The Moviegoer - Walker Percy [69]
“Brother Andy, is you getting much?”
“No.” My stomach further obliges Sam with a last despairing heave. Oh Lord.
Later there seems to come into my hand—and with it some instructions from Sam of which there is no more to be remembered than that they were delivered in the tone of one of my aunt’s grand therapeutic schemes—a squarish bottle, warmed by Sam’s body and known to my fingers through the ridge of glass left by the mold and the apothecary symbol oz or […] or […][1].
2
Sure enough, three hours later we are rocking along an uneven roadbed through the heart of the Ponchitoula swamp.
No sooner do we open the heavy door of Sieur Iberville and enter the steel corridor with its gelid hush and the stray voices from open compartments and the dark smell of going high in the nostrils—than the last ten years of my life take on the Shadowy aspect of a sojourn between train rides. It was ten years ago that I last rode a train, from San Francisco to New Orleans, and so ten years since I last enjoyed the peculiar gnosis of trains, stood on the eminence from which there is revealed both the sorry litter of the past and the future bright and simple as can be, and the going itself, one’s privileged progress through the world. But trains have changed. Gone are the uppers and lowers, partitions and cranks, and the green velour; only the porter remains, the same man, I think, a black man with palms the color of shrimp and a neck swollen with dislike. Our roomettes turn out to be little coffins for a single person. From time to time, I notice, people in roomettes stick their heads out into the corridor for some sight of human kind.
Kate is affected by the peculiar dispensation of trains. Her gray jacket comes just short of her wide hips and the tight skirt curves under her in a nice play on vulgarity. On the way to the observation car she pulls me into the platform of the vestibule and gives me a kiss, grabbing me under the coat like a waitress. In celebration of Mardi Gras, she has made up her eyes with a sparkle of mascara and now she looks up at me with a black spiky look.
“Are we going to live in Modesto?”
“Sure,” I say, uneasy at her playfulness. She is not as well as she makes out. She is not safe on a train after all; it is rather that by a kind of bravado she can skim along in the very face of the danger.
The observation car is crowded, but we find seats together on a sofa where I am jammed against a fellow reading a newspaper. We glide through the cottages of Carrollton cutting off back yards in odd trapezoids, then through the country clubs and cemeteries of Metaire. In the gathering dusk the cemeteries look at first like cities, with their rows of white vaults, some two- and three-storied and forming flats and tenements, and the tiny streets and corners and curbs and even plots of lawn, all of such a proportion that in the very instant of being mistaken and from the eye’s own necessity, they set themselves off into the distance like a city seen from far away. Now in the suburbs we ride at a witch’s lever above the gravelly roofs.
It gradually forces itself upon me that a man across the aisle is looking at me with a strange insistence. Kate nudges me. It is Sidney Gross and his wife, beyond a doubt bound also for the convention. The son of Sidney Gross of Danziger and Gross, Sidney is a short fresh-faced crinkle-haired boy with the bright beamish look Southern Jews sometimes have. There has always been a special cordiality between us. He married a pretty Mississippi girl; she, unlike Sidney, is wary of such encounters—she would know which of us spoke first at out last encounter—so she casts sleepy looks right past us, pausing, despite herself on Kate’s White face and black spiky eyes. But Sidney hunches over toward us, beaming, a stalwart little pony back with his head well set on his shoulders and his small ears lying flat.
“Well well well. Trader Jack. So you slipped up on your plane reservations too.”
“Hello, Sidney, Margot. This is Kate Cutrer.