Freedom [100]
“Here’s the deal,” he said. “You set it up, think up your little questions, and I’ll be down in a couple of hours. But I need to see results tomorrow. I need to see this isn’t just some bullshit of yours.”
“Awesome,” Zachary said.
“You hear what I’m saying, though, right? I’m done interviewing. If I make an exception, we need results.”
“I swear she’s going to want to come over. She’s definitely going to want to meet you.”
“Good, then go contemplate what a large favor I’m doing you. I’ll be down around seven.”
Darkness had fallen. The snow had dwindled to a flurry, and the nightly nightmare of Holland Tunnel traffic had commenced. All but two of the city’s subway lines, as well as the indispensable PATH train, converged within three hundred yards of where Katz stood. This was still the pinch point of the world, this neighborhood. Here was the World Trade Center’s floodlit cicatrix, here the gold hoard of the Federal Reserve, here the Tombs and the Stock Exchange and City Hall, here Morgan Stanley and American Express and the windowless monoliths of Verizon, here stirring views across the harbor toward distant Liberty in her skin of green oxide. The stout female and wiry male bureaucrats who made the city function were crowding Chambers Street with brightly colored small umbrellas, heading home to Queens and Brooklyn. For a moment, before he turned his work lights on, Katz felt almost happy, almost familiar to himself again; but by the time he was packing up his tools, two hours later, he was aware of all the ways in which he already hated Caitlyn, and what a strange, cruel universe it was that made him want to fuck a chick because he hated her, and how badly this episode, like so many others before it, was going to end, and what a waste it would make of his accumulated clean time. He hated Caitlyn additionally for this waste.
And yet it was important that Zachary be squished. The kid had been given his own practice room, a cubical space lined with eggshell foam and scattered with more guitars than Katz had owned in thirty years. Already, for pure technique, to judge from what Katz had overheard in his comings and goings, the kid was a more hotdog soloist than Katz had ever been or ever would be. But so were a hundred thousand other American high-school boys. So what? Rather than thwarting his father’s vicarious rock ambitions by pursuing entomology or interesting himself in financial derivatives, Zachary dutifully aped Jimi Hendrix. Somewhere there had been a failure of imagination.
The kid was waiting in his practice room with an Apple laptop and a printed list of questions when Katz came in, his nose running and his frozen hands aching in the indoor warmth. Zachary indicated the folding chair he was to sit in. “I was wondering,” he said, “if you could start by playing a song and then maybe play another when we’re done.”
“No, I won’t do that,” Katz said.
“One song. It would be really cool if you would.”
“Just ask me your questions, all right? This is fairly humiliating already.”
Q: So, Richard Katz, it’s been three years since Nameless Lake, and exactly two years since Walnut Surprise was up for a Grammy. Can you tell me a little bit about how your life has changed since then?
A: I can’t answer that question. You have to ask me better questions.
Q: Well, maybe you can tell me a little about your decision to go back to work as a manual laborer. Do you feel blocked artistically?
A: Really need to take a different tack here.
Q: OK. What do you think of the MP3 revolution?
A: Ah, revolution, wow. It’s great to hear the word “revolution” again. It’s great that a song now costs exactly the same as a pack of gum and lasts exactly the same amount of time before it loses its flavor and you have to spend another buck. That era which finally ended whenever, yesterday—you know, that era when we pretended