Black House (3 page)

Let us flow in through the big glass doors, cross the handsome lobby (noting, as we do so, the mingled odors of air freshener and ammonia that pervade even the public areas of all such institutions), pass through the door bearing Chipper’s name, and find out what that well-arranged young woman is doing here so early.

Beyond Chipper’s door lies a windowless cubicle equipped with a desk, a coatrack, and a small bookshelf crowded with computer printouts, pamphlets, and flyers. A door stands open beside the desk. Through the opening, we see a much larger office, paneled in the same burnished wood as the director’s door and containing leather chairs, a glass-topped coffee table, and an oatmeal-colored sofa. At its far end looms a vast desk untidily heaped with papers and so deeply polished it seems nearly to glow.

Our young woman, whose name is Rebecca Vilas, sits perched on the edge of this desk, her legs crossed in a particularly architectural fashion. One knee folds over the other, and the calves form two nicely molded, roughly parallel lines running down to the triangular tips of the black high-heeled pumps, one of which points to four o’clock and the other to six. Rebecca Vilas, we gather, has arranged herself to be seen, has struck a pose intended to be appreciated, though certainly not by us. Behind the cat’s-eye glasses, her eyes look skeptical and amused, but we cannot see what has aroused these emotions. We assume that she is Chipper’s secretary, and this assumption, too, expresses only half of the truth: as the ease and irony of her attitude imply, Ms. Vilas’s duties have long extended beyond the purely secretarial. (We might speculate about the source of that nice ring she is wearing; as long as our minds are in the gutter, we will be right on the money.)

We float through the open door, follow the direction of Rebecca’s increasingly impatient gaze, and find ourselves staring at the sturdy, khaki-clad rump of her kneeling employer, who has thrust his head and shoulders into a good-sized safe, in which we glimpse stacks of record books and a number of manila envelopes apparently stuffed with currency. A few bills flop out of these envelopes as Chipper pulls them from the safe.

“You did the sign, the poster thing?” he asks without turning around.

“Aye, aye,” says Rebecca Vilas. “And a splendid day it is we shall be havin’ for the great occasion, too, as is only roight and proper.” Her Irish accent is surprisingly good, if a bit generic. She has never been anywhere more exotic than Atlantic City, where Chipper used his frequent-flier miles to escort her for five enchanted days two years before. She learned the accent from old movies.

“I hate Strawberry Fest,” Chipper says, dredging the last of the envelopes from the safe. “The zombies’ wives and children mill around all afternoon, cranking them up so we have to sedate them into comas just to get some peace. And if you want to know the truth, I
hate
balloons.” He dumps the money onto the carpet and begins to sort the bills into stacks of various denominations.

“Only Oi was wonderin’, in me simple country manner,” says Rebecca, “why Oi should be requested to appear at the crack o’ dawn on the grand day.”

“Know what else I hate? The whole music thing. Singing zombies and that stupid deejay. Symphonic Stan with his big-band records, whoo boy, talk about thrills.”

“I assume,” Rebecca says, dropping the stage-Irish accent, “you want me to do something with that money before the action begins.”

“Time for another journey to Miller.” An account under a fictitious name in the State Provident Bank in Miller, forty miles away, receives regular deposits of cash skimmed from patients’ funds intended to pay for extra goods and services. Chipper turns around on his knees with his hands full of money and looks up at Rebecca. He sinks back down to his heels and lets his hands fall into his lap. “Boy, do you have great legs. Legs like that, you ought to be famous.”

“I thought you’d never notice,” Rebecca says.

Chipper Maxton is forty-two years old. He has good teeth, all his hair, a wide, sincere face, and narrow brown eyes that always look a little damp. He also has two kids, Trey, nine, and Ashley, seven and recently diagnosed with ADD, a matter Chipper figures is going to cost him maybe two thousand a year in pills alone. And of course he has a wife, his life’s partner, Marion, thirty-nine years of age, five foot five, and somewhere in the neighborhood of 190 pounds. In addition to these blessings, as of last night Chipper owes his bookie $13,000, the result of an unwise investment in the Brewers game George Rathbun is still bellowing about. He has noticed, oh, yes he has, Chipper has noticed Ms. Vilas’s splendidly cantilevered legs.

“Before you go over there,” he says, “I was thinking we could kind of stretch out on the sofa and fool around.”

“Ah,” Rebecca says. “Fool around how, exactly?”

“Gobble, gobble, gobble,” Chipper says, grinning like a satyr.

“You romantic devil, you,” says Rebecca, a remark that utterly escapes her employer. Chipper thinks he actually is being romantic.

She slides elegantly down from her perch, and Chipper pushes himself inelegantly upright and closes the safe door with his foot. Eyes shining damply, he takes a couple of thuggish, strutting strides across the carpet, wraps one arm around Rebecca Vilas’s slender waist and with the other slides the fat manila envelopes onto the desk. He is yanking at his belt even before he begins to pull Rebecca toward the sofa.

“So can I see him?” says clever Rebecca, who understands exactly how to turn her lover’s brains to porridge . . .

. . . and before Chipper obliges her, we do the sensible thing and float out into the lobby, which is still empty. A corridor to the left of the reception desk takes us to two large, blond, glass-inset doors marked
DAISY
and
BLUEBELL,
the names of the wings to which they give entrance. Far down the gray length of Bluebell, a man in baggy coveralls dribbles ash from his cigarette onto the tiles over which he is dragging, with exquisite slowness, a filthy mop. We move into Daisy.

The functional parts of Maxton’s are a great deal less attractive than the public areas. Numbered doors line both sides of the corridor. Hand-lettered cards in plastic holders beneath the numerals give the names of the residents. Four doors along, a desk at which a burly male attendant in an unclean white uniform sits dozing upright faces the entrances to the men’s and women’s bathrooms—at Maxton’s, only the most expensive rooms, those on the other side of the lobby, in Asphodel, provide anything but a sink. Dirty mop-swirls harden and dry all up and down the tiled floor, which stretches out before us to improbable length. Here, too, the walls and air seem the same shade of gray. If we look closely at the edges of the hallway, at the juncture of the walls and the ceiling, we see spiderwebs, old stains, accumulations of grime. Pine-Sol, ammonia, urine, and worse scent the atmosphere. As an elderly lady in Bluebell wing likes to say, when you live with a bunch of people who are old and incontinent, you never get far from the smell of caca.

The rooms themselves vary according to the conditions and capacities of their inhabitants. Since nearly everyone is asleep, we can glance into a few of these quarters. Here in D10, a single room two doors past the dozing aide, old Alice Weathers lies (snoring gently, dreaming of dancing in perfect partnership with Fred Astaire across a white marble floor) surrounded by so much of her former life that she must navigate past the chairs and end tables to maneuver from the door to her bed. Alice still possesses even more of her wits than she does her old furniture, and she cleans her room herself, immaculately. Next door in D12, two old farmers named Thorvaldson and Jesperson, who have not spoken to each other in years, sleep, separated by a thin curtain, in a bright clutter of family photographs and grandchildren’s drawings.

Farther down the hallway, D18 presents a spectacle completely opposite to the clean, crowded jumble of D10, just as its inhabitant, a man known as Charles Burnside, could be considered the polar opposite of Alice Weathers. In D18, there are no end tables, hutches, overstuffed chairs, gilded mirrors, lamps, woven rugs, or velvet curtains: this barren room contains only a metal bed, a plastic chair, and a chest of drawers. No photographs of children and grandchildren stand atop the chest, and no crayon drawings of blocky houses and stick figures decorate the walls. Mr. Burnside has no interest in housekeeping, and a thin layer of dust covers the floor, the windowsill, and the chest’s bare top. D18 is bereft of history, empty of personality; it seems as brutal and soulless as a prison cell. A powerful smell of excrement contaminates the air.

For all the entertainment offered by Chipper Maxton and all the charm of Alice Weathers, it is Charles Burnside, “Burny,” we have most come to see.

2

C
HIPPER
’
S
BACKGROUND
we know. Alice arrived at Maxton’s from a big house on Gale Street, the old part of Gale Street, where she outlived two husbands, raised five sons, and taught piano to four generations of French Landing children, none of whom ever became professional pianists but who all remember her fondly and think of her with affection. Alice came to this place as most people do, in a car driven by one of her children and with a mixture of reluctance and surrender. She had become too old to live alone in the big house in the old section of Gale Street; she had two grown, married sons who were kind enough, but she could not tolerate adding to their cares. Alice Weathers had spent her entire life in French Landing, and she had no desire to live anywhere else; in a way, she had always known that she would end her days in Maxton’s, which though not at all luxurious was agreeable enough. On the day her son Martin had driven her over to inspect the place, she had realized that she knew at least half the people there.

Unlike Alice, Charles Burnside, the tall, skinny old man lying covered by a sheet before us in his metal bed, is not in full possession of his wits, nor is he dreaming of Fred Astaire. The veiny expanse of his bald, narrow head curves down to eyebrows like tangles of gray wire, beneath which, on either side of the fleshy hook of his nose, two narrow eyes shine at his north-facing window and the expanse of woods beyond Maxton’s. Alone of all the residents of Daisy wing, Burny is not asleep. His eyes gleam, and his lips are wormed into a bizarre smile—but these details mean nothing, for Charles Burnside’s mind may be as empty as his room. Burny has suffered from Alzheimer’s disease for many years, and what looks like an aggressive form of pleasure could be no more than physical satisfaction of a very basic kind. If we had failed to guess that he was the origin of the stench in this room, the stains rising into the sheet that covers him make it clear. He has just evacuated, massively, into his bed, and the very least we can say about his response to the situation is that he does not mind a bit; no sir, shame is not a part of this picture.

But if—unlike delightful Alice—Burny no longer has a firm grasp on all of his marbles, neither is he a typical Alzheimer’s patient. He might spend a day or two mumbling into his oatmeal like the rest of Chipper’s zombies, then revitalize himself and join the living again. When not undead, he usually manages to get down the hall to the bathroom as necessary, and he spends hours either sneaking off on his own or patrolling the grounds, being unpleasant—in fact, offensive—to all and sundry. Restored from zombiehood, he is sly, secretive, rude, caustic, stubborn, foul-tongued, mean-spirited, and resentful, in other words—in the world according to Chipper—a blood brother to the other old men who reside at Maxton’s. Some of the nurses, aides, and attendants doubt that Burny really does have Alzheimer’s. They think he is faking it, opting out, lying low, deliberately making them work harder while he rests up and gathers his strength for yet another episode of unpleasantness. We can hardly blame them for their suspicion. If Burny has not been misdiagnosed, he is probably the only advanced Alzheimer’s patient in the world to experience prolonged spells of remission.

In 1996, his seventy-eighth year, the man known as Charles Burnside arrived at Maxton’s in an ambulance from La Riviere General Hospital, not in a vehicle driven by a helpful relative. He had appeared in the emergency room one morning, carrying two heavy suitcases filled with dirty clothing and loudly demanding medical attention. His demands were not coherent, but they were clear. He claimed to have walked a considerable distance to reach the hospital, and he wanted the hospital to take care of him. The distance varied from telling to telling—ten miles, fifteen miles, twenty-five. He either had or had not spent some nights sleeping in fields or by the side of the road. His general condition and the way he smelled suggested that he had been wandering the countryside and sleeping rough for perhaps a week. If he had once had a wallet, he had lost it on his journey. La Riviere General cleaned him up, fed him, gave him a bed, and tried to extract a history. Most of his statements trailed off into disjointed babble, but in the absence of any documents, at least these facts seemed reliable: Burnside had been a carpenter, framer, and plasterer in the area for many years, working for himself and general contractors. An aunt who lived in the town of Blair had given him a room.

He had walked the eighteen miles from Blair to La Riviere, then?
No, he had started his walk somewhere else, he could not remember where, but it was ten miles away, no, twenty-five miles away, some town, and the people in that town were no-good jackass asswipes.
What was the name of his aunt?
Althea Burnside.
What were her address and telephone number?
No idea, couldn’t remember.
Did his aunt have a job of any kind?
Yes, she was a full-time jackass asswipe.
But she had permitted him to live in her house?
Who? Permitted what? Charles Burnside needed no one’s permission, he did what he damn well wanted.
Had his aunt ordered him out of her house?
Who are you talking about, you jackass asshole?

The admitting M.D. entered an initial diagnosis of Alzheimer’s disease, pending the results of various tests, and the social worker got on the telephone and requested the address and telephone number of an Althea Burnside currently residing in Blair. The telephone company reported no listing for a person of that name in Blair, nor was she listed in Ettrick, Cochrane, Fountain, Sparta, Onalaska, Arden, La Riviere, or any other of the towns and cities within a fifty-mile radius. Widening her net, the social worker consulted the Records Office and the departments of Social Security, Motor Vehicle License, and Taxation for information about Althea and Charles Burnside. Of the two Altheas that popped up out of the system, one owned a diner in Butternut, far to the north of the state, and the other was a black woman who worked in a Milwaukee day-care center. Neither had any connection to the man in La Riviere General. The Charles Burnsides located by the records search were not the social worker’s Charles Burnside. Althea seemed not to exist. Charles, it seemed, was one of those elusive people who go through life without ever paying taxes, registering to vote, applying for a Social Security card, opening a bank account, joining the armed forces, getting a driver’s license, or spending a couple of seasons at the state farm.

Another round of telephone calls resulted in the elusive Charles Burnside’s classification as a ward of the county and his admission to the Maxton Elder Care Facility until accommodation could be found at the state hospital in Whitehall. The ambulance conveyed Burnside to Maxton’s at the expense of the generous public, and grumpy Chipper slammed him into Daisy wing. Six weeks later, a bed opened up in a ward at the state hospital. Chipper received the telephone call a few minutes after the day’s mail brought him a check, drawn by an Althea Burnside on a bank in De Pere, for Charles Burnside’s maintenance at his facility. Althea Burnside’s address was a De Pere post office box. When the state hospital called, Chipper announced that in the spirit of civic duty he would be happy to continue Mr. Burnside’s status at Maxton Elder Care. The old fellow had just become his favorite patient. Without putting Chipper through any of the usual shenanigans, Burny had doubled his contribution to the income stream.

For the next six years, the old man slid relentlessly into the darkness of Alzheimer’s. If he was faking, he gave a brilliant performance. Down he went, through the descending way stations of incontinence, incoherence, frequent outbursts of anger, loss of memory, loss of the ability to feed himself, loss of personality. He dwindled into infancy, then into vacuity, and spent his days strapped into a wheelchair. Chipper mourned the inevitable loss of a uniquely cooperative patient. Then, in the summer of the year before these events, the amazing resuscitation occurred. Animation returned to Burny’s slack face, and he began to utter vehement nonsense syllables.
Abbalah! Gorg! Munshun! Gorg!
He wanted to feed himself, he wanted to exercise his legs, to stagger around and reacquaint himself with his surroundings. Within a week, he was using English words to insist on wearing his own clothes and going to the bathroom by himself. He put on weight, gained strength, once again became a nuisance. Now, often in the same day, he passes back and forth between late-stage Alzheimer’s lifelessness and a guarded, gleaming surliness so healthy in a man of eighty-five it might be called robust. Burny is like a man who went to Lourdes and experienced a cure but left before it was complete. For Chipper, a miracle is a miracle. As long as the old creep stays alive, who cares if he is wandering the grounds or drooping against the restraining strap in his wheelchair?

We move closer. We try to ignore the stench. We want to see what we can glean from the face of this curious fellow. It was never a pretty face, and now the skin is gray and the cheeks are sunken potholes. Prominent blue veins wind over the gray scalp, spotted as a plover’s egg. The rubbery-looking nose hooks slightly to the right, which adds to the impression of slyness and concealment. The wormy lips curl in a disquieting smile—the smile of an arsonist contemplating a burning building—that may after all be merely a grimace.

Here is a true American loner, an internal vagrant, a creature of shabby rooms and cheap diners, of aimless journeys resentfully taken, a collector of wounds and injuries lovingly fingered and refingered. Here is a spy with no cause higher than himself. Burny’s real name is Carl Bierstone, and under this name he conducted, in Chicago, from his mid-twenties until the age of forty-six, a secret rampage, an unofficial war, during which he committed wretched deeds for the sake of the pleasures they afforded him. Carl Bierstone is Burny’s great secret, for he cannot allow anyone to know that this former incarnation, this earlier self, still lives inside his skin. Carl Bierstone’s awful pleasures, his foul toys, are also Burny’s, and he must keep them hidden in the darkness, where only he can find them.

So is that the answer to Chipper’s miracle? That Carl Bierstone found a way to creep out through a seam in Burny’s zombiedom and assume control of the foundering ship? The human soul contains an infinity of rooms, after all, some of them vast, some no bigger than a broom closet, some locked, some few imbued with a radiant light. We bow closer to the veiny scalp, the wandering nose, the wire-brush eyebrows; we lean deeper into the stink to examine those interesting eyes. They are like black neon; they glitter like moonlight on a sodden riverbank. All in all, they look unsettlingly gleeful, but not particularly human. Not much help here.

Burny’s lips move: he is still smiling, if you can call that rictus a smile, but he has begun to whisper. What is he saying?

.
.
.
dey are gowering in their bloody holes and govering their eyes, dey are whimbering in derror, my boor loss babbies.
.
.
. No, no, dat won’t help, will it? Ah, zee de engynes, yezz, oh dose beeyoodiful beeyoodiful engynes, whad a zight, the beeyoodiful engynes againzt de vire, how they churrn, how dey churrn and burrn.
.
.
. I zee a hole, yez yez dere id iz oho zo brighd around de etches zo folded back
.
.
.

Carl Bierstone may be reporting in, but his babble is not of much help. Let us follow the direction of Burny’s mud-glitter gaze in hopes that it might give us a hint as to what has so excited the old boy. Aroused, too, as we observe from the shape beneath the sheet. He and Chipper seem to be in sync here, since both are standing at the ready, except that instead of the benefit of Rebecca Vilas’s expert attentions, Burny’s only stimulation is the view through his window.

The view hardly measures up to Ms. Vilas. Head slightly elevated upon a pillow, Charles Burnside looks raptly out over a brief expanse of lawn to a row of maple trees at the beginning of an extensive woods. Farther back tower the great, leafy heads of oaks. A few birch trunks shine candlelike in the inner darkness. From the height of the oaks and the variety of the trees, we know that we are regarding a remnant of the great climax forest that once blanketed this entire part of the country. Like all of the ancient forest’s traces, the woods extending north and east from Maxton’s speak of profound mysteries in a voice nearly too deep to be heard. Beneath its green canopy, time and serenity embrace bloodshed and death; violence roils on unseen, constantly, absorbed into every aspect of a hushed landscape that never pauses but moves with glacial lack of haste. The spangled, yielding floor covers millions of scattered bones in layer upon layer; all that grows and thrives here thrives on rot. Worlds within worlds churn, and great, systematic universes hum side by side, each ignorantly bringing abundance and catastrophe upon its unguessed-at neighbors.

Does Burny contemplate these woods, is he enlivened by what he sees in them? Or, for that matter, is he in fact still asleep, and does Carl Bierstone caper behind Charles Burnside’s peculiar eyes?

Burny whispers,
Fogzes down fogzhulls, radz in radhulls, hyenaz over embdy stomachs wail, oho aha dis iz mozt-mozt gladzome my frenz, more an more de liddle wunz drudge drudge drudge oho on bledding foodzies
.
.
.

Let’s blow this pop stand, okay?

Let’s sail away from old Burny’s ugly mouth—enough is enough. Let us seek the fresh air and fly north, over the woods. Foxes down foxholes and rats in ratholes may be wailing, true, that’s how it works, but we are not about to find any starving hyenas in western Wisconsin. Hyenas are always hungry anyhow. No one feels sorry for them, either. You’d have to be a real bleeding heart to pity a creature that does nothing but skulk around the periphery of other species until the moment when, grinning and chuckling, it can plunder their leftovers. Out we go, right through the roof.

East of Maxton’s, the woods carpet the ground for something like a mile or two before a narrow dirt road curves in from Highway 35 like a careless parting in a thick head of hair. The woods continue for another hundred yards or so, then yield to a thirty-year-old housing development consisting of two streets. Basketball hoops, backyard swing sets, tricycles, bicycles, and vehicles by Fisher-Price clutter the driveways of the modest houses on Schubert and Gale. The children who will make use of them lie abed, dreaming of cotton candy, puppy dogs, home runs, excursions to distant territories, and other delightful infinitudes; also asleep are their anxious parents, doomed to become even more so after reading Wendell Green’s contribution to the front page of the day’s
Herald.