Women and Men (148 page)

Dumb, you say? Not the coolest?

You didn’t say (but you communicated these words in our way though you’re just beginning to be in touch with your own C.U. and told me in the friendliest tone that "Dreams don’t settle anything"). And—dumb? uncool?—I’d have felt your point like misery in the lower back or an itching far inside the ear or wanting to go on a long sleep-walk in the middle of the night or our old question What do I do with my life?—had not the Way come to me where it and I always were waiting for each other, the Way of using what I had always had, using those grownups scattering on the rainy beach, using the knuckles that had dropped me in the dream, using the rainwater that was to spread and leave the photo on my table dry and the metal bed in which I came to, using the basis of the electricity more than it itself that Miriam’s father accused the good witch her diminutive aunt one foul spring day of switching on when he could be seen approaching his string of garbage cans with an offering of trash—using the blood that ran upward into my eye and congealed on my mustache though none touched Juan’s darkroom fist as the reminder from a dream those two guys had no way of knowing about, that it wasn’t the knuckles’ fault no more than mine and while I thought what was in my eye was the red light of the darkroom when really it was blood that flowed upwards from my crooked nose I knew in a flash—clear as by instinct I knew the heels and soles approaching our lab door to be a guard who’d heard angry sounds—that I would tell Jackie and Juan what they would comprehend and I would turn their measure of me (which at that moment would have been no truer than the guard’s measure of all three of us) to a finer bond intrinsic to what I’d just seen on those two negatives at the end and rescued.

"I’m sorry I had to do that," I said to Juan, his back to me, shaking his head.

They listened to me. I was way behind them in the mechanics of the camera, the tricks of film, not even a beginner, not started; yet I was way ahead, too.

They could not see at first.

"Wait, man, don’t let the light in!" Jackie called to the hand that gripped the door knob and that (far outside us as if beyond the very walls) said, O.K., what’s going on in there?

But the hypo did its stuff, while the record was in my mind; and when the guard opened the door, I could use that light to show what I meant.

They looked at what I meant. The guard, as I talked, I kept my face away from him; he’s in the doorway.

"‘you say so, George," said Jackie, not smiling, after I had pointed out to their more normal eyes what had been seen by the camera.

Was it a bright half-head (say, of a Puerto Rican iron-pumping Marxist) against a lighter corridor sharply sleep-patrolled darker in the three spots where there were lights? Not at all—only for those whose future is past.

No, Jim, what was it? I almost don’t have the words.

What was it? A moment of Juan’s true power a blur only to negative eyes that have to look ahead to that computerized correct flesh and bone and liquid—you know, Jim?—of our species’ face.

But not blurred if we’ll only see.

Juan’s power, then, caught at that moment that’s always waiting: between scattering we come from and dispersion we flow toward. Rain-dream material. But vision. No dream. So you don’t have to say, Dreams don’t settle nothing.

So the blur, the beginning, of half Juan’s head was no blur, no beginning; it carried on what was there, the core of his force if he find it to live with it to use it (and even if he could not). I said to them that it was Juan’s power mingling with his total environment which was rough if you were not into it because with photography you were going to get your nice perspective and some old corridor. Here you had more.

("You see the stairs," said Juan, low. "Yeah, the hypo got developer on it," said Jackie. "Oh shit," said Juan, the guard was in the doorway at our backs.)

I started to go on about him without designating him, that guard; but all but one of Juan’s immediate family had been on the film, and I had said enough, told what I had seen for all our sakes, leaving out just private stuff (they would think was just me not them). Here, I mean the shadow in my rain cage far below me wafting, budging, whatever it was doing with a blond silver shine about its eyes down there around the bed whose wood was growing from several points, I was fascinated to find that kid suspended in the particles of Juan’s power opened in the mass of light-sensitive stuff I had arrested the development of (smile) (you smile, you think I darken counsel by words without knowledge? true enough, Jim, as we will see a few days past this turning point)—the kid? you’ve guessed—the kid who swam out of the sun in under our raft. And now with the guard behind me and Juan’s power before me under the red bulb, I recalled ducking my head to keep an eye on that kid only to see him wriggling in the wrong direction back under the raft among the loose extra rope fat and slimy suspended here and there doubled and half-tangled near one of the anchor ropes that was taut through the murk.

Then I knew what Juan was going to say, Jim, don’t ask how I remembered—it comes later. I had seen a mind, Jim, a suspension within that film paper, the very small pieces it was in at that time of my life— swamped but too dry: I knew Juan would say, "Where do you get this stuff, Foley? Was you up at Clinton?"

Jackie laughed. He had not been smiling. I knew that through doing whatever it was with the great surface area of all the faceted particles increasing their area with each division that split the work and spread it far and wide, I had given those words to Juan who to this day doesn’t quite know the power of the Colloidal Unconscious to find him where he is, but is used by it, and not badly, Jim, for for all our waste of this power, it is always there, and always more.

So much of this was the work of a moment.

4’Auburn," I answered Juan.

But the guard had spoken, he was the one I had taken a picture of, I didn’t see how he’d gotten all the way down here to where we were. "You on D Block," he said, question but no question.

I turned halfway round and agreed; he asked me my number and I knew it.

"You look at me," the guard said, and the murk of power when I turned to see it, knew I saw it in all its tangled shorts and sparkings.

"You are not ready for this program yet," he said, "you don’t get into this program till you been around awhile."

"Around?" I said—it hit me, but funny; was it the prison system or this particular facility where I was now hanging out?

"It was cleared," said Juan quickly.

Jackie had done the clearing, with the help of Charlie, who asked me my second day how he could help me settle in.

"I said," the guard repeated, "you’re not ready for this program. What you got on your nose?"

"O.K.," I said, "I’m not ready."

"I said," the guard repeated, "what you got on your nose?"

"Blood," I said, wondering where the blood in my eye had gone.

"You hit him?" the guard said to Juan. "I heard you."

"You see that developer," I said, nodding at a thing that looked like a giant microscope. "You’ll find a piece of my nose on it, I ran into it."

"You keep your nose out of here till you get clearance," said the guard, who wanted to know how long we would be.

Jackie said the film was still in the hypo. The guard said he wasn’t having us hanging around there and didn’t I have anything to wipe my nose with. He left.

Juan told me the big thing was an enlarger.

The guard opening the darkroom door had let Juan and Jackie see what I showed them. So after all you don’t know who you’re working for. The guard, who I get along with now because to the ear I am quiet and I read and sit looking at my pictures, was working for me that day and didn’t know it, or the part of that day that had such consequences for me. And I was working for Juan and Jackie though Jackie thought he was working for me and for Juan separately. And six months later the guard asked me if I got cleared for photography because that’s a good program to be in—they all know it is— but I said I decided against it. And that first and only day in the darkroom my work for Juan went almost to waste because he wasn’t ready; but there was the enlarger I hit my face on (smile), plus a with-the-grain something in what I tried to show Juan and Jackie, so that soon afterward Juan worked for
me.

‘Cause you build up credit with guys in here, nobody tells you that you were loyal, you didn’t give a guard more data than he could handle (smile), you didn’t pay a little bit too much attention to a guy who knew you knew what was going on with him, nobody tells you your credit rating is good, but you know. Yet Juan did not know he was working for me, in what happened soon afterward; look, he was working for himself too but not as if he knew the work he had done for me, and was destined to help still more, months later, the night before a test he never took but would in my opinion not have failed.

But you, Jim, who were
you
working for?

I think yourself. Do we all? No, we do not, said Ruth Heard, who told us to figure what we were getting out of every hour we worked, which was confusing to kids, but I found it’s confusing to others, too.

But doubts remain. Why don’t I know even now if the contact we made through the South American gentleman was by chance, or you meant it? He wrote to me, then he didn’t, then he did, then after Efrain got out the letters stopped again. I have told you how the South American gentleman, the Chilean economist, and I met diagonally across the counter in the Visiting Room one day late in ‘72 when my mother went over to the sandwich machine and my father didn’t know what to say to me—can’t blame him—and was looking over at Smitty who had his eyes closed talking and his wife was leaning on her elbows and nodding her head, but on my other side this guy who was getting out the next month was talking to this well-dressed bald gentleman with a mustache who spoke with an accent and he had come with this guy who looked like some street dealer but outdoors-looking not in the city way in a brown leather coat, heavy slick hair, more like long black high Hawaiian, but it wasn’t black, it was like blondish brown toxic-tinted with your "dirty" look, and this guy, our mutual contact the South American economist, listened by looking off into space but at that moment toward me. Then he said, "We are of one mind there, but this company agent you know so much about was my friend whatever his political aim may be," and the slick guy in leather and with hands that might have belonged to someone else, they fitted him, they seemed discolored or speckled—when he interrupted, the bald, well-dressed man seemed to not hear and he nodded in a friendly way at me because I was looking his way, and he said that whatever it was was more than a matter of scrambling funds, it was how the parent company filtered rewards among subsidiaries and the way this changed local taxes, and he mentioned the word "Marxian" but suddenly he and I were talking and I, to say something, asked if he was a Marxian and he smiled; but before he and the other guy with the hands and the high, sort-of-throaty voice got up to go, the South American gentleman asked what Marx I had read, and we exchanged names and addresses, it was great, the guard standing below the dais where the desk is came over and told me not to mix up my visitors, though my dad was still there so I had an excuse to be there, and my mother came back with two sandwiches and asked what it was about and my dad told her, or thought he did, they all love rules, you know.

I have told you this, and you have told me you ran into this guy at Cape K.—coincidence, his zig your zag!—and later learned he was an economist in the Allende government which I knew. But since then he didn’t ever refer to you when I mentioned you in my letters, and once I detected a colloidal settling to the effect that you wanted the address for him that I was in possession of.

But it was always me who brought him up and I don’t know which of us was getting the information, Jim.

Except you’re still here. I mean coming. Like a once in a while letter from the old weather sciencer who takes care of an old lady friend who thinks she’s in New Jersey half the time.

And the information you’re getting—think of it! About inconspicuous photography, hidden work, Foley Plan for 5-20-yr development of this retirement compound, garbage bail-out into a Puerto Rican festival inside these walls leaving the Cessna to level an abandoned barn that had been recklessly commandeered by two lovers; the blue of the sky witnessed above the Yard, if I could only put it down, the stars and comet tracks that are always there, seen or not; the slow, sandy rasp of a super’s shoes (of Life Experience for college credit), Miriam’s father’s soles heard making the swollen-footed ascent to the For Rent apartment he prided himself on not permitting her to clean out after the last tenants in case of rats; and you’ve been getting multinational jokes, and the unknown soldiers cited at Cape Kennedy that impressed our mutual acquaintance from the Southern Hemisphere so he said "vacuum-packed for burial in space" as if he quoted from some store of learning; and speeches through the fence; and why the color of Miriam’s eyes looked like it did when she turned away from everyone else on Earth to me, the late winter sun in her teeth, our feet in the salt soft sand beside a driveway back of a beach house, for we’d kept going all the way out to Westhampton and we were going to enter this beach house and it’s a week before St. Patrick’s Day and counting, and we were too far out from the City to rely on public transit to get us home, but what to do with this visiting Volkswagen, green but at the edges muddy whose New Hampshire plates I had turned to a single New Mexico plate, and I desired to return this VW to a legal spot near where I’d just managed to ease it out of an illegal space from where it could have been towed at owner’s expense plus fine, and I even took good care of the finish out there swept by the Atlantic salt of Long Island’s South Shore, for when we got up the side stairs to the door and Miriam kept saying, Are you sure it’s all right and I said the friend who usually had the use of the place had told me just how to get in, I went down through the house to the garage, slid up the door from the inside, and pushed the VW in as easy as starting it, but all the time suspended in all my
mind’s
eyes was the color of Miriam’s itself due to the more narrowly physical side of this colloid mystery we have spoken of).