The Soul Thief_ A Novel - Charles Baxter [56]
My fellow passengers trudged out of the plane, blinking like moles exposed to sunshine. The demon-child I had entertained slept, now, in his mother’s frontpack. One woman, clearly a tourist, pulled her luggage-slop (beach bag, reticule, cosmetics kit) out of the overhead bin and staggered toward the exit. As soon as she reached the gate, she uttered a disappointed “Huh?” at the ceiling.
It was a common response; several of my fellow passengers sighed with dismay. The airport’s unwelcoming skeletal failed postmodernism put most outsiders into a condition of uneasiness. All this way to the end of the continent, all the trouble we went to, for this? In every interior nook and cranny, TV sets, hanging like huge spiders from the ceiling, boomed down disinformation from the Airport Channel. You stumble toward your luggage. Downstairs, attendants just past the baggage claim flash expressions of carnivorous appetite at you, estimating the size of your wallet. If you are not a native, the message is, Welcome to L.A. You’re in for it. If you are a native, the message is, Ah, one of us. Welcome back.
Having been to L.A. once on business and once with the family on a vacation, I had armored myself against the ritualistic hostility of LAX. I grabbed my suitcase, made my way past the carnivores to the rental car lot, fumbled with the map, and poked my way out into the hot prettiness of a Los Angeles morning.
Quickly I was drowsy and lost on the freeway, but my disorientation made no difference to anyone. Behind the wheel, I enjoyed a Zen indifference to destinations. Everyone else in L.A. seemed to suffer from a form of permanent distraction anyway, as if, just above the horizon line of their attention, they were all watching a movie in which they played the starring role as they meanwhile meandered about their actual humdrum earthbound lives. Imaginary qualities of actual things predominated here. The spectacular golden sunshine, the hint of salt air and the morning mist rolling in from the Pacific, the occasional views of the hills and mountains upon the lifting of the smog, and the omnipresent aura of dreamy stoned hopefulness—you might as well have been lost on the freeways or caught in traffic, because you were half dead and dazed with it all, the hot petulant loveliness. What possible goal could you have had that might have been better than where, and who, you were now?
And then there were the cars, alongside of which you could ignore the speed limits or sit waiting for the jams to clear. The captains of industry zoomed past in their pink Bentleys, blue Maseratis, and white Porsches, or in their smoked-glass limos with vanity plates (SILKY was one, DIRECTOR another), and the upper-level drones sported about in their ordinarily luxurious Audis and BMWs. Lower-level types, at the bottom of the food chain, drove the humiliated Fords and humble Chevys, mere shark bait. The street stylists had their lowriders and their bass-driven hubbub. But there was also this museum aspect to L.A. traffic: sitting in a seemingly full-stopped backup, I noticed in front of me a perfectly maintained candy-apple green AMC Gremlin, clown car par excellence, and behind me a blindingly white ’64 Ford Mustang. This city, after all, was the North American capital of whimsicality, and if Angelenos wanted campy remnants from the ridiculous past, they would find them. Here you could spot antique Peugeots and Citro