Lorrie Moore - 100 Years of the Best American Short Stories

Then Creole stepped forward to remind them that what they were playing was the blues. He hit something in all of them, he hit something in me, myself and the music tightened and deepened, apprehension began to beat the air. Creole began to tell us what the blues were all about. They were not about anything very new. He and his boys up there were keeping it new, at the risk of ruin, destruction, madness, and death, in order to find new ways to make us listen. For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it always must be heard. There isn’t any other tale to tell, it’s the only light we’ve got in all this darkness.

And this tale, according to that face, that body, those strong hands on those strings, has another aspect in every country, and a new depth in every generation. Listen, Creole seemed to be saying, listen. Now these are Sonny’s blues. He made the little black man on the drums know it, and the bright, brown man on the horn. Creole wasn’t trying any longer to get Sonny in the water. He was wishing him Godspeed. Then he stepped back, very slowly, filling the air with the immense suggestion that Sonny speak for himself.

Then they all gathered around Sonny and Sonny played. Every now and again one of them seemed to say, Amen. Sonny’s fingers filled the air with life, his life. But that life contained so many others. And Sonny went all the way back, he really began with the spare, flat statement of the opening phrase of the song. Then he began to make it his. It was very beautiful because it wasn’t hurried and it was no longer a lament. I seemed to hear with what burning he had made it his, with what burning we had yet to make it ours, how we could cease lamenting. Freedom lurked around us and I understood, at last, that he could help us to be free if we would listen, that he would never be free until we did. Yet, there was no battle in his face now. I heard what he had gone through, and would continue to go through until he came to rest in earth. He had made it his: that long line, of which we knew only Mama and Daddy. And he was giving it back, as everything must be given back, so that, passing through death, it can live forever. I saw my mother’s face again, and felt, for the first time, how the stones of the road she had walked on must have bruised her feet. I saw the moonlit road where my father’s brother died. And it brought something else back to me, and carried me past it, I saw my little girl again and felt Isabel’s tears again, and I felt my own tears begin to rise. And I was yet aware that this was only a moment, that the world waited outside, as hungry as a tiger, and that trouble stretched above us, longer than the sky.

Then it was over. Creole and Sonny let out their breath, both soaking wet, and grinning. There was a lot of applause and some of it was real. In the dark, the girl came by and I asked her to take drinks to the bandstand. There was a long pause, while they talked up there in the indigo light and after a while I saw the girl put a Scotch and milk on top of the piano for Sonny. He didn’t seem to notice it, but just before they started playing again, he sipped from it and looked toward me, and nodded. Then he put it back on top of the piano. For me, then, as they began to play again, it glowed and shook above my brother’s head like the very cup of trembling.

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, in 1960 for his first book, Goodbye, Columbus , and in 1996 for Sabbath’s Theater . He has also twice won the National Book Critics Circle Award and three times won the PEN/Faulkner Award. 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” and the W. H. Smith Award for the Best Book of the Year, making Roth the first writer in the forty-six-year history of the prize to win it twice.

In 2005 Roth became the third living American writer to have his works published in a comprehensive, definitive edition by the Library of America. In consecutive years he won the PEN/Nabokov Award (2006) and the PEN/Bellow Award (2007). In 2011 he received the National Humanities Medal at the White House, and he was later named the fourth recipient of the Man Booker International Prize. In 2012 he won Spain’s highest honor, the Prince of Asturias Award, and in 2013 he received France’s highest honor, Chevalier de la Légion d’Honneur.

★

“YOU’RE A REAL one for opening your mouth in the first place,” Itzie said. “What do you open your mouth all the time for?”

“I didn’t bring it up, Itz, I didn’t,” Ozzie said.

“What do you care about Jesus Christ for anyway?”

“I didn’t bring up Jesus Christ. He did. I didn’t even know what he was talking about. Jesus is historical, he kept saying. Jesus is historical.” Ozzie mimicked the monumental voice of Rabbi Binder.

“Jesus was a person that lived like you and me,” Ozzie continued. “That’s what Binder said—”

“Yeah?… So what! What do I give two cents whether he lived or not. And what do you gotta open your mouth!” Itzie Lieberman favored closed-mouthedness, especially when it came to Ozzie Freedman’s questions. Mrs. Freedman had to see Rabbi Binder twice before about Ozzie’s questions and this Wednesday at four-thirty would be the third time. Itzie preferred to keep his mother in the kitchen; he settled for behind-the-back subtleties such as gestures, faces, snarls and other less delicate barnyard noises.

“He was a real person, Jesus, but he wasn’t like God, and we don’t believe he is God.” Slowly, Ozzie was explaining Rabbi Binder’s position to Itzie, who had been absent from Hebrew School the previous afternoon.

“The Catholics,” Itzie said helpfully, “they believe in Jesus Christ, that he’s God.” Itzie Lieberman used “the Catholics” in its broadest sense — to include the Protestants.

Ozzie received Itzie’s remark with a tiny head bob, as though it were a footnote, and went on. “His mother was Mary, and his father probably was Joseph,” Ozzie said. “But the New Testament says his real father was God.”

“His real father?”

“Yeah,” Ozzie said, “that’s the big thing, his father’s supposed to be God.”

“Bull.”

“That’s what Rabbi Binder says, that it’s impossible—”

“Sure it’s impossible. That stuff’s all bull. To have a baby you gotta get laid,” Itzie theologized. “Mary hadda get laid.”

“That’s what Binder says: ‘The only way a woman can have a baby is to have intercourse with a man.’”

“He said that , Ozz?” For a moment it appeared that Itzie had put the theological question aside. “He said that, intercourse?” A little curled smile shaped itself in the lower half of Itzie’s face like a pink mustache. “What you guys do, Ozz, you laugh or something?”

“I raised my hand.”

“Yeah? Whatja say?”

“That’s when I asked the question.”

Itzie’s face lit up. “Whatja ask about — intercourse?”

“No, I asked the question about God, how if He could create the heaven and earth in six days, and make all the animals and the fish and the light in six days — the light especially, that’s what always gets me, that He could make the light. Making fish and animals, that’s pretty good—”