Coming Through Slaughter - Michael Ondaatje [4]
Bolden could not put things in their place. What thrilled him beyond any measure was that she, for instance, believed in the sandman when putting the children to bed whereas even the children didn’t.
Quick under the covers, the sandman’s coming down the street.
Where where show us.
He’s just stopped to get a drink. And the children groaned inwardly but went to bed anyway. For three years a whore before she married Bolden she had managed to save delicate rules and ceremonies for herself.
But his own mind was helpless against every moment’s headline. He did nothing but leap into the mass of changes and explore them and all the tiny facets so that eventually he was almost completely governed by fears of certainty. He distrusted it in anyone but Nora for there it went to the spine, and yet he attacked it again and again in her, cruelly, hating it, the sure lanes of the probable. Breaking chairs and windows glass doors in fury at her certain answers.
Once they were sitting at the kitchen table opposite each other. To his right and to her left was a window. Furious at something he drew his right hand across his body and lashed out. Half way there at full speed he realised it was a window he would be hitting and braked. For a fraction of a second his open palm touched the glass, beginning simultaneously to draw back. The window starred and crumpled slowly two floors down. His hand miraculously uncut. It had acted exactly like a whip violating the target and still free, retreating from the outline of a star. She was delighted by the performance. Surprised he examined his fingers.
Nara’s Song
Dragging his bone over town. Dragging his bone over town.
Dragging his bone over town. Dragging his
bone over town. Dragging his bone
over and over dragging his bone over town.
Then and then and then and then
dragging his bone over town
and then
dragging his bone home.
Dude Botley
Monday nights at Lincoln Park was something to see, especially when the madams and pimps brought their stables of women to hear Bolden play. Each madam had different colour girls. Ann Jackson featured mulatto, Maud Wilson featured high browns, so forth and so on. And them different stables was different colours. Just like a bouquet.
Bolden played nearly everything in B-Flat.
Nora Bass came home to find a man on her front step. Immaculate. Standing up as she approached, not touching her.
Hello Webb, come on in.
Thanks. Buddy must be out.
She half laughed. Buddy! And then looked quizzical at him. Then shook her head.
Yeah, you better come in Webb.
Alcohol burning down his throat as she tells him that Buddy went, disappeared, got lost, I don’t know Webb but he’s gone.
How long?
5 or 6 months.
Nora opening out the curtains so the light falls over him, the cup with the drink in front of his face, between them, shielding him from the story, gulping more down.
Jesus why didn’t you tell me before, let me know.
I don’t know you Webb, Buddy knows you, why didn’t he tell you.
You should have told me.
You’re a cop Webb.
He’s not safe by himself, he’s gone lost, with nothing—The Cricket, the band, the kids.
He didn’t say anything.
He stands up and goes towards her.
Who was he with.
I don’t know.
Tell me.
He has covered her against the window, leaning very close to her, like a lover.
You’re shaking Webb.
He won’t last by himself Nora, he’ll fall apart. He’s not safe by himself.
Why are you shaking?
He needs you Nora, who was he with last?
Crawley. Another cornet. He was playing with him in Shell Beach, north of here, never came back.
Just like that?
Just like that.
I could find him. Tell me about Crawley.
She moves his