A home at the end of the world by Michael Cunningham Page B

hard enough to splash Scotch and a thumbnail-sized ice cube on the tabletop. “You’re right,” he says. “You’re absolutely right. There is absolutely no need for change of any kind. I couldn’t agree more.”
    The grandfather clock ticks. I say, “A new car would be okay, Dad.”
    “I was just thinking about something a little snazzier,” he says. “Perhaps a foreign model, with a sunroof.”
    “Uh-huh. Good.”
    “Something that would let a little air in.”
    “Yeah.”
    We work our way through dinner. My father’s face is remote and optimistic as he eats. He is taking the gray out, hair by hair. His eyes swim behind the oval lenses of his new glasses.
    She left by slow degrees before making it official. She lived in the guest room, made rare silent appearances in a pale turquoise robe. Once, when she passed me in the hall on her way to the bathroom, she stopped long enough to stroke my hair. She didn’t speak. She looked at me as if she was standing on a platform in a flat, dry country and I was pulling away on a train that traveled high into an alpine world.
    After my father and I found her he made the calls and we sat together, he and I, in the empty living room. We left her alone—it seemed like the polite thing to do. We sat quietly, waiting for the police and the paramedics to arrive. We didn’t speak.
    In the dining room, the autumn farm scene hasn’t changed. Cows still cast orange shadows, trees still sprout yellow leaves. My father nibbles demurely at his steak, doesn’t touch the square potatoes. I finish my dinner, take my plate to the kitchen and add it to the pile. An enormous fly, iridescent, roams ecstatically over a quarter moon of yellowed lamb fat. The curtains still sport blue teapots.
    Later, after my father has gone to bed, I get up and walk around. I took a hit of Dexedrine after school, thinking I might clean up the house, but I fell into music instead. Two joints haven’t dulled the speed enough to allow anything like sleep, so once my father has killed the bottle and settled into bed, I take a walk through the rooms, my head crackling and blazing like a light bulb. Under the gathering disorder is a perfect replica of a house, like the period reproductions they put together in small-town museums. Here is their living room, a cherry-red sofa once considered brash, and an old copper washtub, where logs would be kept if fires were built in the hearth. Here is the front door, yellow oak with a single frosted-glass window through which strangers can be seen but not identified. And here is the rumpus room, paneled, with a rag rug like a bull’s-eye on the brown linoleum floor.
    After the accident, my father tried to sell the house. But in six months the single interested party offered slightly more than half the market value. This section of Cleveland was not a growth proposition.
    Music plays inside my head. I walk down the hall to my father’s door. My head is an illuminated radio—for a moment I believe the music will wake him up. I stand in front of his door, watching the grain of the wood. I open the door and creep inside.
    My father breathes noisily. His digital clock flips the red seconds away. I stand, just stand, with time passing on the bedside table. My head plays “Aqualung.” At that moment, I get the point of psycho killers. I could take his head in my hands, stroke his dead-black hair. I could punch him and feel his teeth break like sugar cubes, hear them scatter on the floor. I get it about the dark silence of the world, and your own crackling internal light and noise. I get the space-suit feeling.
    I could have come to murder my father. Now, right now, I could sneak up and press a pillow over his face. He’s too drunk to fight. I can see myself doing it. The movie plays inside my head, with Jethro Tull on the sound track. A snow-white pillow and my own body pinning his; a brief struggle and then the rapture of the drowned. Aqualung my friend, don’t you start