Charles Baxter - There's Something I Want You to Do

Matty Quinn was right: he was now a different man, his soul ruined by his dealings with Black Bird, or Blackburn, or whatever that scholar of Shakespeare was calling himself these days, and I did not love him anymore. I felt fairly certain that I had gone through a one-way gate and would not be able to love him again. I can be fickle, I admit. Yet I would not abandon him until he was ready for it. In the meantime, out of the love I had once felt for him, and which it had been my honor to possess, I resolved to kill his enabler.

—

The next night, I lured Black Bird outside The Lower Depths. I informed him that I had brought with me a bulging packet of cash, and that I would give it to him for the sake of my friend Quinn’s painkilling drugs. But the cash was outside, I said, and only I could show him where. I did my best to look like a sucker.

Once in the shadows, I worked quickly and efficiently on him, and then after some minutes I left Black Bird battered on the brick pavement out of sight of the bar’s alley entryway. The man was a drug dealer, and I had administered to him the hard professional beating I thought he deserved. I would have beaten Matty’s doctor too, the one who first prescribed the painkillers, but they don’t let you do that; you can’t assault our medical professionals. Black Bird had gotten the brunt of it. But the angel of justice calls for retribution in kind, and since Matty Quinn was still alive, so, in his way, was Black Bird.

When Matty was ready to be discharged, I returned to Minneapolis and picked him up. Imagine this: the sun was blazing, and in broad daylight the man I had once loved folded himself up into my slate-gray rental car, and we drove like any old couple to the basement where he had been staying. We picked up his worldly possessions, the ones he wished to keep and to take with him to Seattle. Remnants: a high school yearbook, photographs of the village where he had worked in Ethiopia, a pair of cuff links, a clock radio, a laptop computer, a few books, and clothes, including a dark blue ascot. Not loving him, I helped him pack, and, not loving him, I bought him a ticket back to Seattle.

Saying very little, we sat together on the plane, touching hands occasionally. Not loving him, I moved him temporarily into my condo, and took him around Seattle and showed him how to use its public transportation system, and located a job for him in a deli. Together we found him a twelve-step program for drug addicts in recovery.

He lives nearby in an apartment I hunted down for him, and we have gone on with our lives. I call him almost every night, whether I am here or away on business.

—

Slowly, he is taking charge of his life. It seems a shame to say so, but because the light in his soul is diminished, the one in mine, out of sympathy, is diminished too. I cry occasionally, but unsentimen tally, and we still take pleasure in bickering, as we always have. His inflammations still cause him pain, and he moves now with small steps like an old man, but when I am in town I bring him dinners from Trader Joe’s and magazines from the drugstore, and, one night, he brought home a sandwich for me that he himself had made at the deli. As I bit into the rye bread and corned beef, he watched me. “You like it?” he asked.

“It’s fine,” I said, shrugging. “Sauerkraut’s a bit thick.”

“That’s how I do it,” he said crossly, full of rehab righteousness.

“And I like more Russian dressing than this.” I glanced out the window. “Moon’s out,” I said. “Full, I think. Werewolf weather.”

He looked at it. “You never see the moon,” he said, “until you sit all night watching it and you see how blindly stupid and oafish it is. I used to talk to it. My whole autobiography. Looked like the same moon I saw in Africa, but it wasn’t. Never said a damn word in return once I was here. Over there, it wouldn’t shut up.”

“Well, it doesn’t have anything to say to Americans,” I remarked, my mouth full. “We’re beyond that. Anything on TV?”

“Yeah,” he said, “junkie TV, where people are about to die from their failings. Then they’re rescued by Dr. Phil and put on the boat to that enchanted island they have.” He waited. I got the feeling that he didn’t believe in his own recovery. Or in the American project. Maybe we weren’t really out of the woods.

“Okay, here’s what I want you to do,” he said. “I want you to call up this Benjamin Takemitsu person and tell him that I owe him some money.” He laughed at the joke. Even his eyes lit up at the prankster aspect of making amends and its bourgeois comforts. “Tell him I’ll pay him eventually. I’ll pay him ten cents on the dollar.”

“That’s a good one.”

“Hey, even Plato was disappointed by the material world. Me too.”

“Gotcha.”

“Pour me a drink,” he commanded. I thought I knew what he was going to do, so I gave him what he wanted, some Scotch with ice, despite my misgivings.

“Here’s how you do it,” he said, when he had the Scotch in his hand. “Remember what they did in Ethiopia, that ceremonial thing?” He slowly upended the drink and emptied it out on my floor, where it puddled on the dining room tile. “In memory of those who are gone. In memory of those down below us.”

It felt like a toast to our former selves. You’re supposed to do it outside, on the ground, not in a building, but I followed along, inverting my beer bottle. The beer gurgled out onto the dining room floor, and I smiled as if something true and actual had happened, this imported ritual, imagining that he would probably be all right after all. Quinn smiled back, triumphant.

Whenever Amelia gazed at the olive trees outside, she could momentarily distract herself from the murderous poetry on the page in front of her.

Esto lavá çaso, metlichose çantolet íbsefelt sed syrt

Int çantolet ya élosete stnyt en, alardóowet arenti myrt.

Getting these lines into English was like trying to paint the sun blue. In several years as a translator, she’d never found another text so unmanageable. The poem was titled “Impossibi lity,” and that’s what it was. Each time she looked at the words, she felt as if she were having a stroke; she could feel her face getting numb and sagging on one side. Meanwhile, the ironic ticking of the wall clock marked the unproductive seconds as they shuffled past. The clock loved its job, even though the time it told was wildly inaccurate. The owner of this villa, a charming old Italian woman, had informed Amelia that the clock was senile and delusional like everyone else in the village and must never be adjusted. Adjusting it would hurt its feelings.

“That clock thinks it’s on Mars,” the old woman had told Amelia in a conspiratorial whisper. “It tells you what time it is there. And you, an American, want to argue with it?”

The poem in front of Amelia on the desk had been written near the beginning of the nineteenth century, in an obscure Botho-Ugaric dialect combining the language of courtly love with warfare, with an additional admixture of liebestod, called mordmutt in this dialect. The idioms of love and war should have blended together but didn’t. In some not-so-subtle manner, the poet seemed to be threatening his beloved with mayhem if she refused to knuckle under to him. The language of these threats ( Int çantolet ya élosete, for example: “I could murder you with longing,” or, more accurately, “My longing longs to murder”), inflated with metaphors and similes of baroque complication, was as gorgeous as an operatic aria sung by a charming baritone addressing a woman who was being flung around onstage and who wasn’t allowed to open her mouth. And it was all untranslat able! You couldn’t heat up soggy English verbs and nouns to a boil the way you could in this dialect, which actually had a word for love bites, muttzemp.