. You may be in a fix and I know that but what you don’t know and won’t believe and must find out for yourself is that I’m in a fix too and you got to get where I am before you even know what I’m talking about and I know that and that’s why there is nothing to say now. Meanwhile I wish you well.

It was only then, belatedly, and as if it were required of him, that the Negro shuddered and went his way.

As he watched his aunts, a squad car came slowly down De Ridder and stopped not twelve feet beyond the iron horse. A policeman, not Ross or Gover, went up to the porch and spoke to Aunt Sophie. She shook her head four or five times, hand to her throat, and when the policeman left, turned off the television and in her excitement stumbled a little as she told the others. Aunt Bootie forgot the Whitman’s Sampler in her lap, stood up and scattered nougats and bird eggs in all directions. No one noticed.