Epilogue: Another Return

The street was dark, but not in the way she remembered. Curtains muted the light in the windows the way clouds veiled the daylight that afternoon—or the way drizzle and mist dissipated that day’s warmth, the first after two months when it seemed winter would never end.

She walked alone. Shadows skittered in the curtains like images in a silent movie. The tapping of her heels strummed echoes off steep stone stairs. The dark, heavy doors—smooth but not shiny—intensified the darkness that ended on a wide avenue with small shops that would remain open for another hour or two.

Her black wool jacket covered her to her hips, where it overlapped the black watch plaid skirt that sheathed her thighs down to her knees. Under it, black tights encased her legs. She was rather rawboned but, because she was taller than nearly all of the women who were shopping for bread, onions and yarn, she looked slender next to them. Also, her hair, waves in a hue between copper and brass, made her seem younger than they, in their brown and black wigs, though in fact some of their mothers were younger than her. Still, no one seemed to notice her. She felt relief for that.

She crossed the avenue to another street lined with rowhouses like the ones she’d just passed. It was Ash Wednesday, the first night of Lent. When she was a child, she and her classmates would go to church early in the morning, then cross the street to go to school with the charcoal-dust mark on their foreheads. But none of the women shopping on the avenue—or in in the neighborhood that night, in fact—had that mark. She hadn’t thought about it, or that season, in years, in decades. Seven weeks until Easter: a holiday on which, in years past, she and her family attended mass and, afterward, sat down to a meal that stretched through the afternoon and evening. After she’d left, after everyone else left or died—she might have lunch or dinner with friends on that day, though it meant no more to them, or her, than it did to the women on the avenue.

75. Crossing

Even today I’m thinking about jumping from one of those long bridges that spans those nooks of the ocean that’ve been misnamed as rivers and bays. There are a few, not very far from this block, and I could walk along their sides. I had to cross one of them to get here; I’ll have to cross it or another to leave. Crossing is just that: You’re not on one piece of land or the other, one state or the other; you’re on the bridge.

On one shore, you freeze, you’re hungry, somebody beats you; none of it changes. But you don’t know what’s on the other side, even if you’ve been there before. The streets on the side you know follow perfectly straight lines—or at least they seem to—to other streets, to avenues, to railroad tracks—you never realize they were abandoned—or to graveyards. On the other side, you don’t know where the streets, the alleys—Are there streets? Are there alleys?—will lead you. Even if you’ve been there before, you’re not sure of where you’re going.

The body the police identified by my former name was rolled on its head on a cellar floor under a house abandoned on a street that ends two and a half blocks from the street that cuts it off at the other end at a storefront of dirt and broken glass that separates rotted ties and rusty rails from the street. No one who doesn’t live on this street, or the street where it ends, has ever seen it. Or died on it: That’s one of the risks you run when you’re there. No escape—to what? Die here, don’t go to the other side. Or maybe you go, die, to the other side.

But there’s no going to the other side without crossing, without the bridge. A place where you’re not there or there. Almost every bridge big enough to take you away from this block has a sign, a marker, on it telling you when you’ve crossed from one town to the next, the county line, the state border, the national frontier. The line is completely arbitrary: You never see it; you never know you’ve crossed it until you see the sign. Still, you haven’t gotten to the other side; you’ve left because to get from the place to which you’ve come, you still have to cross. There’s no coming back; there’s only going back. (That's why I think of jumping; that's why I never will. ) On most bridges, you can’t do that without going to the other side first.

And you don’t know whether you can leave—actually, sometimes you know you can’t—once you’ve gotten there. You can’t follow the streets, the alleys, or even the wind, in the same way on the other side as you did in your old home. Nothing on the other side takes you in the same direction.

So the only certainty you have is that you’re on the bridge. But you can’t stay there—that’s not the purpose of a bridge. I remember reading that Paris grew into the great metropolis it’s become when the Pont Neuf—the first bridge in centuries to be constructed without houses on it—opened to the traffic of the time.

On the Pont Neuf, on the Brooklyn or Golden Gate or most other bridges, you can stop to look at the view, if you were ever impressed by such things. But you can’t stay, no matter how pretty or tall the buildings, no matter how softly the light shimmers on the water. You have to move along, from it, away, at some point. Then there’s the other side. Or the river, the bay, the ocean.

At least you always know which way the water flows: to the trench opening all around you, inside, at the bottom. The way it’s always gone. Not like the streets on the other side.

I think about jumping now, again, when I’m within sight of what I’d always hoped for. Only days from the operation, if all goes according to plan: I didn’t even know about the operation when I was living on this block. I knew only that I didn’t live in that body, with my former name: dead on this block. Or worse: dying, waiting to die, on this block.

Nearly every day I envisioned that body dropping form one of those bridges, dropping all the way to the bottom of the ocean. I wished there was another place, another body, for me—another time, even.

I left only because I knew the body on this block would kill me before…before I could…kill myself. Kill him. Die. Die on this block. Before this body, this block, this house, could take it—whatever it was—from me.

Yet I never knew what was on the other side of the street where the block ended. Or how I could get there, or if I ever would. But knowing what was there: That kept us here.

Mother always knew I’d go, but I don’t think she knew when. Or how. She also knew I wouldn’t come back because I couldn’t. But now I have no choice but to go.

74, You Make Me Live

 

Mother always said she could “no way, never” kill herself Only once in her life did she even think about suicide, she said.

About two years after Adam’s death, she realized her period was overdue by a couple of days. Then a couple more. Then more than a week. Finally, she called her mother and announced, “If I had a car, I’d drive it into a brick wall.”

When I came home from a day when I was supposed to’ve been at school, Grandma knew I hadn’t been there. Anticipating my question about mother, she abruptly declared, “She’s tired. She’s resting.” That same tone mother, the lady whose name I never knew and all the other adults in the neighborhood would use to pre-empt a probe.

I could only suppose that I’d had something to do with mother’s fatigue. She would never deny my suspicion, but years later—not long ago, during one of the last times we talked—she said that after seeing what her mother’d gone through and anticipating what I had yet to go through--not to mention her own struggles—she couldn’t bear the thought of bringing someone else into this world, onto this block.

She was younger, much younger than I am now. Still, even today, I see her then as old, or at least older and tireder than I’ve ever been. Or that she was old and tired in ways that I haven’t been, at least not yet.

But there’s still the operation, and whatever will come after it.

Mother’d had an operation. Grandma told me later; then, much later, mother told me she’d had her tubes tied. She probably couldn’t’ve explained it to me because she didn’t want to; when she told me, not long ago, what she’done, she didn’t need to.

As she recalled that time, I remembered the days, the weeks that led up to it: Mother crying that she didn’t know what to do with me, she didn’t know what she would do; she should’ve known this was coming, that it would be so difficult, that her life and mine could only get more difficult.

About the time mother told me this story, I heard about the childhood—if you can call it that—of someone I’d heard about but met only once. She died not long after our meeting.

Lucinda—Lucy—‘d been born in a male body that would get whatever blows her father had left in his fists after punching and slamming his wife into unconsciousness. Lucy’s mother, according to her friends, poured out two glasses of milk laced with rat poison. Before they drank, Lucy’s mother called the police and told them what she was about to do.

Two officers arrived to find Lucy’s mother’s body curled on the peeling tiles of the kitchen floor. Lucy—then known as Christopher—sat near her mother’s head, and clutched her stomach as a grayish-white pool spread around her feet.

After Lucy’d left her father’s beatings for the sullen streets and rotting piers near the city’s most (in)famous red-light district, cops fished the long, dark body of Evangeline, her first lover, from the water just off the piers she worked.

Lucy talked long and loud, without rage, until someone mentioned the coroner’s report on Evangeline. “Fuckin’ bullshit, “ she hissed. “No-body around me kuh-mits soo-ih-side. Noo-body!”

I’d been thinking about—no, envisioning—offing myself the day before, as I had nearly every day back then. I had no place to stay, no money and, it seemed, no way to make any. I wasn’t so pretty to begin with, and I was getting older, old—at least for that world. The hormones had begun to do their work, so I wasn’t getting any erections. But my penis was still there, and my ass and waist were still just about the same size.

Still, I could pass, most of the time—probably because I was fortunate enough not to have an Adam’s Apple. But I wondered how long I’d keep that up. Even though women weren’t doing double-takes when I used their bathrooms, some men did when I walked out the door.

I realize now that perhaps I didn’t have any friends, that maybe I never did. But still, it hurts as much—perhaps even more—when you can’t even hold onto the illusion of friendship. Or of love. I’d already lost Vivian when she thought I’d become too much of a girl. Lost Marabeth, too. And ,it seemed, the only ones who noticed, much less wanted, me were men I’d see at night.

You know you’re not just a recreational cross-dresser when you need to come out during the day, as the woman you are. When going to work—whatever it is—or to the store, to lunch, anyplace as someone other than the one as whom you identify becomes a crushing, deadening load. Even the air you inhale doesn’t enter your own lungs: It disappears down the neck of a cave into a hollow you’ll never see.

73 Dream

 

I’m wandering a maze of blocks, the shadows of daylight eclipsing the open-sided blocks at my sides. Glimpses of a town I’ve seen before, just outside. But I can’t go to them: I turn, around a column that juts out at angles from the wall beside it. Like Lego blocks constructed of clay-tile material painted in bright blues, oranges and yellows.

Nobody’s on the other side of the column. But I hear her voice—Vivian: “We’ve got to find the lake.” Inside the maze?

Another turn, around another column of the pottery Lego blocks, in green and red. Not here. Nothing’s here, nobody’s here. Her footsteps fade away. I glance upward. There’s a sign on one of the corridor walls. Viale Gruber. The last name of Rachel, one of Vivian’s closest female friends. “She’s the girl I’d marry if I were attracted to girls.” Why would they’ve named a street after her in this place?, I wondered.

I followed Rachel’s alleyway out of the maze, into a dusty piazza like the ones you see at noon on a summer day in the South of France or Italy. I know this town: the plaza, the houses, the dusty pastel light all belonged there. But not that maze—I didn’t remember it there. Of course, things change but I could never’ve imagined such a thing in that town.

I stand, right foot forward, my torso leaning but unable to move. Vivian sprinted up to me.

“We’ve gotta find it.” She gasped.

After she caught her breath, I pointed to an opening around the next wall. “Let’s go in there.”

White sign, blue letters: Esposizione.di Ogetti Egizi. Arrow pointing inside.

“Do you really wanna look at a bunch of bones,” Vivian huffed. “We’ve gotta find the lake!”

As far as I know, Vivian’s never been to France or Italy. Knowing her, I’d guess she still hasn’t gone there, even if she could. They simply were never places she wanted to visit.

Although I am glad I spent time in Toulouse, in France,  I never wanted, and still don't want, to go to any place in particular. I have never fantasized about other places for the same reasons, really, I have never fantasized about sex: You don’t fantasize about what’s been forced on you. If you’re raped at a very young age, sex is not something to wonder about or hope for. And so it is when you’re connected to some place by something that is not of your doing. So even though I had no particular desire to travel, I knew I’d have to get away from this block. But I didn’t know where I’d go, much less how I’d get there.

But back to that maze. She didn’t want to go back in unless we were going to find the lake. Normally, I’d have to talk her out of going in, out of taking a chance. At least that’s how it seemed until she’d decided I’d become too much of a woman to suit her. “I just can’t go there,” she’d say. And I knew I couldn’t change her mind about that one.

Or about not wanting to see the bones, or about wanting only to see the lake. She had no interest in seeing the town, which was somewhat familiar to me, although I didn’t know why. There was, outside one of the Lego blocks, a turreted place I’d seen before—with or without Vivian? And the cathedral, in the texture of chalk and the colors of flint and rust after it’d absorbed sun, rain, wood smoke, more rain, cannon smoke, frosts, smoke from railroad engines , tanks and mustard gas, and the dissipating sunlight of October dusks. The cathedral’s stones imbedded it all; the lake Vivian wanted so much to see reflected it.

72. Fatigue

 

I’d love to make Mrs. Littington disappear. And the lady whose name I never knew, I never want to know. Get rid of all the others, the ones I’ve forgotten or never knew in the first place. What did they have to do with mother, with any of us?

I’ m so tired now. I’ve been tired for so long, I want to close a door and cry. But the tears won’t come now, even if I want them, because I don’t have the emotional energy, or even a space inside me, to allow anyone to see them. For crying in the presence of others is always an involuntary form of sharing, or at least diverting one’s attentions. Those activities require energies that I just don’t have right now.

Maybe it’s this day, and the hope that it will be my last on this block, that’s so drained me. But taking hormones does that to you, too.

The first time you take them, you’re expecting something to happen even though the doctor or whoever prescribes or gives them to you tells you nothing will, at least for a while. Two pills: one is white and has the texture but not the taste of an aspirin tablet. The other, small with a hard shell in a shade of candy-coated cow piss—which is pretty much what it tastes like. Not that I’ve tasted cow piss, candy-coated or otherwise.

After I took those pills every day for a couple of months, I couldn’t notice any difference. But Vivian did. She called me, ostensibly because she wanted to return something I couldn’t recall leaving.  It’d been a few months since she pronounced me “too much of a woman” for her tastes and broke up our relationship. She’d found a watch with a woven black leather band when she was cleaning, she said. And indeed she gave it to me when we met for supper in a Greek restaurant.

But there had to be another reason for her wanting to see me—I could hear it in her voice when she called. I couldn’t imagine her wanting sex with me again. So what, I wondered, did she want?

As I cut into the piece of chicken I ordered, I got my answer. She called my name—my old one. I looked up at her. “Something’s different about you.”

“What?”

She reached across the table and dabbed her fingertips on my left cheek, where she used to stroke. “It feels different.”

“How so?”

“It’s….softer.”

“Huh?”

“It really feels softer.”

“Really?”

“Yes.”

All right, I said. I’ll confess something: I am taking hormones. Her face grew longer. “The doctor said my skin would get softer. But not this quickly.”

Then she asked me to stand up. “Wow! Your body’s changing.”

“How so?”

“None of your clothes fit you right.”

“I think I’ve gained a bit of weight.”

“Maybe you have. But it’s in your rear…and you’re growing boobs!”

I couldn’t notice those changes yet, I said. And I felt like I needed more sleep. “But,”she cut me off, “You don’t seem depressed.”

“To tell you the truth, I’m not. I don’t even feel sad that much. Or even angry. Maybe…”

She cut me off again, “Maybe you accept things, or are resigned to them.”

“You could say that.”

She could. None of it surprised her. Before that night, I hadn’t told her I was taking hormones. And I don’t know who could or would’ve told her. But she asked me to supper so she could find out what I was like on hormones. Why else?

The old lady whose name I never knew is looking my way again. Who could or would’ve told her.

Make it tomorrow, please. I’m so tired. I want the operation, then some rest.

71. Waiting to Escape

 

If all goes as I intend—I’ve given up planning a long time now—I’ll be away from this block for good tomorrow. Still, it’s a relief, almost, to be here now.

Now I know there’s still at least one place where bricks continue to fade and flake, but the walls they’re in are still standing. Where roof tiles and sides darken with the shade of green copper turns when it’s been left out in the rain. But I know there’s no copper, or any other metal, in those tiles because of the way they curl around their edges and splinter, though they never quite fall apart.

And the people—the ones who still remain—women—are as I expected, though somehow not quite as old. The lady whose name I never knew, still pale and lined but not wrinkled in the way of people who spend their lives in the shadows of their homes. Not much exposure to sunlight—or to rain or wind, either. Her black dress, another ageless but not timeless layer, gathered into neat if not completely symmetrical folds around her waist by some band I can’t see. Just like what she always wore, except that it’s black.

Mrs. Littington, she’s another story. Her jacket sheathes the small mounds of her breasts and falls in a nearly straight line to her hips, which are tucked into pants of the same color, and the same shape, more or less. It makes perfect sense on her, just like the dark hair that reins in the crown of her head and clings in perfectly straight segments that end around her ears and, in the back, just above the collar of her jacket.

It’s not comforting, really, to see her, the lady whose name I never knew, the houses, the yards in shades of gray that end in chainlink fences, a street that ends in a cemetery yard on one end but whose other end cannot be seen from here. However, I’m glad to see everything here for what I assume to be the last time.

Some people leave the places where they were born and raised because they need to know that not all people look or talk like their family members or neighbors, and that not everybody lives in the same kinds of houses. I learned such things, too, but it wasn’t the reason I left. In fact, if I’d learned otherwise, it might not’ve made any difference to me.

Adam left. The man whose body was found in the basement—and whose autopsy has my former name—is gone. And Louis, whom those other boys in school nearly killed. The other boys, who might’ve killed me if Louis hadn’t been there. All somewhere else, I don’t know where. Now mother’s on her way out. I expect I’ll be, too.

None of this makes any difference, really: This block is still more or less what I left. At least, it feels that way. Which, of course, is enough reason to get out and stay away.

Most of all, I’ve got to get out while it’s still safe, at least relatively, for me to be here. The lady whose name I never knew—She’s squinting in my direction again! Hopefully, I’ll be out of here before she starts talking to me, asking me questions: before I find out she’s recognized me.

70. Forgetting

 

Probably nobody has ever remembered any event or person, or even object, completely. What I’ve never understood is why anybody tried.

What I understand even less is when people try to make a scene, recollection or piece of furniture seem older and more enshrouded in a gauze of mist than it already is. Or all those commercials that were shot in grainy black-and-white when film, video and any number of other could reproduce and store the colors paraded in front of them. Why cloud up a clear vision of a day? Why make houses and the things in them seem even more weathered than they actually are?

Mother never talked about the past—hers or anyone else’s. Not even mine. But it seemed that everyone, except her and Adam, who spent more than five minutes with me tried to get me to talk about what was gone, what they could never experience.

Or they tried to wipe out my recall: something they could no more do than to remember their own lives. We’ve all had doctors who told us the needles they stuck in our arms didn’t hurt, or teachers or other adults who told us we weren’t hurt after some bully—or the adult in question—punched, kicked or shoved us.

The result—at least for me—was always the same when any adult condescended or simply lied: contempt, on both sides. Likewise for anyone who tries to blur an already blurry picture. Even the ones who really believe they’re trying to ease my pain, in the end, earn my anger because they’re trying to blunt the edge of my recollections.

By the same token, I don’t try to recall everything, everybody, every moment. Even if I could, I couldn’t keep them, just as I can’t take every article of clothing I’ve ever worn with me. It’s one of the first lessons you learn when you can’t stay some place.

And the moment you begin to move, from necessity, the faces, the voices, the pieces of a house, all disappear into a blur. Or they lie submerged, bubbling through the cauldron of your dreams you don’t remember in the morning.

69. Poverty and Survival

 

In a town like the one where Vivian grew up, next to the sea, the houses of people—like her father –who’ve seen or will see no other place all have the bleached, splintered look of wood that washed up on the beach in some earlier winter. Even the houses that’ve just been sanded and painted seem like flotsam morphed into fixtures, and that is how you can tell them from the cottages of the people who spend a few weeks out of every year in such a town.

Likewise, true country houses—like the one in the countryside near the Rhine where Adam and some people he’d never seen before or would never see again huddled, curled or flopped through a harsh, endless winter—differ from the retreats of city people. The homes of peasants never shed their tattered shawls of autumnal dust and sunsets that abrade window frames before the season’s final rain.

And in a factory town, nothing is ever excavated from the layers of soot that settle on it.

On this block, the air is that of someone—mother, the lady whose name I never knew, any of the women who stayed—or something, like a worn winter coat, that’s survived another season, somehow. Leave for a while, come back, and those same people, their coats, their houses, are still there, looking more worn and a bit heavier, but not any older than you remember.

Survival into the next season. That’s all any of us do, whether we stay on this block or leave it. Survive: It’s the operative word of the uncertain, the desperate, the deprived, the poor. Every mother thought about it—for herself and her child—whenever she gave birth on this block. Mother’s even admitted that sometimes she wasn’t sure of how or if I or she would make it. To this day, I don’t know all of how or what she did. But in spite of the beatings and deaths I experienced here, I wouldn’t say I’ve had a particularly hard life. After all, in spite of everything, I don’t recall having gone hungry.

Still, I’ve always told—and convinced—whomever I’ve met that I was poor. I wasn’t looking for sympathy; I only found myself in situations where I needed to sum up my childhood in a word. And it fit.

Perhaps nobody would agree with it, but I’ve come up with a foolproof definition of poverty. It’s when nobody can give you—and you don’t have any—advice on how to live. All they can tell you about is survival. How they survived. How you’ll survive. How others didn’t survive. They can even tell you of “good” and “bad” ways to die and what’s worth dying for: love, country, god, whatever. But nobody knows how to live, or for what. That’s why one of the few books written by a male that seemed to me in any way truthful was Angela’s Ashes. The guy who wrote it grew up poor by anybody’s definition of the word—including mine. And, by the same token, a poor little prep school boy, Holden Caulfield, is equally impoverished. Only from deprivations like his, or Frank Mc Court’s, is a man capable of speaking the truth.

68. Their Stories

For all that I’m recalling now, there’s much I never could tell, even if somebody’d want to hear it, to hear me.

Not that I know so much, or more than anybody else in this room. Certainly not more than mother. For that matter, I’m not sure that what I know, what any of us has ever known, matters now. But, like this block, it’s all anybody really knows.

The man the cops found in the basement and tagged with my former name—that man confirmed what I’d suspected ever since the cops broke down Adam’s door too late to keep him from suffocating in gas fumes. The police report, and the stories I’d heard about Adam—and, for that matter, anything anybody might’ve said about me since I left this block—confirm one of the few iron-clad truths I’ve learned: When a man from this block dies, whether here or someplace else, nobody ever really knows the whole story about his death.

Sometimes you hear outright lies—like Adam was possessed by evil spirits. Or the man they found in the basement was me. Or that my former name was that of a sexual predator, who was killed in retribution (or retaliation, depending on who’s talking) for his preying on young boys. Or that it was done by someone he didn’t pay, or who didn’t pay him.

Mrs. Littington—who declared Adam one of the tuer Christ—said that her god had avenged himself on the people who killed his representative on earth. In the time she lived on this block, she never went to church, and I never heard her mention—except for what she said about Adam—deities or anything else that existed beyond her own life. I didn’t have the courage, or whatever, to point out this self-contradiction to her. For that matter, neither she nor anyone else ever explained what was going on when Jesus—sentenced to hang on a cross for a crime that would’ve gotten him community service in other places and times—rose from the dead three days after his death. If he was God in human form, how—why—could he die? Why would he deem such an improbable act necessary to atone for the alleged sins of people.

Why—from a God whose divine will brought Adam to Bergen Belsen and this block and me into the body of a man—were there so many?

None of it made sense; none of it could be pieced together, any more than the accounts of the men who managed to escape this block, however briefly. Nor did the stories of heroism or treason in the wars they fought, or the grotesque details of dismembered corpses found in the rivers, bas, oceans, lots, garages and other places near this block that are seen by nobody who’s from here.

Men have always lied, exaggerated, distorted, omitted and embellished when telling of each other’s deaths. It’s noting new, and it’s been called journalism, biography, history (especially military history) and psychology. My one and only disappointment with the female race, so far, if that so many of us have, for so long, simply echoed what we’ve heard.

67, Memory of a Season

 

It still amazes me how little’s changed here. Sure, the only people remaining from the block as I knew it are in this room now. If you’re one of those people who believes that any neighborhood is its people, then you’d think that the place I knew ceased to exist long ago, perhaps when I left this block. You’d be right, in a way, I guess.

When I think of change, I’m not thinking about which houses have disappeared and which ones have been built, or what stores opened and closed, or what kinds of cars are parked around here. To tell you the truth, I don’t recall many of the places, at least not exactly. I’m not completely sure—except for the house where Adam lived and the one where mother and I stayed—which ones were here and which weren’t. Maybe it’s just as well: I’ve never had attachments to rooms, furnishings or architectural details. Good thing, too: When you have to move from one place to another as often as I have, sentimental attachments are the spindly heels that can break under you as you step up onto a curb.

But then there’s something else I recognized as soon as I got here. Some may call it a “feeling in the air.” It has to do with the light, which is the only thing that truly defines any place. No matter where I’ve woken, I’ve always known where I was—or, at least, where I wasn’t—by the light of the place.

The light on this block, even though it changes through seasons, cannot be mistaken for any other. The kind I recall most clearly seems to’ve begun today, or within the past few days. The sky is overcast, but the air is not completely gray: It’s been tinged by shingles and painted wood that’ve just begun to show splinters that were hidden by summer shadows. The day is also tinged with flecks of rust escaping from crumbling bricks.

In other places, they call the season with this light “autumn,” and it’s pretty. Here, it’s fall and it’s not melancholy, not sad. It just is, and everybody knows that winter—with or without snow—follows. And the gray, the white, will fill the street, the alleyways and ground between the houses like ash. When it clears away, some of the people—the women—you saw during the fall will sit on stoops, or scrape and poke little patches of ground around their houses. And sunlight will glare off pores of skin—faces, then arms and sometimes legs—newly uncovered. For what seems a brief moment, the faded paint and flaking bricks fill your eyes with echoes of colors struggling to rise from gaps of soil between slabs of concrete.

This cycle of light, my most vivid recollection, is now the only reason I could ever have to return to this block after mother’s gone. And I’m sure it’ll never change.

66. For Them

 

Weddings were always for other people. Just like graduations, or any prize I’d heard about. They handed kids diplomas in the schools we attended, but I don’t remember anybody I know getting one. And the ones who exchanged vows—they always came from someplace else, away from this block. And we never saw them again.

Other people. For all I know, mother’d never been married. Or maybe she was never not-married. Not until I got away from this block did I realize that kids learn, at some time or another, their parents were children who probably didn’t know each other. Then there was the ceremony like the ones I used to see in church. For one brief moment, they were as clear, as unambiguous, as black and white—because they bathed in the glow of whatever color of glass was struck by that day’s light. That hue would tinge whatever pictures people carried with them—even after the marriage dissolved—like the sepia in old photographs.

Mother never talked about whoever fathered me, much less about whatever circumstances brought them together, or how they came apart. Or, for that matter, if they were ever really together in the first place. Or, for that matter, where—much less how—she came to have me by him.

Other people got married. Other people had children. The kids on this block are like the houses, the church, the stores on the avenue—they are always in a moment, one that extends from the first to the last anybody can recall. They’re always there; nobody knows who or what was there before them; nobody remembers when they’re gone. And nobody sees them graduating or getting married: If they do those things, they’re somewhere else.

But the funerals…Mother, now. The man who got my former name when they found his body in the basement. Sammy and Don—two men I called “uncle” until they ended up in caskets that weren’t opened while I was at their funerals. Anthony Giordano, who volunteered for the Navy because he knew he was going to get drafted, who came home in a body bag. David Held, who was drafted. And—I know I’m jumping back and forth in time, whatever that is—Jimmy McCulley, who, it was said, “fell off the pier”—so close to this block, though I’ve never seen it—where his uncle used to unload boats. Freddy du Maars—all I ever heard was that he “fell.”

And, of course, Adam. From him to mother, death was always somebody I knew well—or at least as anybody I’ve known since. Except for the man in the cellar, I felt sorrow for them but I could’ve felt even more than I did if I hadn’t felt relief—and yes, I admit, envious—that they were finally out of that endless moment we all occupied. For Adam, and now for Mother, my sense of relief is heightened because they were—are—at least to my knowledge—no longer suffering on this block.

Death happened to them: the only two people, I believe, with whom I’ve ever truly empathized. Other people—if I could in any way relate to or care about their experiences—I could only imagine, or just think about, whatever pain they might’ve conveyed in my direction.

I’ve been to other funerals since I left this block. For a while, it seemed that every week someone I met in a bar or on the street died of AIDS or was shot or beaten to death. I went to their funerals whenever I could, not because I thought it would change anything, but because of something Mother taught me: You give respect to people whether or not they know you’re giving it. If she’s right—and nothing I’ve seen tells me she isn’t—then respect is all you can give the dead if you’re going to give them anything at all.

For that alone, she deserves my respect. And of course for many other reasons, the first of which is that she did something I’ll never do—not even after the surgery: She gave birth. To me.

65. Too Late For Laments

 

Soon I will no longer have any need, or reason, to feel shame or to apologize. I can’t recall mother having done either, or that she ever expected one or the other of me. When I was a child, some kids stole other kids’ bikes or jackets, insulted each other by questioning each other’s sexuality or practices, or damaged or destroyed property. I did none of those things, although they were done to me. Certainly that didn’t make me any more moral than, or superior to, anyone else.

I realize now that you only learn about shame and contrition when you’ve had to express them yourself. The only such experience I had growing up was having to say something called “The Act of Contrition” during mass. I didn’t understand it, even after I looked up the word “contrition,” probably because it made no sense for me—or anyone, really—to say it. Even at such a young age, I realized how silly it was, and how it was even sillier to talk to someone who wasn’t there, especially if someone told you he was there but couldn’t tell you where, much less how or why.

For that matter, all apologies now seem absurd—now there’s a word I wish I’d known then!—in the way that alarms installed after a burglary seem pointless and useless. The deed is done; the doer is gone—mentally, if not physically. He’s gone on to other things, unless of course he’s rationalizing or gloating over what he’s done. In which case he isn’t going to apologize anyway.

Even if I’d given that man a chance to acknowledge his rape of me, it wouldn’t’ve changed him, or me, or anything. You could even say that if he could or would see how he’d violated me, he wouldn’t’ve said he was sorry. I wonder now whether that’s what mother thought.

And so it wouldn’t’ve made any sense, or changed anything, if I’d apologized for having retaliated—had I done such a thing—in the moment after he attacked me, or in the future. Beating, mutilating, killing him wouldn’t’ve been acts of rage, an emotion that precludes—some say precedes, but I don’t see how—sorrow.

Mother never expected apologies from me, even though nothing I’ve done, nothing I’ve become, justifies the difficulties I caused her. I’ll never know—though I can guess accurately, I think—whether she’d wanted or planned for me. Not that she ever implied, even in anger, that I constricted her life, as other parents have told children who became some of the people I’ve met since I left this block. Vivian’s father always reminded her of his abandoned ambitions toward a musical career, or that he’d played drums behind guitarists and singers whose records kids—and sometimes their parents—in my generation, even on my block, bought and listened to. Maybe mother had no such aspirations, simply because she didn’t have time to have them. But if she’d had dreams, I never heard about them.

It’s no surprise, I guess, that she never even made me apologize for not having aspirations of my own. For one thing, I was never sure I’d grow up to realize them. In fact, I was sure I wouldn’t live long enough, or that if I did I’d end up in jail or a mental hospital. That’s what happened to the young men here—or else they simply disappeared. Even if I survived to seventeen, eighteen years old on this block, I’d had no idea how I’d finish high school, much less go to college. Not that I’d want either one. School, for me, was always just a place where I was prey and supposed to get used to it. And expect no apologies, no expressions of shame from anyone.

Not that I would’ve expected anything from the other kids—mostly boys—or the teachers, the principal or anybody else. Kids beat up other kids in the hope that someone else wouldn’t beat them. They won fights, games, competitions—none of which mattered away from school, much less this block—so they wouldn’t have to experience defeat for the moment, a day or—they hoped—forever. They did what they did—just as I lied, stole, sold my body and killed—and offered no apologies or explanations for the same reasons I didn’t, mother didn’t, why nobody on this block did. You don’t—or perhaps you can’t—justify anything you do to survive, to make it from one moment to the next. Some people—we often hear about them in the news—may try to offer an expression of contrition, an acceptance of responsibility, for their deeds or those of their parents, long after they’re done. But they’re not lamenting the deeds themselves: Usually, they’re ruing some outcome of it. Like that scientist who said “I have become death!”-- or something like that-- long after he and his colleagues exploded the first atomic bomb.

64. Fall

Days’ve been growing shorter. At times, that would’ve meant more work, or at least more time for it. At times like that, I’d hardly see daylight. I probably won’t for the next few months.

It’s one of those things you never stop noticing if you’ve had to notice it before: the length of darkness, not the lack of daylight. On this block, you don’t see those bright, sunny vistas stretching endlessly, like the ones you see in all those paintings and photos in the books they try to make you like in school. The sidewalks, the street, the tar and slate on the roofs, the darkening bricks and shingles refract any light from the sky into shadows and other shades of gray.

And the night: It’s just another, deeper shade of charcoal—what’s left at the end of the day.

So in spite of—no, because of—all the fears I’ve had, I’ve never been afraid of the dark. On this block, it’s a bit of a relief. When you’re a very young kid, nobody expects anything of you, except perhaps that you sleep at some specified hour. There’s nobody to beat or harass you on your way to or from school. Nobody snubs you or starts conversation when you’re in your house, alone. And nobody else did when I was with mother.

It’ll be night—evening for those who don’t work—soon. Nothing you can do about it, but nothing to fear, either. Didn’t some poet say that we don’t die from darkness; instead, we die from cold?

When it gets dark, I get to come in from the cold. Or at least I’d find ways out of it. Late on a fall or winter afternoon—at least sometimes—I walk in the chilly air, looking for my way out. Shadows disappear and headlights reflect off my shiny boots and glows in the sheen of my make-up.

Someone brings me into a room and turns out the lights. After a while, even the acrid, salty smells of a man’s skin and hair fade away with the honking, shouting and skidding on the street. Here is only the rough, bristly feel of hairs when the flesh presses or pulls away my flesh. Of course it helps to numb your nerve endings with the bottle, the pipe or the needle. You move from one to another as your need deepens. It always does; everyone who’s sold his or her body will tell you that if they’ll tell you anything.

All touching, all kissing, all caressing lead to penetration—something that is always, by definition, against the will of the penetrated. So the practices to which people refer when they’re talking about “making love” always pierce into that same places, into the those same places—for me, under my spleen and back in my throat—where you were first entered, through stealth or overt violence.

I’ve been told that at the end of the transition I’m making, I’ll no longer have a sex life or, as some have called it, a “love life’. That doesn’t deter me now. Until I left this block, my body was always used by people—actually, males—I never saw again. Nothing changed, except that now I get paid.

I guess that in that way, at least, I’m not different from most people, on this block or off it. Things happen for no apparent reason; after you get paid for them, then you pay.

And the nights are getting longer now. Just as mother’s leaving.

63. The Price

 

All of my life, I’ve respected only one man: Adam. I recall him whenever I’m in the presence of anybody who’s just died, or when I hear about any death that matters to me.

Death is death. Vivian told me that, I think. She’s probably right, although I don’t know how she’d’ve known. We all become the same minerals; we feed worms, fish or some other scavengers when we’re dead. And in the end, I guess it doesn’t matter whether we’ve enabled a swimmer, crawler or flyer to continue living. It probably doesn’t even matter whether we’re interred whole, or buried or submerged in the ocean. There’s not much difference, really, except that the sad people—he ones born into grief and burdened with sorrow—always seem to want their corpses immolated.

After Adam died—was murdered—an intense heat—one that covered or at least occupied and filled—a hollow within—and I’m not just talking about a mere physical “inside of”—me. Mother often scolded me for leaving the house in the dead of winter without my coat. “But I’m too hot!” She insisted, demanded—but to my recollection, never threatened. And I’d wear my coat for as long as I could stand it or until mother was out of sight.

That feeling—heat coursing through me, as if from a fire no one notices because it’s deep in the ground—pushed up through my pores whenever someone I knew died from AIDS or was driven to that act the police and others conveniently classified as “suicide.”

There was none of that after the cops found the body to which they gave my former name. The cops called that one a murder—case closed. And no doubt it was, at least in the way they understand it. But he was not Adam; he was no Adam.

As I am not.

As for mother, the heat is rising, closer to the surface. It has nothing to do with the temperature of the room in which her body has been laid out: The other attendees—both of them—are wearing sweaters over their black dresses. I took off my jacket but I still feel beads of sweat forming just below my neck. Getting hotter; I don’t want the heat to consume me. Oh, if only there were a pool, or even a bathtub, here! The ocean’s only a couple of miles away. But I’ve never gotten to it from this block and have no idea of how to do that. I know the ocean’s there—at least I’ve always accepted it as some sort of knowledge—from the maps I saw when I was in school. Mother’d never’ve been any help on this one: She never went to the ocean, either.

I don’t know that Adam did, either. I’m not even sure he ever left that stoop, except to go in the house. He wasn’t like all the other men I’ve known—at least the ones I recall—who always seem to have the need to go some place or another, even if they’re always going to the same places. If they came back, they’d lie about what they’d done and where they’d been. They’d slept with everybody, or nobody. They didn’t have to pay for it, or they could afford whatever they wanted. Loved and spat upon, conquering fear yet with fear all the time. No need; they can’t do without. The same stuff, everywhere I’ve gone.

Except from Adam. He’s the only person I’ve known—except for mother, and then only after I left this block—who could give me something without demanding something else from me; who didn’t abandon or betray me when I made choices because I had no choice but to make them. He accepted shyness swaddled in 11-year-old baby fat; she never questioned me about the transformation I’m making, the next stage of which she won’t see.

Nor, for that matter, will the other two women in this room. Does the woman whose name I never knew realize who she’s seeing? She glances my way again; I see her squints and stares. Eyes like hers can’t hide furtiveness, which is to say attempts at stealth. They seem gray, lifeless, to anyone who sees her only for a moment. Any more than that, and you can see her color-- not quite blue or hazel or any other hue you’ve seen before—registering, it seems, tones and volumes pulsing from your blood, your bones or something else you don’t see when she sees you.

At that moment, it seems, she decides whether or not she decides to speak to you. Today, for the first time, I caught her indecision and uncertainty. When I lived on this block, I knew she’d never speak to me. Or to that man who used to come around to fight with mother. She never spoke to Mrs. Littington, and I doubt that she will today.

She’s looking my way again.

I never saw her speak to Adam: She never seemed to leave her house; nor did he leave his. But here she is, with mother and Mrs. Littington.

And him.

Out of respect for mother. For the ones she knew, with whom she shared coffee or roasted chickens, for whoever ate the drumsticks and wings. But not the necks. I still haven’t tried them. Mother never would’ve allowed that. For the boy she raised, from whom she kept his father, at least for as long as she could.

At least I never had to pretend I belonged to him. In fact, I’ve never had to respect him or any other man, so I never did. Except for Adam. He’s probably the only man I ever met, to this day, who could offer me a simple pleasure without obligations, without entanglements. He offered nothing more than those five-ounce bottles of soda and, when the mood suited him—or me—a conversation, sometimes a story.

Too bad about the way he died. But he’s still the only man who, to my knowledge, didn’t kill or inflict some other sort of violence on another person. I don’t know what he did before he got to this block, or at least whether he got to live because someone else didn’t. But, at least for the time he lived here, he didn’t kill or maim, or cause the death of anyone else.

Though bottles of soda are valuable currency in the world of children, he never extorted promises or confessions with them. Usually, when a man pays for something, he thinks it’s subject solely to his whims, his impulses. Don’t ever let a man pay for you; otherwise, you owe him. If he knows he’s going to see you again, he might wait. But if he’s in your life for an hour, he’ll take whatever he can get. If he pays for dinner, he’ll take the night from you. If he pays for your body, he thinks he can beat you. The only question is whether he’ll do it before or after he fucks you.

My stories weren’t so different from those of the girls who walked the streets. None will ever tell you of an encounter with a man like Adam.

On this block, nobody would ever speak of him.

62. Aftermath

There’d never been a fire on this block, at least not one that anybody remembered, until that body to which they gave my name was found in the basement of that house three doors away from the one in which mother and I lived. The brick shell remained; everything else—the walls, the tables and chairs that’d been left behind, the concrete in the basement—had burned into dusty ash. Including the body, or most of it, anyway.

Word on this block said a lot of things. Someone settled a longstanding grudge. But who? Mother? The lady whose name I never knew? From what I know, no woman ever killed a man on this block, mainly because men didn’t stay long enough. Or, like Adam—actually, there was nobody else like Adam; he lived here alone in every sense of the word.

The cause of the fire, like the death of the body in the basement, was never determined—at least not officially. There was no report of an inspection; as far as anybody knows, none was ever done. I guess I shouldn’t be surprised there wasn’t much of an investigation into the death discovered underneath the house.

It’s probably just as well. Some detective, some inspector, could’ve—if he’d wanted and was allowed to do some work—find some “evidence.” The could’ve used it to prove, or at least claim, that someone died at a certain hour from blows to the head, blood loss or shock, and that the body died before it burned. Or whatever. And that the fire began whenever they said it did, sparked by spontaneous combustion. Or whatever explanation they came up with.

And difference would any of it’ve made, anyway? If that body had been mine, the cessation of its movement would’ve mattered only to two people on this block. And mother’s on her way out. For everyone else, it’s another story to exaggerate or embellish in whispers. You can’t spread anything without stretching, bending or otherwise distorting it.

I was there to revenge or collect—what? And someone stopped me. That’s one story I heard. Another: some lover, some ex-lover did it. What would that person’ve been doing on this block, anyway? What would I’ve been doing there, for that matter?

Funny how nobody asked those questions. Not the cops, not the fire inspectors; nobody. Then again, I don’t imagine that anyone on this block would’ve talked to them. I know I never would. They wouldn’t know a murder if it were mailed to them. I mean, they listed Adam as a suicide. And up to the day I left, that’s what everybody insisted—if they mentioned him at all.

61. Exposure

 

Drizzly, rainy day. Late morning. Or later in the day, perhaps.

One window at the end of two long walls, my head at the other end. In between, gray grainy haze. Could be the rain, but I don’t hear it; I didn’t hear the window. Only the cold.

I pull the sheet over my face. The bed—just a mattress propped on iron bars—I don’t recognize it. These sheets bristle, grainy against my skin.

Otherwise, I’d’ve never noticed I hadn’t showered in a few days. In those days, I could get away with that. I could’ve—in fact, later I did—grow a beard and nobody would’ve cared. Except maybe for him.

He’s bored his head into my chest and tangled himself around me so I can’t see him. Only the gray, rainy haze; the sheets—I couldn’t see the color—bristling against my skin. And cold on the other side.

Dark hair. How did I know? His chest rasped against mine. But I never saw it, never saw him. Or his lips, at my neck or at the tip of my penis. Only felt his lips when they were around my soft slack slab of skin. Skin and saliva between my thighs.

Wet and gray and grainy. Then just wet, and cold outside. Wet, a sudden rush, I’m not ready. Never saw it coming; never saw it. Just a rush through me; I couldn’t hold it back. Not because he wouldn’t let me.

60. Without Witness

 

One of the first things you learn on this block is that you didn’t see. If anybody asks you what you saw, you didn’t. And if you’re asked what you know, you don’t.

Still, the stories—At least some of them are true, or all of them have some truth!—still, the stories go around. Even through all of the years I’ve been away, I’ve heard the stories.

Especially the one about the body in the basement. It startles—but actually doesn’t surprise—me that someone actually talked to the police. Or so I heard. Nobody’ll ever say who talked, or if anybody did. But they’ll all tell you that somebody left that house at three, three-thirty, four in the afternoon—nobody’s really sure of the exact hour.

And who might that person who left the house ‘ve been? Five foot seven, five foot eight, five foot nine. Not slender, but not quite stocky. Straight hair—everyone agrees on that—very straight, combed down past the ears, maybe to the shoulders. Blonde, reddish blonde, red, maybe even streaked. But definitely straight, and turned inward at the end—at the earlobes, at the collar or just past it. Straight, and hardly a strand rustled or tousled. As if that person combed or brushed it, carefully, before coming up from the cellar.

Things get really bizarre when people describe the clothes. Jeans, T-shirts and sneakers, they say, but that could describe the attire of any number of people standing or passing through this block at any given time. No colors, at least not from those witnesses. But somenone else saw a “long, dark coat”, which would’ve been strange, even though the day was unusually chilly for the time of year. Someone else saw a “smock;” still another self-proclaimed winess saw a “dress, light on top and dark on bottom.” Should I be surprised that someone else identified a skirt and a blouse or a top. But nothing more specific.

And the shoes: Things get even stranger here. Everything from candy-apple red stiletto pumps to running shoes. Ballet flats and combat boots, too. Even bare or stocking feet weren’t excluded. That would make that person tougher than me: I couldn’t go shoeless on broken concrete!

As for the identities of those self-proclaimed witnesses, I couldn’t say. I doubt Mrs. Litttington was one: After all, as far as I know, she hadn’t returned to this block from the day she moved away until today. The other people who might’ve remembered me are also gone, except for the woman whose name I never knew. There’re only two who’d’ve remembered my name or the person, the body, to which it was attached. One is dead now. Yes, mother.

And yes, I can keep a secret. It’s easy when there’s no one you can tell. Well, you know, that’s the only way a secret is ever kept. There was—is—mother. And the lady whose name I never knew, who’s here now and whose gray-on-blue eyes glance occasionally in my direction. She sees; does she know? She’d never say, except to mother. And for once, I hope that the one thing I’ve always said about this block—“Nothing Changes”---doesn’t change.

That, I know, is something lots of people say about wherever they’ve lived. People move away, die; things are built; other things fall down. But nothing changes, they say. You always recognize the place, no matter how long you’ve been away. And, like they tell you, you can’t get away from it.

Door squeaks. Who’s there? Man, in blue jacket—uniform! Oh—relief—it’s not one of them! Just a funeral home worker, a gardener or maintenance man. Maybe a security guard. It’s all right. They can’t bother me, I don’t think. I’m here, seeing mother, and I’m even in black. What would they know, anyway? Then again—They’re on this block. Nobody knows and everybody tells and everybody knows and nobody tells Even so, I’d guess—hope—they haven’t heard.

Then again, I have to wonder: Who would they believe anyway, if anybody? Why should they believe me?

Truth is, nobody will, at least not totally. Nobody does. But they don’t totally believe anybody else, not even mother. And she’s the most truthful person I’ve ever known; still is. And she’s believed—or at least never questioned—anything I’ve told her, at least not since I left.

That guy’s left, the door squeaking behind him, just like he came in. I always thought funeral homes were supposed to be quiet. I must admit, it was, at least until that guy came in and did whatever he did. Still, you’d think a funeral home director or somebody’d think of a detail like a door.

I guess I shouldn’t be surprised. After all, he’s on this block, though I don’t think he’s lived here. It figures, though—the cops didn’t notice the door was missing from the basement when they got there. It’d been nailed shut and boarded over before the body was discovered. It squeaked—at least it did, way back when I lived here.--like no other door, at least none I’ve seen lately.: a full-throated squeal from old brass hinges. And from the looks of things, nobody’d fixed it or anything else on that house, ever since the last occupants moved out and someone sealed it shut—or thought that’s what he or she’d done.

I would imagine that it squeaked when the man who would die on the other side of it opened it—unless he somehow completely knocked it out of its well. Still, it’d’ve made some kind of noise, whether from the yielding of the boards or the blows to them. Nobody mentioned it—at least from what I heard. Nobody heard anything coming or going, or even from the man before his wrists and lips were bound by strips of tape.

Mother didn’t tell me that part of the story. At least, I don’t remember that she did. I;m not really sure of what I did or didn’t hear from her, at least about that man and that house. That’s what happens on this block. When you hear, you don’t recall who told you, or whether anybody did. Just like when you don’t remember being molested you and you're  left teetering between the fears of the consequences of being believed, or not. You can’t revisit it or recount it until one day, perhaps, when it rises from the rumbles that’ve muttered in your sleep and echo like stutters.

What was that? Another noise; I jump. Who else’d come to this funeral? Who will? Would they?

Pretend you didn’t see. No, don’t pretend. You didn’t. Nobody came in the door this time. You heard. Or did you? No one else did, or seemed to. No one else in this room flinched. And they didn’t seem to notice that I did.

All right, they didn’t. So I didn’t, either. No—there it is again. The squeal of that door hinge, low and almost croaky, perching into a higher-pitched squeak, echoed through the plywood boards. That noise—nothing drives me crazier! Well, not many things do. And nobody ever hears them.

That’s the only time people can agree: when they didn’t see or hear something. Like the ones who saw only jeans and a T-shirt or “long” hair. How would they know about the door?

59. Exile's Children

 

I didn’t leave this block because I felt stifled or tortured. Nor did I go with any mission or calling, or even any sort of ambition beyond staying alive. And I wanted that because, as the saying goes, “What’s the alternative?” I still don’t have the answer.

Long before I knew I would undergo the transformation I’m about to culminate, I knew I couldn’t stay. Even before I learned about the hormones, the surgeries and the people who submitted to them, I knew that some part of me wouldn’t survive the move from here. Yet it was necessary for survival—mine, at any rate. And, I realize now, the reason mother never begged me to come back was that she knew, too. She always expected I’d return, however briefly.

Somehow she survived this place—until now, anyway. I’m not sure she would’ve had she left. But she had no reason—or at least not the same one I had—to get out of here. A mother, a single mother, like many others here—most of whom were here before her—there’s never been any shame in that here, at least not among the women. The nuns were a different story. “You didn’t have a father. You’ll never become a man,” Sister Elizabeth yelled at me in a room full of kids who would’ve snickered had she not slashed the air with her long wooden ruler. And she wasn’t the only one who reminded me—actually, who reminded the other kids, I didn’t need it—of my family situation.

It was probably all I had in common with other kids on this block. There were a couple of others in Sister Elizabeth’s class that day. One—Howard—laughed, for which Sister Elizabeth slapped him. But the other, Louisa Parker, slid her pale oval face into her long angular hands so I could see only her shaggy dark hair.

They’re gone, too. Howard ended up in the army. Whether he joined or was sentenced to it, no one’s exactly sure. He ended up in some place in the Middle East—some place where all you see are men—and never returned. No one ever said why. And Louisa—all I know is that someone saw her on a street in New Orleans, or in some other city besides this one. Why she left this block, I don’t know. Can’t say I can’t blame her because I don’t know whether she had to leave. She probably did: It’s the only way I know of that anybody goes from here.

58. Moment Fugue

 

When you’re on this block, you have one thing in common with anyone else here: the moment, this moment. Some have lived in it for longer than you; others’ve just come into it. But you and they and I—are all in it, for the moment, for as long as we’re here.

Maybe you really do have to die to leave it. I don’t remember who told me that. Maybe Adam, maybe mother. Or maybe—like the question you know not to ask—I learned it simply from being here, just from being. That’s how Adam and mother left. And the man who fathered me. The lady whose name I never knew is still here, and Mrs. Littington, for all that she participated in the gossip, was never part of it because everybody knew she wasn’t staying. And of course, after today she’ll be gone again, having flitted into and out of the moment, the last mother and I will have.

Now, only now. I’ve been to lots of other places where people lamented some monument or edifice that once stood in their midst, in their moment. Then it was smashed, exploded or burned and something else was assembled in its place. Or maybe the place is left empty. The people mourn the passing of whatever’d been there before but they stop remembering it the moment it was gone. No one remembers the squalid squares in the old railway stations or the drab columns of office buildings, apartment houses or the local store. Somehow, in memory, whatever is lost rises into towering arches filled with the soft, smoky haze of sun through windows high near the ceiling. Anything—even the moment of this block—can dissipate in that light.

On my way back to this block, I passed by the onetime financial center of this city. Its most famous—tallest—structures were gone, leveled by what architects, engineers, scientists and those who wrote and spoke for them claimed their steel-girded glass boxes could withstand. I called mother when I heard about their destruction. Just making sure she was all right, even though I knew she’d never been anywhere near them. Everyone, it seemed, who’d ever seen a photo of the buildings was calling somebody. Other people’d had to wait hours to get to one of the phones on the street. Not me—Gail, whom I’d met while I was still cursing Vivian, slipped a cell phone into my bag. I didn’t realize I had the phone until the first time it rang. When the buildings fell, I broke her rule that I use it only to answer her, and called mother.

Now I use only cellphones.

I’m getting away from myself. Those houses of cathode ray screens and paper, built like a box of drinking straws with the middle straws removed, were gone. I noticed their absence only because nothing stood in their place. I recalled how they cast shadows over the streets, the people, even the other tall buildings around it. But the fall of those steel beams, and the glass panes shackled to the fluorescent space around them, did not flood the corners and alleyways with suddenly-unsealed sunlight. The skyscrapers that still stood spread over each other and stilted solar pulses through the channels between offices and cigar stores, the snakeskin-smoothed sidewalks and the coiled cables of the bridge between that part of town and the precincts around this block.

“The Towers,” as everyone called them, were gone. But apart from their general shape—breadboxes sliced on the ends and sides with serrated knives—I could recall nothing else about them. Not the details, scarecely visible on such tall buildings, yet present enough for the news reports to point out as metalworkers took apart what remained after the explosions. I vaguely recalled the view from the top, the end of some trip on a school bus and up a series of elevators with a bunch of boys who wanted to beat up a “faggot” and a teacher—a nun who would—could ‘--ve done nothing to stop them. I knew there was something called an ”observation deck” at the end of the elevator ride, but it could’ve been a milk crate for all that I could recall.

It’d been part f some moment long ago, which might’ve continued to today had I or the Towers not gone. But the fall was inevitable: the Towers’ moment wouldn’t, couldn’t, last into this one. Nor could that moment in which I lived through the births-- and the deaths I witnessed and helped to cause.

After mother’s buried, the moment—long as it was—of this block will end, at least for me. The lady whose name I never knew—I don’t know. No one else from that time remains here. Then again, the moment began before Mrs. Littington came to this block, before I was born, before she or mother were born. And it continued through the disappearance of the man who fathered me and the day when the police retrieved a body and gave it my former name.

57. Who Do They Talk To?

 

I don’t know whether Mrs. Littington knows about the man whose body was found in the basement. The body with my name. Maybe the lady whose name I never knew told her. Then again, I suspect not. Why would they begin speaking now? But you never know what circumstances will prompt.

There’s no reason—I hope—for either of them to talk to me now. I’d had a close call on the way to the bathroom when the lady whose name I never knew followed me—or so I thought. For sure, she’d turn the glance she caught of me into a cross-examination. When you’re a kid on this block, it seems that adults are always doing that to you—even the ones who’d never talk to you, or let you talk to them, under any other conditions.

Even if they know, it won’t matter. Or so I hope. Who’s Mrs. Littington going to tell, anyway. Wherever she’s going, I’m sure there’s no one to whom any of this’ll matter. As for the other woman: With mother gone, who can she talk to? I don’t think she gets out—of this block—much; she never did. What she’s wearing now looks like one of those housedresses she always wore, only in black.

Shehasn’t angled her head toward Mrs. Littington the way she did with mother. I’d never see her actually turn her eyes, her nose, her mouth, in the direction of mother. But I could always tell when she was turning her attention toward mother, when she was about to speak as soon as I couldn’t hear.

I’m hoping she doesn’t, for the first time (at least to my knowledge), do the same with Mrs. Littington. They’d’ve had at least one common topic—mother—for gossip or whatever. And if they talked about her, I imagine they’d talk about me, whether or not they realized I was in the room with them, not in that cellar on that last cold afternoon before summer, when the police found the body to which they’d attach my name—my former name.

Hopefully, I won’t have another close encounter today. I never could’ve explained myself to anyone on this block when I was living here—at least, not in any way that they could hear. Then again, I never could’ve told them anything they’d wanted to know. Nothing’s changed.: I know, therefore I can’t say.

Could they’ve recognized me, even after all those years and all the changes? Of course, they say some things never change. Once, by chance, I met a friend of Vivian’s in a café, far away from this block or her town. “I recognize you from someplace. Your eyes…” Her name flashed into my mind, but of course I couldn’t say it. I pretended to ignore her, and she left.

56. Identification

At least I haven’t seen any cops. Maybe it wouldn’t matter if I did. Could they make a positive ID of me? They couldn’t with that body in the basement; how could they identify a living person? Especially if that person’s changed since the police started searching?

Not that they have any reason for stopping or questioning me. Not really. Then again, the cops, especially the ones around here, know how to extract confessions from mouths that never had to hold secrets. Vivian used to talk about the “highway blues,” when an officer could tail you, pull up alongside you and pull you over even though you hadn’t gone over the speed limit or in the wrong lane, and somehow you’d do something—you couldn’t deny it—and the officer would write a summons. Really, officer, I didn’t kill anyone. Especially not mother. Of course not. I hadn’t even been on the block at the time she died—or when the body in the basement gave up its last. Everybody—at least the woman whose name I never knew—knows that. I hadn’t been here in years. How many? Well, gee, officer, I’m not quite sure. So much has happened and well, you know how time flies.

But they’re not here now. Just me, Mrs. Litttington, the woman whose name I never knew—and mother’s body, in the casket.

55. Before Tomorrow

 

Today. Just today. I just have to get through this day in one piece. It’s the only way anybody’s ever lived on this block and it’s the only mode of life I’ve known since I left.

I can’t say whether anything’ll change after tomorrow. I know that I’ll never come back to this block again. It’s not a choice: I have no choice. Not that I’ve ever wanted to return. But I have no such choice in any event. Never did, probably never will.

Just today. Tomorrow, if it goes the way I foresee it, we bury mother. Hopefully, nothing’ll complicate maters until then. Mrs. Littington and the woman whose name I never knew glance in my direction, but neither speaks to me. Maybe they talk to each other when I’m out of sight, but I don’t recall that they had much, if anything, to say to do with each other when we were on this block. Their only connection was mother, and I’ve no idea of how much they talked about each other to her.

I’m not even sure that Mrs.L. and the lady recognize each other now, although—somehow not surprisingly—Mrs. L. seems not to’ve aged beyond a few gray flecks in her darker-than-chestnut hair. The edges of her hair that frame her forehead, temples and ears have softer, wavier edges than those of the sharper cut she wore when she lived on this block—but somehow even that seems not to’ve changed much, either. For that matter, the lady whose name I never knew doesn’t seem much older than I recall her, either; but her loose and dry skin always made her seem older than mother, or most of the other people on this block. Then again, I’d just barely passed puberty the last time I saw her. All the adults—which is to say the women—on this block seemed like fixtures that’d always been there.

Every once in a while, she catches my gaze. Maybe she won’t ask questions. That’s the unwritten—That goes without saying!—code of this block. Then again, she never needed to ask questions, or so it seemed.

Another code is not to tell, at least not so the person who’s being told about knows. Would she? Could she? Who was it who told me, “Them that know don’t tell; but them who tell don’t know”? What did thatt person know? What does she know? What—who—would she tell? Being on this block, still, she had to’ve heard about the body in the cellar. The one with my name—my former name—on it. And my date of birth. But not my date of death. Surely she had to’ve known better than to believe that version of the end of a life. On this block, who’d’ve remained, by that time, who’d’ve had any reason to kill me? The men—the boys—were all gone by then. Including me.

Who, then, ‘d’ve gone through the trouble of striking him on the head hard enough to knock him to the ground, but not hard enough to prevent him from regaining consciousness. Who’d’ve been anygry, obsessive or whatever enough to tie him by his hands and feet and tape his mouth while his eyes were shut? To peel the too-tight black pants and bikini brief away from his hairy midsection? Or—when he regained consciousness and grunted because he couldn’t beg for mercy—took a sawtoothed switchblade and gnarled at the base of his scrotum and removed an organ which to this day has not been found? And finally pulled—actually, slid and slogged—the briefs and pants back over the bloody crotch, hooked the waist tab and zipped the fly shut just as red heat began to ooze through them?

Could she’ve known t he answers, or enough to question what I –or the man whose body was identified as mine—would’ve been doing anywhere near this block at that time? As far as she knew—or so I thought—I was long gone, and possibly dead. I wouldn’t be surprised if that’s what mother told her. Or if she said nothing at all, except that I don’t think that lady’d’ve let her.

Hopefully, she won’t ask any more questions—or talk any more—about him or me, or to me—before this day is over, before I can leave for good, like mother, tomorrow.

One more day and mother finally gets to rest. And I’ll be able to continue—and hopefully complete—my transformation.