Serenade - James M. Cain [80]
Little by little, a change came over her. Mind you, from the time we left New York we hadn't said one word about Winston, or what she did, or whether it was right or wrong, or anything about it. That was done, and we steered around it. We talked about the Japs, the mosquitoes, where Conners was by now, things like that, and so long as we jumped at every noise, we seemed to be nearer than we ever had been. But after that eased off, and we began to kid ourselves we were safe, she began moping to herself, and now and then I'd catch her looking at me. Then I noticed that another thing we never talked about was my singing. And then one night, just as we started downstairs to go out in the park, just mechanically I did a little turn, and in another second would have cut loose a high one. I saw this look of horror on her face, and choked it off. She listened, to see if the Japs had caught it. They seemed to be in the kitchen, so we went down. Then it came to me, the spot I was in. On the way down I hadn't even thought about singing. But here, and any other place south of the Rio Grande, for that matter, my voice was just as familiar as bananas. My picture, in the lumberjack suit, was still plastered all over the Panamier show windows, Pablo Bunan had played the town not a month before, even the kids were whistling My Pal Babe. Unless I was going to send her to the chair, I couldn't ever sing again.
I tried not to think about it, and so long as I could read, or do something to get my mind off it, I wouldn't. But you can't read all the time, and in the afternoon I'd get to wishing she'd wake up from her siesta, so we could talk, or practice Spanish, and I could shake it off. Then I began to get this ache across the bridge of my nose. You see, it wasn't that I was thinking about the fine music I couldn't sing any more, or the muted song that was lost to the world, or anything like that. It was simpler than that, and worse. A voice is a physical thing, and if you've got one, it's like any other physical thing. It's in you, and it's got to come out. The only thing I can compare it with is when you haven't been with a woman for a long time, and you get so you think if you don't find one soon, you'll go insane. The bridge of the nose is where your voice focuses, where you get that little pull when you cut loose, and that was where I began to feel it. I'd talk, and read, and eat, and try to forget it, and it would go away, but then it would come back.
Then I began to have these dreams. I'd be up there, and they'd be playing my cue, and it would be time for me to come in, and I'd open my mouth, and nothing would come out of it. I'd be dying to sing, and couldn't. A murmur would go over the house, he'd rap the orchestra to attention, look at me, and start the cue again. Then I'd wake up. Then one night, just after she had gone over to her bed, something happened so we did talk about it. In Central America, they've got radios all over the place, and there were three in the block back of us, and one of them had been setting me nuts all day. It was getting London, and they don't have any of that advertising hooey over there. The whole Barber of Seville had come over in the afternoon, with only a couple of small cuts, and at night