The Collected Stories of Eudora Welty - Eudora Welty [75]
"You ain't as hungry as you look," said Sonny.
The woman came out of the bedroom as soon as the men had finished, and ate her supper while her husband stared peacefully into the fire.
Then they put the dogs out, with the food that was left.
"I think I'd better sleep here by the fire, on the floor," said Bowman.
He felt that he had been cheated, and that he could afford now to be generous. Ill though he was, he was not going to ask them for their bed. He was through with asking favors in this house, now that he understood what was there.
"Sure, mister."
But he had not known yet how slowly he understood. They had not meant to give him their bed. After a little interval they both rose and looking at him gravely went into the other room.
He lay stretched by the fire until it grew low and dying. He watched every tongue of blaze lick out and vanish. "There will be special reduced prices on all footwear during the month of January," he found himself repeating quietly, and then he lay with his lips tight shut.
How many noises the night had! He heard the stream running, the fire dying, and he was sure now that he heard his heart beating, too, the sound it made under his ribs. He heard breathing, round and deep, of the man and his wife in the room across the passage. And that was all. But emotion swelled patiently within him, and he wished that the child were his.
He must get back to where he had been before. He stood weakly before the red coals and put on his overcoat. It felt too heavy on his shoulders. As he started out he looked and saw that the woman had never got through with cleaning the lamp. On some impulse he put all the money from his billfold under its fluted glass base, almost ostentatiously.
Ashamed, shrugging a little, and then shivering, he took his bags and went out. The cold of the air seemed to lift him bodily. The moon was in the sky.
On the slope he began to run, he could not help it. Just as he reached the road, where his car seemed to sit in the moonlight like a boat, his heart began to give off tremendous explosions like a rifle, bang bang bang.
He sank in fright onto the road, his bags falling about him. He felt as if all this had happened before. He covered his heart with both hands to keep anyone from hearing the noise it made.
But nobody heard it.
POWERHOUSE
Powerhouse is playing!
He's here on tour from the city—"Powerhouse and His Keyboard"—"Powerhouse and His Tasmanians"—think of the things he calls himself! There's no one in the world like him. You can't tell what he is. "Negro man"?—he looks more Asiatic, monkey, Jewish, Babylonian, Peruvian, fanatic, devil. He has pale gray eyes, heavy lids, maybe horny like a lizard's, but big glowing eyes when they're open. He has African feet of the greatest size, stomping, both together, on each side of the pedals. He's not coal black—beverage colored—looks like a preacher when his mouth is shut, but then it opens—vast and obscene. And his mouth is going every minute: like a monkey's when it looks for something. Improvising, coming on a light and childish melody—smooch— he loves it with his mouth.
Is it possible that he could be this! When you have him there performing for you, that's what you feel. You know people on a stage—and people of a darker race—so likely to be marvelous, frightening.
This is a white dance. Powerhouse is not a show-off like the Harlem boys, not drunk, not crazy—he's in a trance; he's a person of joy, a fanatic. He listens as much as he performs, a look of hideous, powerful rapture on his face. When he plays he beats down piano and seat and wears them away. He is in motion every moment—what could ae more obscene? There he is with his great head, fat stomach, and little round piston legs, and long yellow-sectioned strong big fingers, at rest about the size of bananas. Of course you know how he sounds—you're heard him on